text: Major General

text: Dublin, Ireland

text: British Army

text: Royal British Legion

text: Leinster Regiment

text: Uí Cheinnselaig

text: Kings of Leinster

text: British Army

text: Royal Military Academy Sandhurst

text: Royal Irish Fusiliers

text: Companion of the Order of the Bath

text: 1979 Birthday Honours

text: major general

text: The Royal British Legion

text: Belgium

text: 2007 New Year Honours

text: Knight of the Order of Saint Lazarus

text: Gaelic nobility of Ireland

text: Chief of the Name

text: Curley, Walter J.P.

text: Ellis, Peter Berresford

text: 2007 New Years Honours List

text: BBC coverage of CBE award

categories: Companions of the Order of the Bath,20th-century Irish people,1928 births,British Army generals,People from County Dublin,People educated at St Columba's College, Dublin,Commanders of the Order of the British Empire,Royal Irish Rangers officers,Royal Irish Fusiliers officers,21st-century Irish people,Living people

paragraph: David O'Morchoe

paragraph: Major General David Nial Creagh, The O'Morchoe, (born 17 May 1928, Dublin, Ireland), also known as David O'Morchoe, is a former British Army officer. The O'Morchoe is a past President of the Royal British Legion branch in the Republic of Ireland, and also President of the Leinster Regiment historical association. and President of the Tipperary Remembrance Trust. He is the hereditary Chief and Prince of the Ó Murchadha (Murphy/Morrow) Sept, a cadet line of the ancient Irish dynasty the Uí Cheinnselaig, who were Kings of Leinster.

paragraph: Section::::Military career.

paragraph: O'Morchoe joined the British Army in 1946 and was commissioned from Royal Military Academy Sandhurst as an officer in Royal Irish Fusiliers. He was appointed a Companion of the Order of the Bath in the 1979 Birthday Honours, and retired with the rank of major general later the same year.

paragraph: Section::::Ó Murchadha clan chief and later life.

paragraph: O'Morchoe is a prominent figure representing The Royal British Legion at the Irish National Day of Commemoration ceremonies that are held in the Royal Hospital in Kilmainham, which is held annually to honour Irish men and women who died in past wars or in service with the United Nations.

paragraph: From 6 to 11 June 2007, The O'Morchoe represented the Association during the commemoration ceremonies in Belgium.

paragraph: O'Morchoe was appointed a Commander of the Order of the British Empire in the Diplomatic Service and Overseas List of the 2007 New Year Honours "for services to British ex-servicemen and women in Ireland". In September 2010, he was invested Knight of the Order of Saint Lazarus. In September 2014 he was suspended from his position in the Royal British Legion.

paragraph: Section::::See also.

paragraph: BULLET::::- Gaelic nobility of Ireland

paragraph: BULLET::::- Chief of the Name

paragraph: Section::::References.

paragraph: BULLET::::- Curley, Walter J.P., "Vanishing Kingdoms: The Irish Chiefs and their Families". Dublin: Lilliput Press. 2004.

paragraph: BULLET::::- Ellis, Peter Berresford, "Erin's Blood Royal: The Gaelic Noble Dynasties of Ireland". Palgrave. Revised edition, 2002.

paragraph: Section::::External links.

paragraph: BULLET::::- International Association of Amateur Heralds website

paragraph: BULLET::::- 2007 New Years Honours List

paragraph: BULLET::::- BBC coverage of CBE award

paragraph: BULLET::::- Tipperary Remembrance Trust

description: British Army general

wikidata_label: David O'Morchoe

wikipedia_title: David O'Morchoe


text:
Hanthawaddy Pegu Kingdom
Binnya Dhammaraza
Binnya Waru
Shwedagon Pagoda
Leik Munhtaw
Razadarit

categories: Hanthawaddy dynasty,1453 deaths,Burmese monarchs,Year of birth unknown

paragraph: Binnya Kyan

paragraph: Binnya Kyan (, ; 1420–1453) was the 13th king of the Hanthawaddy Pegu Kingdom in Burma from 1451 to 1453. Binnya Kyan, son of King Binnya Dhammaraza, came to power after assassinating his cousin King Binnya Waru in 1451. One notable project of his reign was the raising of the height of Shwedagon Pagoda to 92 meters (302 feet) from 20 meters (66 feet). The king himself was murdered in 1453 by his first cousin Leik Munhtaw who seized the throne. Despite his raising of the height of the Shwedagon, the king murdered so many of his rivals that by the time he himself was murdered, his killer, first cousin Leik Munhtaw was the last living male descendant of King Razadarit.

paragraph: Section::::Historiography.

paragraph: Various Burmese chronicles do not agree on the key dates of the king's life.

description: 13th king of Hanthawaddy Pegu

wikidata_label: Binnya Kyan

wikipedia_title: Binnya Kyan


text:
Argentine
Arroz con leche
Carlos Schlieper
Juan Moreira
Madame Bovary
El Muerto es un vivo

categories: Argentine film actresses,1896 births,1983 deaths,20th-century Argentine actresses

paragraph: María Esther Podestá

paragraph: María Esther Podestá (1896–1983) was an Argentine actress. She starred in the 1950 film "Arroz con leche" directed by Carlos Schlieper.

paragraph: Section::::Selected filmography.

paragraph: BULLET::::- "Juan Moreira" (1936)

paragraph: BULLET::::- "Madame Bovary" (1947)

paragraph: BULLET::::- "El Muerto es un vivo" (1953)

description: actress

wikidata_label: María Esther Podestá

wikipedia_title: María Esther Podestá


text:
Salih ibn Ali
Abbasid
Syria
Egypt
caliph
Mecca
Medina
hajj
Jund Dimashq
Damascus
Jund Qinnasrin
Aleppo
al-Mansur
al-Jazira
al-Mahdi
Jerusalem
Egypt
al-Fustat
al-Askar
al-Fustat
al-Hadi
Umayyad Mosque
Bayt al-Mal

categories: Abbasids,Abbasid governors of Qinnasrin,789 deaths,Abbasid governors of Egypt,740 births

paragraph: Al-Fadl ibn Salih

paragraph: Al-Fadl ibn Salih ibn Ali ibn Abdillah ibn Abbas () (740–789) was the Abbasid governor of a number of different provinces in Syria during the late 8th-century CE. He was also governor of Egypt for a brief period of time. He was related to the Abbasid caliphs and was part of the Banu Salih branch of the Abbasid dynasty.

paragraph: Section::::Career.

paragraph: In 755, al-Fadl led the pilgrim caravan destined for Mecca and Medina for the annual "hajj". He became governor of Jund Dimashq (whose principal city was Damascus) in 766 and three years later he added Jund Qinnasrin (whose principal city was Aleppo) to his domain during the reign of the caliph al-Mansur. In 775, he was appointed governor of the region of al-Jazira north of Damascus by the Abbasid caliph al-Mahdi. He moved to al-Jazira the same year. Al-Fadl returned to Damascus following his trip to Jerusalem in 780 where he accompanied al-Mahdi as part of his entourage. It was around this time when he was deposed as governor of al-Jazira and replaced by Abd al-Samad ibn Ali.

paragraph: Al-Fadl was sent along with a large army to quell a rebellion in Egypt in 785. After defeating the rebels at Buwit, al-Mahdi appointed him governor of al-Fustat in Egypt. He established the soldiers' barracks and the congregational mosque of al-Askar and during his tenure the cities of al-Askar and al-Fustat merged into one large city. His governance only lasted one year and when al-Hadi succeeded his father to the Caliphate in 786, he was relieved from his position. Upon his return to Syria in 789, he had the doors of the Umayyad Mosque replaced and built the famed Bayt al-Mal treasury dome to house the mosque's funds. Al-Fadl was also responsible for the construction of the eastern Dome of the Clock, which was built in 780.

description: Abbasid governor of a number of different provinces in what is now Syria

wikidata_label: Al-Fadl ibn Salih

wikipedia_title: Al-Fadl ibn Salih


text:
Bad Urach
German
Latin
apocrypha
Hesse
Ulrich, Duke of Württemberg
Tobias Hess
Württemberg
Naometria

paragraph: Simon Studion

paragraph: Simon Studion (6 March, 1543, Bad Urach–1605) was a German teacher of Latin, poet, historian, archaeologist, and author of apocryphal literature.

paragraph: Simon was the son of Jakob Studion, who came from Hesse but settled in Urbach to take on the role as cook for Ulrich, Duke of Württemberg.

paragraph: He was influential on Tobias Hess. He lived in Württemberg.

paragraph: In 1597 Tobias Hess corresponded with Simon Studion and agreed with him that the Papacy must fall in 1604.

paragraph: He wrote "Naometria", a book of prophecies published in 1604.

description: German humanist and antiquary

wikidata_label: Simon Studion

wikipedia_title: Simon Studion


text:
Portuguese
Some Bizzare Records
IDM
braindance
experimental
electronic music
industrial
synthesizer
percussion
drum machine
circuit bending
Some Bizzare Records
Stevo Pearce
Soft Cell
Stevo Pearce
Laibach
Aphex Twin
Some Bizzare Records
Some Bizzare Records
Some Bizzare Records
Some Bizzare Records
www.pedroinf.com

categories: Intelligent dance musicians,Braindance musicians

paragraph: Pedro INF

paragraph: Pedro INF is a Portuguese electronic music artist, currently signed to Some Bizzare Records.

paragraph: Section::::Background.

paragraph: Pedro INF is an alterego of Pedro Granja De Carvalho, a musician whose main style can be categorized as IDM, braindance, or experimental electronic music. He began recording at the end of the 1980s when he was a member of the industrial Portuguese band from 1989-1994 named Ode Filipica. Pedro INF was using early computers for music, around 1986 he was using a Timex Sinclair computer. Today, Pedro INF is using a range of vintage recording equipment and analog synthesizers, electronic percussion and drum machines, avoiding the use of computers where circuit bending is the rule. br

paragraph: In 2007 Pedro INF signed to Some Bizzare Records. His first album was released by Some Bizzare Records SBZ 079CD "pedro inf" The label boss, Stevo Pearce (ex-manager of Soft Cell) also included a Pedro INF track, "The Strategy Of The Spider in The Wire," on the new "Some Bizzare Double Album" released in 2008. Stevo Pearce is credited as executive producer of the album. His second album was released 2010 by Some Bizzare Records, "Azphonix", all the Mastering took place at The Exchange in London and was performed by Simon Davey who has mastered bands like Laibach, Aphex Twin .Also known from his own theory of Universal Referential Frame, that was published with the album SBZ 079CD "pedro inf."br

paragraph: Pedro INF is also the mentor and webmaster of the netlabel Plastic4Records. Other artists on this netlabel include Wet Dentist, fmt&=18, Luminous Fridge, and Quell Figure.

paragraph: Pedro Inf also makes forays into the painting ("your last exhibition at Art gallery "Arte Roca""). All the Albums released features paintings made by Pedro INF .br

paragraph: Pedro INF is tired of the current output of the electronic and post industrial music scenes, whose innovation has regressed to pre conceived ideas about music production, Pedro INF is taking lead from the pioneers such as Kandinsky, Miro, Coil, Test Department, Richard D. James (Aphex Twin) and Mu-ziq. br

paragraph: Designing and building his own effects, computers and programs Pedro INF has created his own self-styled 'sonar paintings', he believes that art does not need humans at all to exist, in his own words "there is no need for a receptor and the need of a receptor is only because we cannot escape the human condition of egocentrism". br

paragraph: Ticking the boxes that this enigmatic producer has the madness to pull of his unique brand of electronica "the first goal of pedro inf is to see the painting and not remember how it was done.

paragraph: Section::::Discography.

paragraph: BULLET::::- 2008 - pedro inf - SBZ 079CD (Some Bizzare Records)

paragraph: BULLET::::- 2008 - pedro inf Vinyl 12" - SBZ112 (Some Bizzare Records)

paragraph: BULLET::::- 2008 - Some Bizzare Double Album (Some Bizzare Records Compilation) - "The Strategy Of The Spider in The Wire"

paragraph: BULLET::::- 2010 - Azphonix - SBZCD115 (Some Bizzare Records)

paragraph: Section::::External links.

paragraph: BULLET::::- www.pedroinf.com

description: Dance music musician

wikidata_label: Pedro INF

wikipedia_title: Pedro INF


text: Nicholas II

text: John II

text: Goldberg

text: Christopher II of Denmark

text: Henry II

text: Rügen

text: Rügen War of Succession

text: Nicholas IV

text: Malchow Abbey

text: Otto I, Duke of Pomerania

text: Nicholas IV

text: Otto I

text: prioress

text: Dobbertin Abbey

text: Biographical information

categories: Lords of Werle,House of Mecklenburg,Year of birth uncertain,1352 deaths,13th-century births

paragraph: John III of Werle

paragraph: John III, Lord of Werle (nicknamed "John van Ruoden"; born: before 1300; died: between 1 April and 28 August 1352) was Lord of Werle-Goldberg from 1316 until his death. He was the son of Nicholas II and Rixa of Denmark.

paragraph: After the death of his father, Nicholas II, in 1316, it was decided to divide Werle. John III. took control over the part Werle-Goldberg and his uncle John II took over Werle-Güstrow. John III built himself a castle in Goldberg. King Christopher II of Denmark promised John and Lord Henry II of Mecklenburg on 4 May 1326 that he would invest them with Rügen. However, he had earlier promised the principality to Pomerania. This led to a war, the Rügen War of Succession. Under the Peace of Brudersdorf, Pomerania was allowed to keep Rügen, but had to pay Mecklenburg in compensation.

paragraph: From 1350, he left the business of government to his son and co-ruler Nicholas IV. On 1 April 1352, he was already terminally ill. He died later that year. He was probably buried in Malchow Abbey.

paragraph: Section::::Marriage and issue.

paragraph: John III married in 1317 with Mechtild (died: ), the daughter of Duke Otto I, Duke of Pomerania. They had three children:

paragraph: BULLET::::- John (died 1341)

paragraph: BULLET::::- Nicholas IV, Lord of Werle-Goldberg

paragraph: BULLET::::- Mechtild (died 1361), married with Count Otto I of Schwerin

paragraph: After Mechtild's death, John III married Richaris and had two more daughters:

paragraph: BULLET::::- Sophia (died 1384), married with Albert II of Lindow-Ruppin

paragraph: BULLET::::- Rixa, became prioress of Dobbertin Abbey in 1392

paragraph: Section::::External links.

paragraph: BULLET::::- Genealogical table of the House of Mecklenburg

paragraph: BULLET::::- Biographical information at emecklenburg.de

description: Lord of Werle-Goldberg

wikidata_label: John III of Werle

wikipedia_title: John III of Werle


text: New Britain, Connecticut

text: University of Florida

text: Cooper Union

text: Pratt Institute

text: Yale University

text: Brown University

text: Dartmouth College

text: Kent Fine Art

text: Armenian

text: New Britain, Connecticut

text: Stanley Black & Decker

text: Constance Carrier

text: U.S. Navy

text: World War II

text: G.I. Bill

text: Josef Albers

text: Yale University

text: Irving Petlin

text: Fulbright Grant

text: American Academy in Rome

text: Guggenheim fellow

text: Stable Gallery

text: Joseph Cornell

text: Alex Katz

text: Marisol Escobar

text: Joan Mitchell

text: Isamu Noguchi

text: Cy Twombly

text: Robert Rauschenberg

text: Larry Rivers

text: Andy Warhol

text: Cordier & Ekstrom Gallery

text: Duchamp

text: Morris Louis

text: Isamu Noguchi

text: Romare Bearden

text: Dubuffet

text: Matisse

text: Saul Steinberg

text: Magritte

text: Orpheus

text: Eurydice

text: classical myth

text: swan

text: serpents

text: mythology

text: Surrealism

text: Dada

text: Whitney Museum of American Art

text: Art Institute of Chicago

text: Guggenheim Fellowship

text: Philip Guston

text: American Academy of Arts and Letters

text: The National Academy of Design

text: Brooklyn Museum

text: University of California Berkeley

text: Indianapolis Museum of Art

text: The Metropolitan Museum of Art

text: Museum of Modern Art

text: New York Public Library

text: Whitney Museum of American Art

text: Hood Museum of Art

text: Dartmouth College

text: Toledo Museum of Art

text: Archives of American Art

categories: Dada,20th-century American painters,20th-century American sculptors,1926 births,Members of the American Academy of Arts and Letters,American people of Armenian descent,Yale University alumni,American male painters,American surrealist artists,Art Students League of New York alumni,Modern painters,Sculptors from Connecticut,American male sculptors,Modern artists,Living people,Assemblage artists

paragraph: Varujan Boghosian

paragraph: Varujan Yegan Boghosian (born 1926 New Britain, Connecticut) is an American artist, best known for his sculptures and assemblages. Since 1958 he has held teaching positions at the University of Florida, Cooper Union, Pratt Institute, Yale University, Brown University and Dartmouth College. At Dartmouth, Boghosian was a member of the art faculty from 1968 to 1995. He was awarded an endowed position as the George Frederick Jewett Professor of Art in 1982. Boghosian retired from Dartmouth in 1995 and has since continued his work as a practicing artist.

paragraph: Boghosian is represented by Berta Walker Gallery in Provincetown and Wellfleet as well as Kent Fine Art in New York.

paragraph: Section::::Early life.

paragraph: The son of Armenian immigrants, Boghosian was born and raised in New Britain, Connecticut. His father was a cobbler who later worked for Stanley Tools (now Stanley Black & Decker). Boghosian's early schooling was traditional although he benefited from classes taught by the poet Constance Carrier, who introduced him to the world of literature.

paragraph: Boghosian served in the U.S. Navy, during World War II. Returning to the U.S in 1946 he was able to attend college on the G.I. Bill.

paragraph: Boghosian was then invited by Josef Albers to attend Yale University (1956–59), along with Irving Petlin, Boghosian had already received a number of accolades as well as a Fulbright Grant for Painting in Italy (1953) and in 1966, he was artist in residence at the American Academy in Rome. He was a 1985 Guggenheim fellow. He has taught at The Cooper Union (1959–64), Yale University (1962–64), Brown and Dartmouth College (1968–96).

paragraph: Section::::Art and influences.

paragraph: Boghosian showed with the legendary Stable Gallery, founded by Eleanor Ward, consistently between 1963 and 1966. At this time, the Stable Gallery showcased various young and emerging artists including: Joseph Cornell, Alex Katz, Marisol Escobar, Joan Mitchell, Isamu Noguchi, Cy Twombly, Robert Rauschenberg, and Larry Rivers as well as Andy Warhol's first one-man show. The unorthodox and experimental spirit of this time has remained with Boghosian and informed his developing relationship with the appropriation of everyday objects and their subsequent plastic manipulations.

paragraph: In 1968, Boghosian began to exhibit with the historic Cordier & Ekstrom Gallery, Duchamp's dealer in America. It was an ideal fit for Boghosian, as Arne Ekstrom's distinctive style favored the union of art and literature. Cordier & Ekstrom put on far-reaching shows that gave the same attention to world-renowned artists as it did to those who were just emerging. Morris Louis and Isamu Noguchi were some of the artists who frequented the gallery and it was where Romare Bearden honed his style. The gallery's circulating exhibition roster included such prominent names as Dubuffet, Matisse, Saul Steinberg, and Magritte. Boghosian developed a long-standing relationship with Arne Ekstrom and exhibited with the gallery well into the late 1980s.

paragraph: Boghosian's art draws inspiration from a variety of sources including literature, art, history and music. Allusions to myth and poetry pervade his work. Explorations of the myths of Orpheus and Eurydice, for instance, have been a central and continuous theme throughout his career. Closely linked to this fascination with classical myth is Boghosian's recurring use of symbols such as swans and serpents, both of which are rooted in a strong tradition of cross-cultural mythology.

paragraph: Building upon the traditions of Surrealism and Dada Boghosian's assemblages and collages playfully contemplate the boundaries between dream and reality. In creating his art, Boghosian draws heavily on his extensive personal archive of found objects, gathered together in his home and studio. The images and objects that he utilizes often bear the mark of time and his creations frequently juxtapose groups of seemingly unrelated objects together. In describing his artistic process, Boghosian is quoted as saying "I don't make anything. I find everything.”

paragraph: Section::::Career development and recognition.

paragraph: Boghosian's work began to be included in the thematic exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago as early as 1954. He has also received numerous grants including a Fulbright, a Guggenheim Fellowship (1985), and residency at the American Academy in Rome with Philip Guston, and he has been an active member of the American Academy of Arts and Letters since 1968, and a National Academician of The National Academy of Design.

paragraph: Beginning with the Swetzoff Gallery, Boston (1950–65), Boghosian has been actively exhibiting with over 75 one-man exhibitions including the Arts Club of Chicago (1970), The American Academy in Rome (1986), the Aldrich Museum of Contemporary Art (1988), the Norton Gallery of Art (1992), the Hood Art Museum, Dartmouth (1989), the Toledo Museum of Art (2013), and the Philadelphia Museum of Art (2018).

paragraph: His work is in the public collections of Brooklyn Museum; University Art Museum of the University of California Berkeley; Indianapolis Museum of Art; The Metropolitan Museum of Art, Museum of Modern Art; New York Public Library; Whitney Museum of American Art; and the Provincetown Art Association and Museum, among many others. Notable retrospectives include a 1989 exhibition at the Hood Museum of Art at Dartmouth College and a 2013 exhibition at the Toledo Museum of Art.

paragraph: His papers are held at the Archives of American Art.

paragraph: Section::::External links.

paragraph: BULLET::::- Kent Fine Art: Varujan Boghosian Artist Page

paragraph: BULLET::::- Varujan Boghosian, "Wall Street Journal", ‘Altered States', ‘Varujan Boghosian’ at the Toledo Museum of Art’; May 7, 2014

paragraph: BULLET::::- Video of Varujan Boghosian Shopping at the Maumee Antiques Mall; Maumee, Ohio, May 5, 2014

paragraph: BULLET::::- Varujan Boghosian, "Art Daily", 'Collages and Sculptures by Varujan Boghosian go on exhibit at the Toledo Museum of Art'

paragraph: BULLET::::- http://artdaily.com/news/66945/Collages-and-sculptures-by-Varujan-Boghosian-go-on-exhibit-at-Toledo-Museum-of-Art#.U3PdgCggRco

paragraph: BULLET::::- Varujan Boghosian opens the season at Victoria Munroe Fine Art

paragraph: BULLET::::- http://www.artnet.com/artists/varujan-boghosian/

paragraph: BULLET::::- http://hoodmuseum.dartmouth.edu/docs/sfd40.pdf

paragraph: BULLET::::- http://provincetownartistregistry.com/B/boghosian_varujan.html

description: American artist

wikidata_label: Varujan Boghosian

wikipedia_title: Varujan Boghosian


text: printmaker

text: Lloyd Wright

text: scenographer

text: Federal Arts Project

text: social realism

text: World War II

text: Chicago, Illinois

text: Chicago Art Institute

text: mural

text: Provincetown Players

text: Los Angeles

text: Theodore Dreiser

text: Greenwich Village

text: H.L Mencken

text: Edgar Lee Masters

text: Dreiser

text: George Cram Cook

text: Susan Giaspell

text: Eugene O’Neill

text: Provincetown Playhouse

text: Fox

text: Lloyd Wright

text: Frank Lloyd Wright

text: Roerich Museum Theatre

text: Art Students League

text: New York City

text: Alexander Abels

text: Depression

text: Ogunquit, Maine

text: lithographs

text: social realism

text: Whitney Museum of American Art

text: Library of Congress

text: Metropolitan Museum of Art

text: Federal Arts Project

text: New Deal

text: World's Fair

text: diorama

text: World War II

text: patriotism

text: Halifax, Vermont

text: Port-au-Prince

text: Etching Revival

text: lithography

text: Great Depression

text: WPA

text: FAP

text: Mabel Dwight

text: Reginald Marsh

text: Elizabeth Olds

text: Caroline Durieux

text: social realism

text: Mabel Dwight

text: Elizabeth Old

text: Paul Cadmus

text: George Tooker

text: social realist

text: Nightclub

text: Fisherman's Luck

text: Hotcha

text: Ohmpeer

text: Bleecker Street Fire Hydrant

text: July 4th, 1936

text: Cherry Blossom in Brooklyn

text: The Silver Trumpets of the Rain

text: New Year's Eve in Greenwich Village

text: Flag Raising in Leroy Street

text: Mature Vision

text: Stage Door Johnnie

text: Sailors at Penn Station

text: The Fit Yourself Shop

text: The Show is Over

text: At Her Dressing Table

text: Summer Idyll

text: Burlycue

text: Haitian Village Women

text: Elin and Maria

text: Works by Kyra Markam

text: "Bleeker Street fire hydrant

text: "Flag Raising in Leroy St, 1942"

text: Library of Congress

text: "July 4th, 1936"

text: "Lockout"

text: "Ohmpeer"

text: tenement

text: "Sleep"

text: Cleveland Museum of Art

text: "Well Met in the Subway"

text: Smithsonian Institution

categories: Federal Art Project artists,20th-century American painters,American women painters,20th-century American actresses,American expatriates in Haiti,American lithographers,American film actresses,American muralists,Artists from Chicago,Art Students League of New York alumni,1891 births,Women muralists,Actresses from Chicago,American stage actresses,American women printmakers,20th-century American women artists,1967 deaths

paragraph: Kyra Markham

paragraph: Kyra Markham (1891–1967) was an actress, figurative painter and printmaker. Markham was briefly married to the architect Lloyd Wright, and five years later, married the scenographer David Stoner Gaither. She worked for the Federal Arts Project, creating works of social realism that documented American life in the 1930s. During World War II, her art was focused on the propaganda effort against the Nazis.

paragraph: Section::::Biography.

paragraph: Markham was born Elaine Hyman in Chicago, Illinois. She studied drawing at the Chicago Art Institute from 1907 to 1909, and subsequently worked as a muralist and printmaker.

paragraph: In addition to her work as an artist, Markham was an accomplished actress. She appeared with the Chicago Little Theater from 1909 to the 1920s, with the Provincetown Players from 1916, and in movies in Los Angeles. She lived with the author and playwright Theodore Dreiser in Greenwich Village from 1914-1916, helping him with his writing, editing, and typing. Through Dreiser she became acquainted with H.L Mencken, Edgar Lee Masters, and other writers. Due to Dreiser’s womanizing tendencies, Markham left him in 1916 and moved to Provincetown to escape his desperate pleas of reconciliation. While there, Markham continued acting alongside George Cram Cook, Susan Giaspell, and Eugene O’Neill, who founded the Provincetown Playhouse. During this early stage, Markham supported herself by making bookjackets and illustrations, and later working as an art director for film companies like Fox and Metro.

paragraph: In 1922 she married the architect Lloyd Wright and briefly had Frank Lloyd Wright as a father-in-law. In 1927, she married David Gaither and collaborated with him on the set design for a children's play, "The Forest Ring," staged at the Roerich Museum Theatre in 1930. Gaither encouraged Markham to pursuit "her first love, painting." Markham returned to the Art Students League in New York City in 1930, where she studied with Alexander Abels. Before the stock market crash, Markham was a successful bathroom muralist. From the 1920s until the Depression she obtained commercial commissions from clubs and restaurants.

paragraph: During the 1930s, Markham's artistic career began to gain momentum, regularly winning prizes for her lithographic work. In 1934, Markham organized her first solo exhibition in Ogunquit, Maine, featuring prints, murals and lithographs. Markham created works of social realism depicting street beggars, musicians, actors and scenes from department stores. In recognition of her work, Markham received the prestigious Mary S. Collins Prize at the Philadelphia Print Club's annual exhibition the following year for her lithograph "Elin and Maria" (1934). Markham sold work to the Whitney Museum of American Art, the Library of Congress and the Metropolitan Museum of Art. From 1935 to 1937, she worked in the Graphic Arts Division for the Federal Arts Project, a New Deal program designed to provide employment for artists during the Depression. The "Hall of Inventions" at the 1939 World's Fair in New York included 40 dioramas by Markham. During World War II she created propaganda satirizing the Nazis and promoting patriotism at home. In 1946 Markham and Gaither moved to Halifax, Vermont. Markham stopped making prints after moving to her new Vermont farm, but continued to work in more accessible mediums such as painting and drawing. She was a member of the Southern Vermont Artists Associated and participated in their annual exhibitions in Manchester. Over the next twenty years she sold her designs to a postcard company, American Arts, Inc., and had her prints published in prestigious publications. Markham also worked as an illustrator for Children’s books during this time.

paragraph: Markham moved to Port-au-Prince in Haiti as a widow in 1960. She was still enthusiastic for her work, and her later work reflected Markham's new home. While living in Haiti, Markham continued to paint and established a salon for local celebrities, American expatriates, and island visitors. Markham died in Port-au-Prince, Haiti in 1967.

paragraph: Section::::Work.

paragraph: Section::::Work.:Context and themes.

paragraph: In the time between the two World Wars, American Scene printmakers, like Markham, opposed the Etching Revival style and instead embraced lithography. During the Great Depression, lithography exploded – the WPA/FAP alone published roughly 240,000 prints from 11,285 original images. Like Markham, many other artists working in this style, such as Mabel Dwight, Reginald Marsh, Elizabeth Olds, Caroline Durieux, and Russell Limbach, used lithography as a vehicle to employ humor and satire of daily life.

paragraph: Often categorized as social realism, Markham’s work presents extracted scenes from everyday life in a dramatic manner, turning the ordinary into the extraordinary. Markham’s work explored the incredible and grim aspects of modern society with a strong interest in labor themes, like much of the socially concerned art of the 1930s. This examination of labor roles was especially vital during Depression-era politics, and Markham often expressed this theme through the environment she knew best: theater. A repeated theme in Markham’s work, theater is presented in several prints through the unique perspective of the backstage.

paragraph: Although similar in subject matter to Mabel Dwight’s "Houston Street Burlesque" (1928) and Elizabeth Old’s "Burlesque" (1939), Markham’s "Burlycue" (1938) differs by focusing on the dancers identities as workers, rather than as objectified figures. Markham emphasizes the dancers confidence, workplace solidarity, and relaxed interactions – allowing viewers to see the Burlesque in a new light and shifting the mood from tantalizing to lighthearted amusement. Although many of her prints depict scenes of entertainment, whether backstage in the dressing room or performing under the spotlight, Markham is also interested in other leisure activities such as attending lively night clubs and social gatherings. Often evoking a dream-like state, Markham’s use of light, combined with detailed realism, results in fantastical compositions of daily life (9). Similarly to Paul Cadmus and George Tooker, Markham injected fantasy into the social realist genre.

paragraph: Section::::List of works.

paragraph: BULLET::::- "Nightclub", 1935, lithograph.

paragraph: BULLET::::- "Fisherman's Luck, 1938," lithograph.

paragraph: BULLET::::- "Hotcha," 1938, aquatint.

paragraph: BULLET::::- "Ohmpeer," 1944, lithograph.

paragraph: BULLET::::- "Bleecker Street Fire Hydrant", 1942, lithograph.

paragraph: BULLET::::- "July 4th, 1936", 1936, lithograph.

paragraph: BULLET::::- "Cherry Blossom in Brooklyn", 1937, lithograph.

paragraph: BULLET::::- "The Silver Trumpets of the Rain", 1936, lithograph.

paragraph: BULLET::::- "New Year's Eve in Greenwich Village", 1938, oil on canvas laid on masonite.

paragraph: BULLET::::- "Flag Raising in Leroy Street", 1942, lithograph.

paragraph: BULLET::::- "Mature Vision", 1935, lithograph.

paragraph: BULLET::::- "Stage Door Johnnie", 1937, lithograph.

paragraph: BULLET::::- "Sailors at Penn Station", 1944, lithograph.

paragraph: BULLET::::- "The Fit Yourself Shop", 1935, lithograph.

paragraph: BULLET::::- "The Show is Over," 1936, lithograph.

paragraph: BULLET::::- "At Her Dressing Table", 1939, oil on canvas board.

paragraph: BULLET::::- "Laughing Gas (Theodore Dreiser's Operation)", 1943, lithograph.

paragraph: BULLET::::- "Summer Idyll", 1941, aquatint.

paragraph: BULLET::::- "Burlycue", 1936, lithograph.

paragraph: BULLET::::- "Haitian Village Women", 1961, oil on masonite.

paragraph: BULLET::::- "Elin and Maria", 1934, lithograph.

paragraph: Section::::Further reading.

paragraph: BULLET::::- , Catalog of an exhibition held at the Witkin Gallery, New York, N.Y., Oct. 13-Nov. 7, 1981.

paragraph: Section::::External links.

paragraph: BULLET::::- Works by Kyra Markam

paragraph: BULLET::::- "Bleeker Street fire hydrant, by Kyra Markham

paragraph: BULLET::::- "Flag Raising in Leroy St, 1942", lithograph at the Library of Congress

paragraph: BULLET::::- "July 4th, 1936"

paragraph: BULLET::::- "Lockout", lithograph by Kyra Markham

paragraph: BULLET::::- "Ohmpeer", lithograph of laundry hanging behind tenement

paragraph: BULLET::::- "Sleep", lithograph in the Cleveland Museum of Art

paragraph: BULLET::::- "Well Met in the Subway", lithograph in the Smithsonian Institution

description: painter, actress

wikidata_label: Kyra Markham

wikipedia_title: Kyra Markham


text: Philadelphia

text: John Sartain

text: Emily Sartain

text: Philadelphia School of Design for Women

text: Central High School (Philadelphia)

text: Pennsylvania Academy of the Fine Arts

text: Thomas Eakins

text: Charles Lewis Fussell

text: Philadelphia Museum of Art

text: Brooklyn Museum

text: U.S. Capitol

text: National Museum of American Art

categories: Artists from Philadelphia,1843 births,1924 deaths

paragraph: William Sartain

paragraph: William Sartain (November 21, 1843 – 1924) was an American artist.

paragraph: Section::::Life.

paragraph: Sartain was born in Philadelphia, and his father was John Sartain. His sister, Emily Sartain, was also an artist became the director of the Philadelphia School of Design for Women.

paragraph: He attended Central High School (Philadelphia) and the Pennsylvania Academy of the Fine Arts with artists Thomas Eakins and Charles Lewis Fussell.

paragraph: Eakins and Sartain traveled together in 1868. He stayed in Paris until 1875, when he returned to Philadelphia, and moved to New York City.

paragraph: His work is in the Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Brooklyn Museum, U.S. Capitol, and National Museum of American Art.

paragraph: Section::::External links.

paragraph: BULLET::::- William Sartain engraving of Andrew Johnson.

alias:
wm sartain
sartain

description: American artist

wikidata_label: William Sartain

wikipedia_title: William Sartain


text:
landscape artist
Barbizon
Robert Walter Weir
Constant Troyon
Boston Art Club
National Academy of Design
Smithsonian American Art Museum
Brooklyn Museum of Art
Museum of Fine Arts
Archives of American Art
Hingham, Massachusetts

categories: 20th-century American painters,1821 births,American male painters,1910 deaths,19th-century American painters

paragraph: Winckworth Allan Gay

paragraph: Winckworth Allan Gay (1821–1910) was an American landscape artist and was one of the first American artists to promote the Barbizon style of landscape painting.

paragraph: Section::::Life and career.

paragraph: Winckworth Allan Gay was born into a Massachusetts' family on 18 August 1821. He received his early art education from Robert Walter Weir, at Westpoint, after which he spent four years in Europe, where he studied with Constant Troyon in Paris. He became one of the first Americans to espouse the Barbizon style of landscape painting.

paragraph: After returning to the US, he established a studio in Boston. He frequently travelled to the White Mountains region in New Hampshire, and especially to West Compton, where an artist’s colony was flourishing. He returned to Europe in 1877, and also visited Egypt and Japan. During his four year stay in Japan, he executed a number of paintings which have been described as Orienalis.

paragraph: His unique talent was to integrate the Barbizon style of painting with the more well-known Hudson River School style. His work was very popular with collectors. During his lifetime, his work appeared at the Boston Art Club, and the National Academy of Design.

paragraph: His work is in the Smithsonian American Art Museum, the Brooklyn Museum of Art, and the Museum of Fine Arts.

paragraph: His sketchbook is held at the Archives of American Art.

paragraph: Gay died at his home in West Hingham, Massachusetts, in 1910, aged 88.

paragraph: Section::::Further reading.

paragraph: Ackerman, G.M., "American Orientalists," ACR, 1994; especially p. 274

paragraph: Section::::External links.

paragraph: BULLET::::- http://www.artnet.com/artists/winckworth%20allan-gay/

paragraph: BULLET::::- http://www.askart.com/askart/artist.aspx?artist=21380

paragraph: BULLET::::- http://www.mmefineart.com/pop_gay_seaside.htm

alias:
W. Allan Gay
W. A. Gay
Winckworth Gay
Wicksworth Allen Gay
Winkworth Allan Gay

description: American artist

wikidata_label: Winckworth Allan Gay

wikipedia_title: Winckworth Allan Gay


text: Federal Arts Project

text: Works Progress Administration

text: Fogg Art Museum

text: Boston Museum of Fine Arts

text: Chicago Sun-Times

text: Metropolitan Museum of Art

text: Bibliothèque nationale de France

text: Art Institute of Chicago

text: Fogg Art Museum

text: Cambridge, Massachusetts

text: Museum of Fine Arts, Boston

text: Baltimore Art Museum

text: Syracuse University Art Galleries

text: Flint Institute of Arts

text: Brauer Museum, Valparaiso

categories: Artists from Massachusetts,1902 births,1993 deaths

paragraph: Letterio Calapai

paragraph: Letterio Calapai (1902–1993) was a realist painter and printmaker who took part in the Federal Arts Project organized by the Works Progress Administration in the 1930s. Calapai's work can be found in the Fogg Art Museum and in the Boston Museum of Fine Arts which is where Calapai's parents took him when he was a boy.

paragraph: Section::::Biography.

paragraph: Letterio Calapai made for himself a fruitful artistic career that spanned well over fifty years, during which he was deemed "a printmaker for the twentieth century" by the "Chicago Sun-Times" in 1984. The son of Sicilian immigrants, Calapai was born and raised in Boston, Massachusetts. Although the Calapai family was not monetarily wealthy, their lives were "rich in the pleasures of music, poetry, and art." Both the artist's mother and father made every effort to expose their son to the arts; his father recited poetry, his mother played the piano, and together they provided Calapai with violin lessons. During his childhood, Calapai frequented the Museum of Fine Arts in Boston and the Fogg Art Museum in Cambridge. There, his exposure to the work of the Old Masters would come to have a profound influence on his art; as he later declared, "their realism was my goal…" John Taylor Arms recognized the artist's unique appreciation for the Old Masters and said of Calapai, "He wants to study the great men. Very often the artist just wants to study his own ability." Calapai's interest in art continued to flourish at East Boston High School where he earned impressive grades and exhibited great artistic talent, particularly at drawing. His high school art history teacher, recognizing his notable artistic skill, gave him a paint box and brushes as a graduation present. Calapai recalled that "this wonderful gift was a tangible sign that I really did have some talent. It was the inspiration that led to the beginning of my career as an artist."

paragraph: Calapai embarked upon this career at the Massachusetts Normal Art School (today known as the Massachusetts College of Art) where he turned his attention to painting. He received a two-year scholarship to the School of Fine Arts and Crafts in Boston after proving his exceptional artistic ability with several oil paintings. Under the instruction of Charles Hopkinson, Calapai excelled in figure painting and planned to enter a competition to study in Florence, Italy. Sadly, a devastating fire erupted in the summer of 1928 and destroyed all of his work, without which he would not be able to enter the contest. Disillusioned by the loss, Calapai believed, "Boston had little to offer in advancing my career."

paragraph: Encouraged by his pianist cousin, Vincent Aita, Calapai relocated to New York City. For seven years he worked at a lithographic office while continuing drawing classes at the Art Students League and sculpture classes at the Beaux Arts Institute of Design. To the great dismay of his former teacher, Charles Hopkinson, Calapai devoted little time to producing his own artwork. Thus, Hopkinson offered to help Calapai financially, so that he could spend more time advancing his artistic career. Subsequently, Calapai immersed himself in his art, and the outcome of this effort was recognized in his first one-man show at the Montross Gallery, New York in 1934. Calapai attributed the success of the exhibition to Hopkinson's "interest and financial support."

paragraph: In the years following 1934, Calapai expanded his artistic repertoire to include printmaking, a media that was deemed "limited" in previous years. He explored wood engraving, developing religious and literary themes. He often used the words of such authors as William Carlos Williams and Thomas Wolfe in his artwork. His religious depictions were described as "cataclysmic…scenes, emotional in color, form and design" by Stuart Preston, an art critic for The New York Times. "Harvest", a 1945 print, exemplified Calapai's interest in scenes of society's progress in both rural and urban landscapes. In 1946, Calapai began to explore the abstract realm of printmaking, primarily as a result of his exposure to Stanley William Hayter's workshop, Atelier 17. At this intaglio workshop, Calapai mastered and adopted unique metal engraving techniques. Hayter referred to his admirer as a "leader in the new ways." 11:45 P.M. (1947) demonstrated Calapai's newfound influence, utilizing Hayter's theory of "space visualized through lines in space of infinite dimensionality." His images continued further into abstraction, as he became interested in Social Realists, German Expressionism, and Post-Expressionism. Such ideas were seen in Jehovah's Eye, Empyrean, and La Valse, which demonstrated his increasingly fantastical and imaginative approach to his subject matter. Calapai, "constantly inspired by nature," experimented with organic, circular shapes and color. He successfully evoked the images of an imaginary underwater world through his blue and black intaglio prints, including Arioso Dolente and de Profundis, both from 1952.

paragraph: While Calapai absorbed new ideas from established artists and movements, he simultaneously imparted his knowledge to promising young artists. In addition to working as a printmaker, Calapai dedicated himself to teaching art. He founded and chaired the Graphic Arts Department of the Albright Art School in Buffalo, NY (1949-1955), then taught art at the New School for Social Research (1955-1965). He also established the Intaglio Workshop for Advanced Printmaking in New York (1962–65) and worked at numerous other colleges and universities. The creative relationship between teacher and student was an important catalyst in Calapai's career; Calapai found a "great reward in following the eminent careers of many students who still keep in touch… and occasionally ask advice about technical matters."

paragraph: Letterio Calapai continued to explore the technical and aesthetic aspects of all artwork in his studio in Glencoe, Illinois while maintaining the tradition of teaching through his workshop. In 1962, Calapai wed Jean Hillard, to whom he attributes his "modest success". He describes her as a "rare and devoted wife." Letterio Calapai died on March 29, 1993, his 91st birthday, after a private concert given to him by Vladimir Leytchkiss. Leytchkiss performed music by Franz Schubert, a man Calapai had previously illustrated in his artwork. His wife, Jean, remembers this time as "a celebration of a beautiful life. There was very little pain…" No commemorative show was planned, as Jean explained "Letterio always said, 'My work is my memorial.'"

paragraph: Section::::Legacy.

paragraph: Calapai's work can be found in the collections of the Metropolitan Museum of Art; Bibliothèque nationale de France; Art Institute of Chicago; Fogg Art Museum in Cambridge, Massachusetts; Museum of Fine Arts, Boston; Baltimore Art Museum; Davis Museum and Cultural Center, Wellesley College; Syracuse University Art Galleries; Palmer Museum at Pennsylvania State University; Flint Institute of Arts, and Brauer Museum, Valparaiso (http://www.valpo.edu/brauer-museum-of-art/). The Fogg and MFA were two of the institutions to which Calapai's parents took him when he was a boy.

description: American artist

wikidata_label: Letterio Calapai

wikipedia_title: Letterio Calapai


text: Oeren

text: Trier

text: Hugobert

text: seneschal

text: Count palatine

text: High Middle Ages

text: Dagobert II

text: Austrasia

text: Carolingian dynasty

text: Plectrude

text: fl.

text: Pippin of Herstal

text: St. Maria im Kapitol

text: Cologne

text: Adela of Pfalzel

text: Pfalzel

text: Reginlind

text: Theudebert of Bavaria

text: Bertrada of Prüm

text: Prüm Abbey

text: Heribert of Laon

text: Bertrada of Laon

text: Charlemagne

text: Trier

text: Abbey of Echternach

text: Willibrord

text: Trier

categories: 700s deaths,7th-century births,7th-century Frankish women

paragraph: Irmina of Oeren

paragraph: Irmina of Oeren or Irmina of Trier (d. 704/710) was the wife of Hugobert, seneschal and Count palatine, a leading person of the Hugobertine noble family.

paragraph: While during the High Middle Ages she was believed to be a daughter of King Dagobert II, her parents are actually unknown. Today it is assumed that she came from a powerful Austrasian noble family, strongly connected to the Carolingian dynasty.

paragraph: Irmina and Hugobert had several children, including:

paragraph: BULLET::::- Plectrude (fl. 691, d. 717), the wife of Pippin of Herstal and founder of the Abbey St. Maria im Kapitol in Cologne

paragraph: BULLET::::- possibly Adela of Pfalzel (b. c. 660, d. c. 735) founder of the convent Pfalzel (some have said she is the sister or Irmina of Oeren)

paragraph: BULLET::::- possibly Reginlind, (b. 660-665, d. 730-740) whose second marriage after the death of her husband was to the duke Theudebert of Bavaria

paragraph: BULLET::::- Chrodelind

paragraph: BULLET::::- possibly Bertrada of Prüm (b. c. 670, d. after 721), the founder of the Prüm Abbey and mother of count Heribert of Laon, who was father of Bertrada of Laon, who in turn was mother of Charlemagne.

paragraph: After Hugobert's death, the widowed Irmina founded, with support from the Bishop of Trier, the Abbey of Echternach by donating (c. 697/698) lands to Willibrord. She also committed herself to a religious life for the remaining years and became second abbess of St. Mary's convent in Oeren (today a part of Trier) which was later renamed after her: "St. Irmina" (or "St. Irminen"). Irmina died at an uncertain date between 704 and 710.

paragraph: Section::::External links.

paragraph: BULLET::::- Irmina of Trier, abbess and saint (German) Accessed 17 December 2011

paragraph: BULLET::::- ""Ego Irmina ... abbatissa ..."" Testament of abbess Irmina of Oeren from 1 December 697/98 donating to the monastery of Willibrord in Echternach, MGH (Latin)

description: Frankish noble

wikidata_label: Irmina of Oeren

wikipedia_title: Irmina of Oeren


text: Romania

text: modernist

text: social realism

text: Bucharest

text: Kingdom of Romania

text: National Academy of Design

text: New York City

text: Kenyon Cox

text: Emil Carlsen

text: George DeForest Brush

text: Great Depression

text: Works Progress Administration

text: Treasury Section of Fine Arts

text: American Left

text: John Reed Club

categories: Jewish American artists,Romanian Jews,Jewish socialists,Social realist artists,Romanian emigrants to the United States,People from Bucharest,1893 births,1986 deaths

paragraph: Abraham Harriton

paragraph: Abraham Harriton was a Romanian-born Jewish modernist artist and social realism painter in the United States.

paragraph: Born in 1893 in Bucharest, then the Kingdom of Romania, Harriton studied at the National Academy of Design in New York City from 1908 until 1915. There, he studied under artists such as Kenyon Cox, Emil Carlsen and George DeForest Brush. Harriton himself later become a teacher at the Academy, and, like many other artists during the Great Depression, received commissions from the Works Progress Administration during the 1930s.

paragraph: His 1939 mural for the Augusta, Georgia post office "Plantation, Transportation, Education", commissioned by the Treasury Section of Fine Arts, is on display at the Augusta Convention and Visitor's Bureau.

paragraph: During that era, Harrinton had strong ties with the American Left, displaying his works at exhibits put on by the John Reed Club.

paragraph: Section::::Personal life.

paragraph: At the time of his death (1986), Harrinton was survived by his wife, Estelle,their son, Charles and their daughter, Maria.

paragraph: Section::::External links.

paragraph: BULLET::::- "New Deal artists: Author gives new perspective on their social role" from the Post Gazette, featuring Harriton's "6th Avenue Underemployment Agency."

description: Romanian-American Jewish Artist

wikidata_label: Abraham Harriton

wikipedia_title: Abraham Harriton


text:
Tacoma, Washington
Fremont Solstice Parade
Lynn Di Nino's Official Site
Northwest Designer Craftsmen

categories: American artists,Pacific Northwest artists,People from Roswell, New Mexico,1945 births,Artists from Washington (state),Artists from New Mexico,Living people

paragraph: Lynn Di Nino

paragraph: Lynn Di Nino (born January 5, 1945) is an American artist residing in Tacoma, Washington. In 2017, Di Nino was awarded the Washington State Governor's "Artist of the Year" Award.

paragraph: Section::::Biography.

paragraph: A self-taught artist, Lynn Di Nino works in a variety of media, often in collaboration with other artists. She is known for her whimsical animal sculpture with a welded steel skeleton created from fabric or concrete, often incorporating found objects. She also works with recycled materials on projects involving social and political observations.

paragraph: Section::::Work.

paragraph: Examples of her work include:

paragraph: BULLET::::- Chalkboard chicken in 1993, which became a business selling molded concrete art objects. Sold business in 2001.

paragraph: BULLET::::- Created the armatures used by seven other artists to create the Fremont Solstice Parade and Earth Day Ice Queen Costumes in 2009.

paragraph: BULLET::::- "Burnham & Root Uprooted" assemblage sculptural work memorializing the demolished Luzon Building.

paragraph: BULLET::::- "Coats of Many Sweaters" apparel made from recycled sweaters.

paragraph: Section::::External links.

paragraph: BULLET::::- Lynn Di Nino's Official Site

paragraph: BULLET::::- Northwest Designer Craftsmen

description: American artist

wikidata_label: Lynn Di Nino

wikipedia_title: Lynn Di Nino


text:
Baldus de Ubaldis
Francesco Ramponi
Johannes of Lignano
Pavia
Siena
Bologna
Decretals of Gregory IX
Western Schism
conciliarism
Pope Gregory XII
general council
due process
WorldCat page
CERL page
British Library ISTC page

categories: 1370 births,1436 deaths,Canon law jurists,Italian jurists,15th-century jurists

paragraph: Johannes de Imola

paragraph: Johannes de Imola (, ) (c. 1370 – 1436) was an Italian jurist, a student of Baldus de Ubaldis, Francesco Ramponi and Johannes of Lignano. He taught at Pavia, Siena and Bologna, and was one of the major commentators on the Decretals of Gregory IX

paragraph: In the Western Schism, he supported the form of conciliarism that deemed the correct resolution of the schism would be for Pope Gregory XII to summon a general council.

paragraph: He was a strong defender of due process.

paragraph: Section::::External links.

paragraph: BULLET::::- WorldCat page

paragraph: BULLET::::- CERL page

paragraph: BULLET::::- British Library ISTC page

alias:
Giovanni da Imola
Giovanni di Francesco da Imola

description: Italian jurist

wikidata_label: Johannes de Imola

wikipedia_title: Johannes de Imola


text:
Federal Art Project
New Deal
Mount Vernon, New York
Art Students League in New York City
and Cooper Union
Paris
fresco
mural
Mount Vernon, NY
tapestry
The Lady and the Unicorn
Federal Art Project
frieze
Harlem Community Art Center
Louise Brann painting a mural

categories: Cooper Union alumni,20th-century American painters,American women painters,American muralists,1982 deaths,Art Students League of New York alumni,Women muralists,Painters from New York (state),20th-century American women artists,1906 births

paragraph: Louise Brann

paragraph: Louise Brann was an American painter who worked in the Federal Art Project during the New Deal. She created large public art installations and was a prolific portrait painter in Westchester County, New York, working between 1932 and 1980.

paragraph: Section::::Biography.

paragraph: Louise Brann was born August 18, 1906, in Mount Vernon, New York, and attended Jefferson School and Davis High School. She studied art at the Art Students League in New York City and Cooper Union. At Cooper Union, she received a traveling scholarship to Europe for three years where she studied at Fontainebleau and created several frescoes in Paris and Montereau. After returning to the United States, she produced several large public art projects, most notably the fresco mural at the Mount Vernon Library in Mount Vernon, NY based on a Goebelin tapestry, "The Lady and the Unicorn." The four panels were commissioned by the Federal Art Project and created between 1937 and 1938. Other works include "Vocal Music" at the Wood Auditorium in Mount Vernon; a decorative frieze in the Hotel Belvedere in New York City; and a mural at the Nichols Junior High School auditorium. In 1940, she married Wayne Amsden Soverns, a New York architect. They resided in Mount Vernon and Larchmont, New York, until her death in 1982. Her later works were painted under the name Louise Soverns.

paragraph: Section::::Biography.:The Mount Vernon Fresco.

paragraph: The Mount Vernon Public Library fresco was one of the largest ever undertaken by the Federal Art Project. It circles an entire room that is 30 feet by 34 feet. The fresco covers 1080 square feeet of wall. It required 16 months to complete, with the artist completing about one square foot per day. The work was completed in time for a grand opening of a new library addition during October, 1938. The fresco is divided into four main sections, reflecting education, occupation, diversion, and recreation. The artist drew inspiration from the "Lady and the Unicorn t"apestries in the Cluny Museum in Paris and from other fifteenth century tapestries.

paragraph: In 1966, with financial backing from the New York State Council on the Arts and others, the artist completed a restoration of the project, including replacing some damaged mortar and rejuvenating some of the paint, especially the reds.

paragraph: Section::::Biography.:Other Public Art Projects.

paragraph: 1931 Fresco in chapel of Sacre Couer in Montereau, France

paragraph: 1932-33 Frescoes in the American and Belgian Foundations of the Cite Universitaire, Paris

paragraph: 1934 - Four mural panels, each 14'6" x 7'8", in the auditorium of Nichols Junior High School, Mount Vernon, NY

paragraph: 1940 - "Vocal Music" mural, 18' high x 4' wide, honoring Theodore Von Yorx in Wood Auditorium, Mount Vernon, NY

paragraph: 1940 - Two murals in the Entrance Hall of Davis High School, Mount Vernon, NY

paragraph: 1942 - Mural painting, on wooden screen 3' high x 6' wide, for display in a United States Navy training station and winner of a competition resulting in being displayed at the Metropolitan Museum of Art in New York.

paragraph: 1948 - "Palmer" mural, 18' high by 4' wide, honoring Jasper T. Palmer, in Wood Auditorium, Mount Vernon, NY

paragraph: Section::::Biography.:Portraits.

paragraph: Louise Brann was a prolific portrait artist, although there is no record of her total output and almost all of her works were sold to private parties. She is known to have painted in 1935 a commissioned portrait of Dr. Karl Lorenz, the founder and conductor of the Philharmonic Symphony Society of Yonkers. After her marriage and the birth of her children, she worked from a studio in her home and painted many life size portraits of men, women, and children. This article includes photographs of two of her early portraits, now in a private collection.

paragraph: Section::::Further reading.

paragraph: BULLET::::- "Personalities and art news." Direction 1 (January 1938): 30-31. Note on the opening of the Harlem Community Art Center; mainly photographs of work by Nathaniel Dirk and Louise Brann.

paragraph: Section::::External links.

paragraph: BULLET::::- Louise Brann painting a mural

description: American artist

wikidata_label: Louise Brann

wikipedia_title: Louise Brann


text:
India
English
association football
referee
India
the Football League
Wolverhampton
West Midlands
Hounslow
Greater London
Metropolitan Police
London
Football Association
Sikh
club linesman
Wolverhampton
Conference South
Football League
assistant referee
FA Vase
semi-final
Oadby Town
Brigg Town
2004-05
Football Conference Playoff
Aldershot Town
Hereford United
Football League Two
Bristol Rovers
Bury
Memorial Stadium
sent off
Colin Woodthorpe
League One
Yeovil Town
Oldham Athletic
Huish Park
Yeovil
China
UAE
The FA
Kick It Out
Police Community Support Officer
Jarnail Singh Referee Statistics
soccerbase
National Group Profile - Jarnail Singh

categories: Indian emigrants to the United Kingdom,Sportspeople from Wolverhampton,British people of Indian descent,People from Hounslow,1962 births,English football referees,Living people

paragraph: Jarnail Singh (referee)

paragraph: Jarnail Singh (born 5 February 1962 in India) is a retired English association football referee of Indian descent who officiated in the Football League. He moved to Wolverhampton, West Midlands, at a young age, and now lives in Hounslow, Greater London. He has a full-time occupation in the Metropolitan Police in London. Singh is also an ambassador for the Football Association. He was the first Sikh to be an English Football referee.

paragraph: Section::::Career.

paragraph: Singh took up refereeing in 1985, after taking his exam in order to improve his frequent outings as club linesman for the youth team he managed. He progressed through lower leagues in the Wolverhampton area and then into the Conference South regionally, before being appointed as a Football League assistant referee in 1999. Whilst still a Conference referee, he was put in charge of an FA Vase semi-final first leg tie, between Oadby Town and Brigg Town on 22 March 2003, and, shortly before his elevation to Football League referee for the 2004-05 season, he was appointed to the middle for the Football Conference Playoff semi-final first leg between Aldershot Town and Hereford United on 29 April 2004.

paragraph: His first match after his promotion was the Football League Two encounter between Bristol Rovers and Bury at the Memorial Stadium on 10 August 2004, in which he sent off Colin Woodthorpe of Bury in the 65th minute.

paragraph: His final match before retirement was on 1 May 2010, refereeing a League One game between Yeovil Town versus Oldham Athletic at Huish Park in Yeovil. Before the match he was unusually signing autographs and having photos taken with fans.

paragraph: He has refereed at international level taking charge of a friendly game between China and UAE in October 2011.

paragraph: As a role model, The FA acknowledged the importance of his visibility. In 2012, he received a Lifetime Achievement Award at the first Asian Football Awards supported by the Football Association and the anti-discrimination organisation, Kick It Out.

paragraph: Section::::Personal life.

paragraph: Singh is employed by the Metropolitan Police as a Police Community Support Officer in London, and is married with two children, Sunny and Bhupsy Gill, who are now also qualified referees looking to follow in their father's footsteps.

paragraph: Section::::External links.

paragraph: BULLET::::- Jarnail Singh Referee Statistics at soccerbase.com

paragraph: BULLET::::- National Group Profile - Jarnail Singh at refworld.com

description: association football referee, Metropolitan Police worker

wikidata_label: Jarnail Singh

wikipedia_title: Jarnail Singh (referee)


text:
Canadian
freestyle skier
1994 Winter Olympics
Lillehammer
aerials (demonstration event)
1992 Winter Olympics
Albertville

categories: Medalists at the 1994 Winter Olympics,Olympic silver medalists for Canada,1966 births,Freestyle skiers at the 1994 Winter Olympics,Olympic medalists in freestyle skiing,Canadian male freestyle skiers,Living people,Sportspeople from Quebec

paragraph: Philippe LaRoche

paragraph: Philippe LaRoche (born December 12, 1966) is a Canadian freestyle skier and Olympic medalist. He received a silver medal at the 1994 Winter Olympics in Lillehammer, in aerials.

paragraph: He finished first in the aerials (demonstration event) at the 1992 Winter Olympics in Albertville.

paragraph: He is from, and still lives in Lac Beauport, Quebec, Canada.

description: freestyle skier

wikidata_label: Philippe LaRoche

wikipedia_title: Philippe LaRoche


text: Neuss

text: Academy of Fine Arts

text: Addis Abeba

text: Technical University

text: Darmstadt

text: art fairs

text: Art Palm Beach

text: Illinois

text: Münster

text: Museum Kunst Palast

text: Saint Petersburg

text: Nový Bor

text: Sars-Poteries

text: Connecticut

text: sculpture

text: shape

text: crystal

text: color

text: black

text: gold

text: surface

text: glass

text: two-dimensional

text: Frederik Meijer Award

text: Cini Foundation

text: Museum Kunst Palast

text: Museum Kunst Palast

text: The Burlington Magazine

text: online catalog

text: Website Michael Behrens

categories: German contemporary artists,Glass artists,People from Düsseldorf,21st-century German sculptors,German male sculptors,Living people

paragraph: Michael Behrens

paragraph: Section::::Life.

paragraph: Michael Behrens, grown up in Neuss, lives and works in Düsseldorf, Germany. From 1999 to 2003 Behrens studied at the Academy of Fine Arts in Maastricht, Netherlands where he graduated with a bachelor's degree in 2003 .

paragraph: In 2004 and 2007, Behrens worked as a project supervisor for Ethiopian Reflections in Addis Abeba, Ethiopia. In 2008 and 2009, he was assigned as a lecturer at the Faculty of Architecture – Plastic Shaping at the Technical University (TU) Darmstadt.

paragraph: Behrens regularly participates in international art fairs such as the Art Palm Beach (Florida, US), Form Miami (Florida, US), SOFA Chicago (Illinois, US), Pan Amsterdam (Netherlands), Art Breda (Netherlands), Art Vienna (Austria), Art & Antique Hofburg (Austria) and Art Münster (Germany). His work is part of public collections like the Museum Kunst Palast in Düsseldorf/Germany, the Ernsting Stiftung in Coesfeld/Germany, the Imagine Museum in Saint Petersburg, the Novotný Museum in Nový Bor, the MusVerre in Sars-Poteries and the Seven Bridges Foundation in Greenwich/Connecticut/US.

paragraph: Section::::Art.

paragraph: Michael Behrens began experimenting with sculpture in 2002. Behrens’s sculptural work initially focused primarily on the internal structure of the objects. His Seaforms series focuses more on the form of the outer shape. In Phoenix, the artist devotes himself to the abstracted form of the object. The relationship between shape and content is of high importance in Behrens's work.

paragraph: Section::::Series.

paragraph: Phoenix

paragraph: In Phoenix the sculpture is reduced to a minimal form and then extra care is provided for whereby its plasticity comes to the fore. Behrens produces contrasting works made of crystal by deliberate abandonment of color in the classical sense and the interplay of convex and concave surfaces in black and gold.

paragraph: Seaforms

paragraph: The Seaforms series embodies decades of Behrens’s personal sensory experiences above and below water. The diverse color range and interior movement varies as if created organically by the environment while each shape and structure provide a strong appearance. The natural and random appearance of the artist’s works is created by the exterior form and the specific details: The fine modeling of the subareas and edges, the interplay of matt and polished surfaces as well as the cell-like structures emerging from fusing of the glass sections.

paragraph: Landscapes

paragraph: In addition to glass objects, Behrens furthermore creates two-dimensional works abstracting photo material from satellite images and maps.

paragraph: Section::::Technique.

paragraph: Behrens produces all artworks in his studio in Düsseldorf where to find his custom-built furnaces. Each piece undergoes several complex production phases: The sculptural work on a rigid foam model, the production of the melting molds, the arrangement of pre-processed glass pieces in the melting mold, the actual melting and cooling processes as well as the finish by grinding, polishing and/or sandblasting. The production of a single sculpture usually takes several months.

paragraph: Section::::Awards.

paragraph: BULLET::::- Fort Wayne Museum Award, 42nd Annual International Glass Invitational Award Exhibition,with Habatat Galleries Michigan, US, 2014

paragraph: BULLET::::- Frederik Meijer Award 41st Annual International Glass Invitational Award Exhibition", with Habatat Galleries Michigan, US, 2013

paragraph: BULLET::::- Collector's Choice 40th Annual International Glass Invitational Award Exhibition, with Habatat Galleries Michigan, US, 2012

paragraph: BULLET::::- Kalamazoo Institute of Arts Award, 39th Annual International Glass Invitational Award Exhibition, with Habatat Galleries Michigan, US, 2011

paragraph: BULLET::::- 1st Prize, Arts and Crafts state award North Rhine-Westphalia, Kevelaer, Germany, 2009

paragraph: BULLET::::- 3rd Immenhäuser Glass Award, Germany, 2009

paragraph: BULLET::::- Jutta Cuny-Franz Memorial Award Selected Entries, Germany, 2009

paragraph: BULLET::::- 1st Prize Glass Art Prize Glasveredler 2008 Glasstec, Germany, 2008

paragraph: BULLET::::- Innovation Glass Art Prize Weru, Germany, 2007

paragraph: Section::::Selected exhibitions.

paragraph: BULLET::::- 2018: Cini Foundation, Venice, Italy, Group Show

paragraph: BULLET::::- 2017: Habatat Galleries, Royal Oak, Michigan, US, Solo Show

paragraph: BULLET::::- 2017: Etienne Gallery Oisterwijk, Netherlands, Solo Show

paragraph: BULLET::::- 2016: Ernsting Foundation, New Additions 2015, Coesfeld, Germany, Group Show

paragraph: BULLET::::- 2016: Plateaux Gallery, London, United Kingdom, Group Show

paragraph: BULLET::::- 2015: Sikabonyi Gallery, Vienna, Austria, Solo Show

paragraph: BULLET::::- 2015: Sandra Ainsley Gallery, Toronto, Canada, Group Show

paragraph: BULLET::::- 2014: Etienne Gallery Oisterwijk, Netherlands, Solo Show

paragraph: BULLET::::- 2013: "Glass is more", Museum Kunst Palast, Düsseldorf, Germany, Group Show

paragraph: BULLET::::- 2013: Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan, US, Group Show

paragraph: BULLET::::- 2012: Continuum Gallery, Königswinter, Germany, Solo Show

paragraph: BULLET::::- 2012: , Germany, Group Show

paragraph: BULLET::::- 2010: Van Loon Gallery, Vucht, Netherlands, Solo Show

paragraph: BULLET::::- 2010: Museum Kunst Palast, Düsseldorf, Germany, Group Show

paragraph: BULLET::::- 2008: Ernsting Foundation, Coesfeld, Germany, Solo Show

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Continuum Gallery (2019). Michael Behrens - Phoenix & Seaforms. Königswinter/Germany,

paragraph: BULLET::::- Dr Ricke, Helmut (2008). Underwaterworld & Icebergs – Michael Behrens & Peter Bremers. Exhibition catalogue, Ernsting Stiftung

paragraph: BULLET::::- Glasmuseum Hentrich (2008). Recent acquisitions of glass sculpture at the Glasmuseum Hentrich. Glasmuseum Hentrich

paragraph: BULLET::::- Dr von Kerssenbrock-Krosigk,Dedo. Michael Behrens (2009).The Burlington Magazine, Issue 1275, Vol. 151, pp. 394/95

paragraph: BULLET::::- Stiftung Museum Kunstpalast (2010). GLASpekte – Künstler aus Nordrhein-Westfahlen in Dialog mit Arbeiten aus dem Glasmuseum Hentrich. Stiftung Museum Kunst Palast

paragraph: BULLET::::- Elliott, Kate; Rogers, Michael; Jeff Wallin, Jeff (2010). E-Merge 2010 – A Showcase of Rising Talents in Kiln-Glass. Bullseye Glass

paragraph: BULLET::::- LWL-Indutriemuseum (2012). Rotation SiO2 – 200 Jahre Glashütte Gernheim. Klartext Press,

paragraph: BULLET::::- Dr Ricke, Helmut (2012). Seaforms & Landscapes – Michael Behrens. Continuum Gallery

paragraph: BULLET::::- Dr Ricke, Helmut (2012). Inspiration from the Deep Sea and Outer Space. Neues Glas, Issue 3, pp. 36–43

paragraph: BULLET::::- Hampson, Ferdinand (2014). Studio Glass Evolving. American Art Collector, Issue 109, pp. 171–174

paragraph: BULLET::::- Sikabonyi, Andre (2015). Seaforms & Landscapes, Vernissage, Issue 324, pp. 14–17

paragraph: BULLET::::- Habatat Galleries (2015). The Creative Process – 43rd International Catalogue,

paragraph: BULLET::::- Ernsting Stiftung Alter Hof Herding (2016). Wer Hätte das gedacht! Coesfeld-Lette/Germany,

paragraph: BULLET::::- Habatat Galleries (2016). Insight – 44th International Invitational Award Exhibition. Royal Oak/MI/US,

paragraph: BULLET::::- Habatat Galleries (2017). NEXT – 45th International Invitational Award Exhibition. Royal Oak/MI/US,

paragraph: BULLET::::- Habatat Galleries (2017). Solid Thoughts. Royal Oak/MI/US, . online catalog

paragraph: Section::::External links.

paragraph: BULLET::::- Website Michael Behrens

description: German sculptor

wikidata_label: Michael Behrens

wikipedia_title: Michael Behrens


text:
Byzantine
Andronikos Komnenos
Manuel I Komnenos
prōtostratōr
Myriokephalon
prōtosebastos
prōtovestiarios
John
dowager
Maria of Antioch
Alexios II Komnenos
Maria Komnene
Hagia Sophia
Theodosios Borradiotes
Constantinople
Andronikos I Komnenos
sebastokratōr
Andronikos Komnenos
John II Komnenos
Theodore Prodromos
prosopographical
Komnenoi
Alexios
Asia Minor
Prosopography of the Byzantine World
Manuel I Komnenos
John
Palace of Blachernae
Alexios Axouch
prōtostratōr
Battle of Myriokephalon
prōtosebastos
prōtovestiarios
sebastoi
Alexios I Komnenos
Paul Magdalino
Eudokia
Isaac
Ramon Berenguer III, Count of Provence
Alfonso II of Aragon
Frederick Barbarossa
William VIII of Montpellier
Paris
Agnes
Louis VII of France
Alexios II Komnenos
Maria of Antioch
Niketas Choniates
Theodore Skoutariotes
Maria Komnene
Caesar
Renier of Montferrat
John Kamateros
Andronikos Lapardas
Manuel
John
Andronikos I Komnenos
Eustathius of Thessalonica
William of Tyre
Latin
dikaiodotēs
Theodore Pantechnes
Great Palace
Hagia Sophia
Patriarch
Theodosios Borradiotes
Iberians from the East
Augoustaion
Milion
megas doux
Andronikos Kontostephanos
megas hetaireiarchēs
John Doukas
indiction
Massacre of the Latins
Pontus
Sinope
Nicaea
John Komnenos Vatatzes
Andronikos Angelos
Isaac II
Alexios III
Nicomedia
Paphlagonia
Bithynia
Chalcedon
Bosporus
eyes gouged out
William of Tyre

wikipedia_title: Eudokia Komnene, wife of William VIII of Montpellier

wikipedia_title: Political mutilation in Byzantine culture

categories: Protostratores,1135 births,Byzantine courtiers,Protovestiarioi,Year of death unknown,Officials of Manuel I Komnenos,12th-century Byzantine people,Komnenos dynasty

paragraph: Alexios Komnenos (protosebastos)

paragraph: Alexios Komnenos (; – after 1182) was a Byzantine aristocrat and courtier. A son of Andronikos Komnenos and nephew of Emperor Manuel I Komnenos, he rose to the high rank of "prōtostratōr" in 1167. In 1176 he participated in the Myriokephalon campaign, and was raised to the titles of "prōtosebastos" and "prōtovestiarios" following the death of his older brother John in the campaign. Following Manuel's death in 1180, he won the favour, and reportedly became the lover, of Empress-dowager Maria of Antioch and through her ruled the Byzantine Empire for two years as "de facto" regent of the underage emperor Alexios II Komnenos. His dominance was challenged by the aristocracy, led by the princess Maria Komnene, who plotted to assassinate Alexios II. The plot was discovered and most conspirators arrested, but Maria and her husband fled to the Hagia Sophia, protected by Patriarch Theodosios Borradiotes and the common people of Constantinople. Mounting tensions resulted in a popular uprising against Alexios' regime on 2 May 1181—other dates have been proposed by modern scholars as well—which ended in a mutual reconciliation. His power shaken, the "prōtosebastos" reacted by punishing Borradiotes for his role in the affair, but was forced to recall him shortly after in the face of overwhelming opposition both among the people and the aristocracy. These events left Alexios in poor shape to oppose the advance of the adventurer Andronikos I Komnenos, who moved against Constantinople from the east. The generals dispatched against Andronikos were defeated or defected, and the usurper entered the city in April 1182. The "prōtosebastos" Alexios was deposed, publicly humiliated, and mutilated. His fate thereafter is not known.

paragraph: Section::::Origin and early career under Manuel I.

paragraph: Alexios was the second son and the last of five children of the "sebastokratōr" Andronikos Komnenos, second son of Emperor John II Komnenos, and his wife Irene. His birth was celebrated by the court poet Theodore Prodromos, who composed a laudatory poem on the occasion. The Greek scholar Konstantinos Varzos, in his prosopographical study of the Komnenoi, placed his birth on Easter Day 1135 (or possibly 1134 or 1136) as he was old enough to participate in a campaign in 1149/50. Andronikos died in August 1142, only a little while after his elder brother Alexios. Both were on campaign with their father and other brothers in southern Asia Minor, and probably died of the same illness. This provided the occasion for another poem by Prodromos, who claims that the young Alexios was the only solace for his devastated mother. The "Prosopography of the Byzantine World" database on the other hand interprets the poems as indicating that Alexios was born in 1142, during his father's absence on campaign.

paragraph: When John II died in 1143, his two remaining sons were Isaac and the younger Manuel I Komnenos, who eventually, due to the support of the army, became emperor. Isaac, despite his protests, never actively threatened Manuel's rule, however. Although Alexios' mother, the "sebastokratorissa" Irene, suffered repeated disgrace and imprisonment at the hands of Manuel, the emperor showed great favour to her sons, particularly Alexios' older brother John. In c. 1149/50, like all young Byzantine aristocrats, the young Alexios was required to begin his military training and accompany his uncle, Emperor Manuel, on campaign. No details are known of his early military career, however. In c. 1153/4 he married Maria Doukaina, whose exact parentage is unknown. Together they had at least four children: a son Andronikos, a daughter Irene, and a son and daughter whose names are unknown.

paragraph: The first recorded instance of Alexios attending a public function was at a synod at the imperial Palace of Blachernae, along with his brother John, on 12 May 1157. He also participated along with John in the synod of March 1166. In both cases, Alexios is recorded without any rank or title, among the imperial relatives. In May/June 1167, following the dismissal and banishment of the hitherto holder, Alexios Axouch, Alexios Komnenos assumed the high office of "prōtostratōr". He appears with this rank in the synod of February 1170 against John Eirenikos. Sometime during the period where he held the office of "prōtostratōr", i.e. 1167–76, Alexios fell gravely ill, and his wife donated a richly embroidered veil to the Church of the Saviour at the Chalke Gate, an occasion celebrated by an anonymous court poet.

paragraph: Like most of the Byzantine aristocracy, Alexios took part in the campaign that led to the disastrous Battle of Myriokephalon in September 1176. His brother John was one of the casualties of the battle, and Alexios, as the last remaining son of Manuel's brothers, succeeded him in his titles of "prōtosebastos" and "prōtovestiarios". These titles raised Alexios, like John before him, to the pinnacle of the Byzantine court: as "prōtosebastos", he was the most senior of the "sebastoi"—a group which since the days of Alexios I Komnenos denoted the most senior members of the court, usually close relatives or special favourites of the emperor —and as "prōtovestiarios", he was the "titular head of the imperial household" (Paul Magdalino), with important ceremonial and diplomatic duties. His previous post of "prōtostratōr" went to another Alexios, son of Andronikos Komnenos Vatatzes. Soon after Alexios' promotion, his wife died, and his son Andronikos was mortally injured after falling from his horse. The poet Gregory Antiochos wrote a lament on the occasion.

paragraph: In spring 1178, Alexios led an embassy to France. His first mission concerned the marriage of his cousin Eudokia—daughter of his paternal uncle Isaac—to Ramon Berenguer III, Count of Provence, brother of King Alfonso II of Aragon. The marriage was aborted due to the opposition of the German emperor Frederick Barbarossa, and Eudokia was married instead to William VIII of Montpellier. He then proceeded to Paris, to escort Agnes, a daughter of King Louis VII of France and the prospective bride of Manuel's son and heir Alexios II Komnenos, back to Byzantium. The embassy left Paris on Easter 1179, and returned via Italy to Constantinople, where Agnes and Alexios II were betrothed.

paragraph: Section::::Rise to power.

paragraph: When Manuel died on 24 September 1180, his successor, Alexios II, born in 1169, was underage. Manuel had neglected providing for a regency, and power automatically passed to the hands of his widow, Maria of Antioch. Although she had become a nun, the Empress-dowager immediately became the focus of attention of ambitious suitors who sought to win her affection and supreme power along with it. Alexios quickly emerged as the winner in this competition for the Empress-dowager's favour, and alongside Maria became the "de facto" regent of the state. At the time, rumours spread that he also became Maria's lover. Although this was certainly widely believed at the time, modern scholars like Varzos are more doubtful; while the contemporary official and historian Niketas Choniates reports the rumours almost as fact, the 13th-century chronicler Theodore Skoutariotes appears to have considered them baseless.

paragraph: Nevertheless, Alexios evidently exercised considerable power. As Choniates writes, "confident of his own power and his great influence over the empress", Alexios "had the emperor promulgate a decree that henceforth no document signed by the imperial hand would be valid unless first reviewed by Alexios and validated by his notation 'approved' (ἐτηρήθησαν) in frog green ink", so that "nothing whatsoever could be done except through him". In addition, all revenue was channeled directly to the "prōtosebastos" and the Empress-dowager. Soon rumours began to circulate that the "prōtosebastos" planned to supplant the young emperor and "mount both the mother and the throne", as Choniates put it.

paragraph: Whether Alexios intended to usurp the throne or not, his concentration of power alarmed the other imperial relatives, above all Emperor Manuel's daughter from his first marriage, the "porphyrogennētē" princess Maria Komnene. Maria's relations with her step-mother were already strained before Manuel's death, and according to Choniates, Maria was incensed at the thought of the "prōtosebastos" and the Empress-dowager sullying her father's bed. The opposition that began to coalesce around her included her husband, the "Caesar" Renier of Montferrat, Manuel's illegitimate son the "sebastokratōr" Alexios Komnenos, the "prōtostratōr" Alexios Komnenos, the Eparch of the City John Kamateros, Andronikos Lapardas, Maria's cousins Manuel and John (sons of the future emperor Andronikos I Komnenos, who was then in exile), and many others. These leading aristocrats were driven by their exclusion from the share in power and wealth they had enjoyed under Manuel, and the fear that they themselves might be imprisoned.

paragraph: Choniates, the contemporary archbishop Eustathius of Thessalonica, and William of Tyre report that, finding themselves ever more unpopular, the Empress-dowager and Alexios turned to the numerous Latin residents of Constantinople and Latin mercenaries for support, continuing and even augmenting Manuel's pro-Latin policies. Some modern historians, such as Charles Brand, have therefore viewed the contest between the "prōtosebastos" and the faction around Maria as that of pro-Latin and anti-Latin parties. Most modern historians stress that lines were not so clear cut, as the opposing aristocrats included Latins like Renier, and also recruited Latin mercenaries. According to this interpretation, the primary concern of the opposition was the "prōtosebastos" domination of the government, which had destroyed the previous arrangements under Manuel, where they had been "equal in power".

paragraph: Section::::Revolt of Maria Komnene.

paragraph: According to Choniates, the conspirators planned to assassinate Alexios when he and the emperor were to visit the suburb of Bathys Ryax for the feast day of the martyr Theodore, "on the seventh day of the first week of Lent". The conspiracy was betrayed, however, by a soldier, and most of its members were arrested, tried by a tribunal under the "dikaiodotēs" Theodore Pantechnes—who succeeded Kamateros as Eparch—and imprisoned in the dungeons of the Great Palace. Andronikos Lapardas managed to escape, while the "Caesarissa" Maria and her husband sought refuge in the Hagia Sophia, where she soon gained the support not only of the Patriarch Theodosios Borradiotes, but also of the common people, who took pity on her plight and her imperial descent, and who were further won over due to her largesse in distributing coins to the crowd.

paragraph: Emboldened by the popular support, the princess refused Alexios' offers of an amnesty, demanding not only the repetition of the trial of her co-conspirators, but also the immediate dismissal of the "prōtosebastos" from the palace and the administration. When the Empress-dowager and the "prōtosebastos" had Alexios II issue a warning to his half-sister that she would be evicted by force, she again refused, and despite the Patriarch's angry objections started posting her followers to keep watch over the entrances to the great church, recruiting even "Italians in heavy armor and stouthearted Iberians from the East who had come to the City for commercial purposes", as Choniates reports. To them were added the masses of the capital's people, who assembled and began publicly to sympathize with Maria and denounce the "prōtosebastos" and the Empress-dowager. Led by three priests, the populace was driven to rebellion, and over several days they not only demonstrated before the gates of the palace, but also ransacked several mansions of the nobility, including that of Pantechnes.

paragraph: Matters finally came to a head on the seventh day of the uprising, as the "prōtosebastos" brought in troops from both Asia and Europe, under the command of Sabbatios the Armenian. Princess Maria's supporters in the meantime barricaded themselves behind the Augoustaion square between the Great Palace and the Hagia Sophia, after they razed the adjoining buildings. Moving forward at dawn, the imperial troops ascended the roof of the Church of St. John the Theologian, and then moved to cut off the Hagia Sophia and Maria's supporters in the Augoustaion from the rest of the city. After a fiercely contested battle, towards evening Maria and her followers were driven from the arches at the entrance of the Augoustaion and their positions on top of the Milion and the Church of Alexios (on the western side of the square, north of the Milion) into the open square. Protected by their fellows who fired missiles from the upper galleries of the Hagia Sophia, the rebels began to withdraw into the exonarthex of the Hagia Sophia, while the imperials were reluctant to follow "in fear of the temple's narrow passageways". At this point, the "Caesar" Renier rallied about 150 of his men from his own Latin bodyguards and his wife's servants and followers, gave a speech justifying their struggle, and led them forth against the imperial troops in the Augoustaion, who retreated hastily and in confusion. As Choniates writes, "the imperial troops no longer dared to enter the open court but preferred to fight by firing missiles". Renier returned to the Hagia Sophia, and with the fall of night, a stalemate ensued.

paragraph: At this juncture, the Patriarch interceded with Empress Maria of Antioch to put an end to the fighting. In response, a delegation of the most distinguished nobles and officials, led by the "megas doux" Andronikos Kontostephanos and the "megas hetaireiarchēs" John Doukas were sent to the "Caesarissa" and Renier in the Hagia Sophia. There they "gave her pledges of good faith confirmed by oaths, assuring her that nothing unpleasant would befall her. She would not be deprived of her dignities and privileges by her brother the emperor, or her stepmother the empress, or the "prōtosebastos" Alexios, and full amnesty would be granted her supporters and allies". With this, the two sides disbanded their forces, and Maria and her husband returned to the Great Palace to meet the Empress-dowager and the "prōtosebastos" and confirm their reconciliation.

paragraph: The dating of these events is disputed. Choniates records the date of the clash between the supporters of the "Caesarissa" and the imperial troops as 2 May on the 15th indiction, i.e. 2 May 1182, but as Varzos points out, this is clearly an error, as this was the date of the Massacre of the Latins. Many modern scholars have therefore interpreted the date as 2 May 1181, but this contradicts the indiction dating given by Choniates. Among the scholars who accept the dating of these events to 1181, several, including the English translator of Choniates, Harry Magoulias, place the date of the intended coup on 7 February, but as Choniates' German editor Jean-Louis Van Dieten points out, for the year 1181 the correct date of the feast described by Choniates was 21 February. According to this chronology, the condemnation of the conspirators took place on 1 March, and the clashes took place on 2 May. The historian Oktawiusz Jurewicz, in his study on Andronikos I Komnenos, placed the events in 1182. As other events took place soon after, he proposed that the uprising and reconciliation all took place in February 1182, with the date for the original, aborted coup on 13 February.

paragraph: Section::::Downfall.

paragraph: Despite the failure of the revolt, the position of the "prōtosebastos" was weakened: on the one hand, his readiness to use force against fellow citizens even in the most hallowed of all churches in the Empire increased popular hostility, while on the other, the amnesty offered to Maria and her supporters strengthened the perception of the regime's weakness. The situation was exacerbated when Alexios turned against Patriarch Theodosios for the aid and shelter he had given the rebels. The Patriarch was confined in the Pantepoptes Monastery, and was saved from being dismissed only through the intervention of the Empress-regent and other members of the imperial family. At long last, the "prōtosebastos" was forced to consent to the reinstatement of the Patriarch. His triumphal return, with jubilant crowds lining the procession that led him back to the patriarchal palace near the Hagia Sophia, was another blow to the regime's authority.

paragraph: In the meantime, the ambitious Andronikos Komnenos, cousin of Emperor Manuel, watched affairs in the capital from the Pontus, where he had been appointed governor. His sons Manuel and John had participated in the revolt, and the leaders of the conspiracy were in contact with him. Andronikos sent many letters of his own to his nephew, the young Alexios II, to the Patriarch Theodosios, and others, bemoaning the usurpation of the young emperor's rights by the "prōtosebastos", and the impropriety of the latter's alleged relationship with the Empress-regent. Relying on his oath to Emperor Manuel to uphold the rule of both Manuel and Alexios II—an oath occasioned more by his own, well-known ambitions—he even claimed to have been charged by the late Manuel to safeguard the rule of his son. Following the suppression of the uprising, his daughter Maria hastened to him at Sinope, bearing news; and soon more letters came from the capital urging him to intervene. In autumn 1181, Andronikos began his march against Constantinople, proceeding slowly so as to give the impression of a large and cumbersome force, and giving time for his propaganda to have an impact. Only the city of Nicaea under John Doukas and the Theme of Thrace, under the "megas domestikos" John Komnenos Vatatzes, rejected his claims and resisted his advance. Choniates accuses the "prōtosebastos" of lethargy and neglect ("he was unmanly and not only spent the early morning in sound sleep but also wasted most of the day sleeping") in dealing with Andronikos, but these accusations are not repeated by Skoutariotes and are dismissed by modern scholars.

paragraph: Nevertheless, the army sent by the government, under Andronikos Angelos (the father of the future emperors Isaac II and Alexios III) was defeated at Charax near Nicomedia, even though it faced, according to Choniates, only "farmers unfit for warfare and a contingent of Paphlagonian soldiers". On his return to Constantinople, Angelos was faced with accusations that he had misappropriated money meant for the army's salary. Fearing accusations of pro-Andronikos sentiments, he barricaded himself and his family in their mansion, before fleeing the city altogether and joining Andronikos Komnenos in Bithynia. Emboldened by this defection, Andronikos Komnenos moved to Chalcedon, across the Bosporus from Constantinople. Again he put on an appearance of a large army and powerful navy, but the reality was far inferior. Passage was still blocked by the imperial fleet, and Alexios tried to bolster his position by manning as many ships as he could with Latins, who were loyal to him, but was forced to concede command of the navy to the "megas doux" Andronikos Kontostephanos. Alexios attempted to negotiate, and sent George Xiphilinos (a future Patriarch) to Andronikos' camp, offering a pardon and high office. Xiphilinos however betrayed the "prōtosebastos", and Andronikos rejected the offer, instead insisting that the "prōtosebastos" retire and be held accountable for his administration, and the Empress-dowager be confined to a convent. Within a few days, Andronikos Kontostephanos with the Byzantine-manned ships too defected to the rebels.

paragraph: This was the final blow for the "prōtosebastos"; the supporters of Andronikos Komnenos now began to move openly, and even sailed across to visit him at his camp. Conversely, although he still held valuable hostages—including Andronikos' sons—Alexios appears to have become dejected and passively awaited events. In late April, a revolt in the city opened the prisons of the Great Palace and set free the opponents of the "prōtosebastos". The latter's supporters and family were now arrested and thrown in the same cells. The "prōtosebastos" himself was arrested by German mercenaries, probably suborned by Andronikos, in the palace. Under cover of night he was moved to the House of Michaelitzes in the patriarchal palace. During his captivity there, his guards tortured him by preventing him from sleeping, despite the intercession of Patriarch Theodosios. After a few days he was led, seated on a pony and preceded by a reed flag in mockery of a banner, amidst the jeers and abuse of the populace, to a fishing boat and across to Chalcedon. There Andronikos Komnenos, in front of the assembled aristocrats, ordered his eyes gouged out. The Latin chronicler William of Tyre further reports that his genitals were also cut off as punishment for his affair with the Empress, but this is not corroborated by any other source.

paragraph: The remainder of his life, and the date and circumstances of his death, are unknown. Likewise his children lived and died in obscurity.

wikidata_label: Alexios Komnenos

wikipedia_title: Alexios Komnenos (protosebastos)


text:
Oriszentpeter
Pécs
Hungarian
physiologist
Hungarian Academy of Sciences
Janos Szentagothai
Peter Somogyi
György Buzsáki

wikipedia_title:
Őriszentpéter
Pécs
Hungary
Physiology
Hungarian Academy of Sciences
János Szentágothai
Peter Somogyi
György Buzsáki

categories: 1988 deaths,Hungarian neuroscientists,1924 births

paragraph: Endre Grastyán

paragraph: Endre Grastyán (February 25, 1924 in Oriszentpeter – June 17, 1988 in Pécs) was a Hungarian doctor, physiologist, professor, and member of the Hungarian Academy of Sciences. He was a groundbreaking researcher in physiology, studying under Janos Szentagothai. His students include Peter Somogyi, Tamas Freund and György Buzsáki.

description: Hungarian physician

wikidata_label: Endre Grastyán

wikipedia_title: Endre Grastyán


text: professional baseball

text: pitcher

text: college baseball

text: College of Southern Nevada

text: University of Nevada, Las Vegas

text: Arizona Diamondbacks

text: 2004 Major League Baseball (MLB) Draft

text: College of Southern Nevada

text: junior college

text: 2005 MLB draft

text: UNLV Rebels

text: collegiate summer baseball

text: Thunder Bay Border Cats

text: Northwoods League

text: 2007 MLB draft

text: Staten Island Yankees

text: Charleston RiverDogs

text: South Atlantic League

text: Tampa Yankees

text: Florida State League

text: Phoenix Desert Dogs

text: Arizona Fall League

text: Trenton Thunder

text: Eastern League

text: Class-AAA

text: Scranton/Wilkes-Barre Yankees

text: International League

text: New Jersey Jackals

text: independent

categories: Charleston RiverDogs players,Baseball pitchers,Southern Nevada Coyotes baseball players,Tampa Yankees players,UNLV Rebels baseball players,Baseball players from Arizona,1985 births,Sportspeople from Scottsdale, Arizona,Trenton Thunder players,Staten Island Yankees players,Living people,Scranton/Wilkes-Barre Yankees players

paragraph: Craig Heyer

paragraph: Craig D. Heyer (born November 15, 1985) is an American professional baseball pitcher. Prior to becoming a professional, Heyer played college baseball at the College of Southern Nevada and University of Nevada, Las Vegas (UNLV).

paragraph: Section::::Career.

paragraph: Heyer attended Coronado High School, where he starred for the school's baseball team. He was named co-pitcher of the year in the East Sky Region in 2004, his senior season. The Arizona Diamondbacks drafted Heyer in the 36th round of the 2004 Major League Baseball (MLB) Draft. He enrolled at the College of Southern Nevada (CSN) in 2005, a junior college competing athletically in the National Junior College Athletic Association (NJCAA). Heyer was a "draft-and-follow" prospect, intending to sign with the Diamondbacks before the 2005 draft. He did not sign with the Diamondbacks, returning to CSN.

paragraph: The Diamondbacks again chose Heyer, this time in the 31st round of the 2005 MLB draft. He again did not sign with the Diamondbacks, remaining at CSN for his sophomore season. The NJCAA forced CSN to forfeit its first 37 games of his sophomore year when Heyer and a teammate were ruled ineligible. Heyer was undrafted in 2006, and transferred to UNLV for his junior season, where he played for the UNLV Rebels baseball team. After the 2006 season, he played collegiate summer baseball for the Thunder Bay Border Cats of the Northwoods League. He returned to UNLV in 2007 for his senior season. The Yankees drafted Heyer in the 22nd round of the 2007 MLB draft, and he signed.

paragraph: Heyer pitched for the Staten Island Yankees of the Class-A Short Season New York–Pennsylvania League in 2007, the Charleston RiverDogs of the Class-A South Atlantic League in 2008, the Tampa Yankees of the Class-A Advanced Florida State League in 2009 and 2010. The Yankees assigned him to the Phoenix Desert Dogs of the Arizona Fall League in 2010. He pitched for the Trenton Thunder of the Class-AA Eastern League in 2011. Slated to begin the 2012 season in Trenton, he was instead promoted to the Class-AAA Scranton/Wilkes-Barre Yankees of the International League. Heyer pitched for the New Jersey Jackals of the independent Canadian American Association of Professional Baseball in 2013.

description: American baseball player

wikidata_label: Craig Heyer

wikipedia_title: Craig Heyer