text: Dutch Golden Age painter

text: Haarlem

text: painterly

text: portraiture

text: Antwerp

text: Spanish Netherlands

text: Fall of Antwerp

text: Dutch Republic

text: Flemish

text: Karel van Mander

text: Mannerist

text: Haarlem Guild of Saint Luke

text: Schilderboeck

text: Geertgen tot Sint Jans

text: Jan van Scorel

text: Jan Mostaert

text: St John's Church

text: satisfactie van Haarlem

text: Cornelis Claesz van Wieringen

text: Jacobus Zaffius

text: René Descartes

text: St Bavo's Church (Grote Kerk)

text: Harmen

text: Seymour Slive

text: Arnold Houbraken

text: Spaarndam

text: banns

text: Rembrandt

text: schutterstuk

text: Pieter Codde

text: restorer

text: mattress

text: Maarten van Heemskerck

text: annuity

text: Eighty Years' War

text: schutterij

text: guild

text: 1639 painting of the St Joris company

text: chamber of rhetoric

text: St Bavo's Church

text: Pieter van den Broecke

text: Isaac Massa

text: local civic guards

text: Dutch Golden Age

text: realism

text: Mauritshuis

text: Jan van de Velde

text: Two singing boys with a lute and a music book

text: Madame van Beresteyn

text: Louvre

text: Willem van Heythuyzen

text: same militia in 1627

text: A similar painting

text: St Elisabeth Gasthuis

text: Rijksmuseum

text: Amsterdam

text: The Regents

text: Regentesses of the Old Men's Almshouse

text: Rembrandt

text: Velázquez

text: Jacob Olycan

text: Laughing Cavalier

text: Malle Babbe

text: Baron Gustav Rothschilds Jester

text: Bohemienne

text: Laughing Fisherboy

text: Portrait of the Artist with his Second Wife

text: Royal Academy

text: Frans Hals catalog raisonné, 1974

text: Claus Grimm

text: Frans Hals. Das Gesamtwerk

text: canvas

text: underdrawing

text: underpainting

text: alla prima

text: Rubens

text: Van Dyck

text: Theodorus Schrevelius

text: Vincent van Gogh

text: Impressionists

text: Dirck Hals

text: Harmen Hals

text: Frans Hals the Younger

text: Jan Hals

text: Reynier Hals

text: Nicolaes Hals

text: Claes van Heussen

text: Jan Miense Molenaer

text: Judith Leyster

text: Adriaen van Ostade

text: Adriaen Brouwer

text: Johannes Cornelisz Verspronck

text: Bartholomeus van der Helst

text: Cornelis de Bie (1621–1664)

text: Arnold Houbraken

text: Philips Wouwerman

text: Adriaen Brouwer

text: Pieter Gerritsz van Roestraten

text: Adriaen van Ostade

text: Dirck van Delen

text: Vincent Laurensz van der Vinne

text: Johannes Verspronck

text: Judith Leyster

text: Jan Miense Molenaer

text: Claude Monet

text: Édouard Manet

text: Charles-François Daubigny

text: Max Liebermann

text: James Abbott McNeill Whistler

text: Gustave Courbet

text: Jacobus van Looy

text: Isaac Israëls

text: Impressionists

text: realists

text: Lovis Corinth

text: Frans Hals Museum

text: Johannes Acronius

text: Enschede

text: Théophile Thoré-Bürger

text: Secretan sale

text: Pieter van den Broecke

text: National Gallery

text: Frans Hals Museum

text: Hals crater

text: guilder

text: Amsterdam Museum

text: Frans Hals Museum

text: Haarlem

text: Frick Collection

text: New York City

text: Koninklijk Museum voor Schone Kunsten Antwerpen

text: Louvre

text: Paris

text: Mauritshuis

text: Den Haag

text: Metropolitan Museum of Art

text: Museum Boijmans Van Beuningen

text: Rotterdam

text: Rijksmuseum Amsterdam

text: List of paintings by Frans Hals

text: Han van Meegeren

text: Frans Hals biography

text: Arnold Houbraken

text: Digital library for Dutch literature

text: Frans Hals Museum in Haarlem

text: Frans Hals Works, Biography and Style

text: The National Gallery

text: The Wallace Collection

text: Frans Hals at zeno.org

text: Olga's Gallery

text: Works and literature on Frans Hals

text: Walter Liedtke

categories: 1580s births,Dutch Golden Age painters,Dutch portrait painters,Members of the Haarlem Guild of Saint Luke,1666 deaths,Dutch painters,Dutch male painters,People from Antwerp,Artists from Haarlem,Frans Hals

paragraph: Frans Hals

paragraph: Frans Hals the Elder (; ; – 26 August 1666) was a Dutch Golden Age painter, normally of portraits, who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this lively style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture.

paragraph: Section::::Biography.

paragraph: Hals was born in 1582 or 1583 in Antwerp, then in the Spanish Netherlands, as the son of cloth merchant Franchois Fransz Hals van Mechelen ( 1542–1610) and his second wife Adriaentje van Geertenryck. Like many, Hals' parents fled during the Fall of Antwerp (1584–1585) from the south to Haarlem in the new Dutch Republic in the north, where he lived for the remainder of his life. Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals' work.

paragraph: In 1610, Hals became a member of the Haarlem Guild of Saint Luke, and he started to earn money as an art restorer for the city council. He worked on their large art collection that Karel van Mander had described in his "Schilderboeck" ("Painter's Book") published in Haarlem in 1604. The most notable of these were the works of Geertgen tot Sint Jans, Jan van Scorel, and Jan Mostaert that hung in the St John's Church in Haarlem. The restoration work was paid for by the city of Haarlem, since all Catholic religious art had been confiscated after the satisfactie van Haarlem had been reversed in 1578, which had formerly given Catholics equal rights to Protestants. However, the entire collection of paintings was not formally possessed by the city council until 1625, after the city fathers had decided which paintings were suitable for the city hall. The remaining art that was considered too "Roman Catholic" was sold to Cornelis Claesz van Wieringen, a fellow guild member, on the condition that he remove it from the city. It was in this cultural context that Hals began his career in portraiture, since the market had disappeared for religious themes.

paragraph: The earliest known example of Hals' art is the portrait of "Jacobus Zaffius" (1611). His 'breakthrough' came with the life-sized group portrait "The Banquet of the Officers of the St George Militia Company in 1616". His most noted portrait today is the one of "René Descartes" which he made in 1649.

paragraph: Frans Hals married his first wife Anneke Harmensdochter around 1610. Frans was of Catholic birth, however, so their marriage was recorded in the city hall and not in church. Unfortunately, the exact date is unknown because the older marriage records of the Haarlem city hall before 1688 have not been preserved. Anneke was born 2 January 1590 as the daughter of bleacher Harmen Dircksz and Pietertje Claesdr Ghijblant, and her maternal grandfather, linen producer Claes Ghijblant of , bequeathed the couple the grave in St Bavo's Church (Grote Kerk) where both are buried, though Frans took over 40 years to join his first wife there. Anneke died in 1615, shortly after the birth of their third child and, of the three, Harmen survived infancy and one had died before Hals' second marriage. As biographer Seymour Slive has pointed out, older stories of Hals abusing his first wife were confused with another Haarlem resident of the same name. Indeed, at the time of these charges, the artist had no wife to mistreat, as Anneke had died in May 1615. Similarly, historical accounts of Hals' propensity for drink have been largely based on embellished anecdotes of his early biographers, namely Arnold Houbraken, with no direct evidence existing documenting such. After his first wife died, Hals took on the young daughter of a fishmonger to look after his children and, in 1617, he married Lysbeth Reyniers. They married in Spaarndam, a small village outside the banns of Haarlem, because she was already 8 months pregnant. Hals was a devoted father, and they went on to have eight children.

paragraph: Contemporaries such as Rembrandt moved their households according to the caprices of their patrons, but Hals remained in Haarlem and insisted that his customers come to him. According to the Haarlem archives, a schutterstuk that Hals started in Amsterdam was finished by Pieter Codde because Hals refused to paint in Amsterdam, insisting that the militiamen come to Haarlem to sit for their portraits. For this reason, we can be sure that all sitters were either from Haarlem or were visiting Haarlem when they had their portraits made.

paragraph: Hals' work was in demand through much of his life, but he lived so long that he eventually went out of style as a painter and experienced financial difficulties. In addition to his painting, he worked as a restorer, art dealer, and art tax expert for the city councilors. His creditors took him to court several times, and he sold his belongings to settle his debt with a baker in 1652. The inventory of the property seized mentions only three mattresses and bolsters, an armoire, a table, and five pictures (these were by himself, his sons, van Mander, and Maarten van Heemskerck). Left destitute, he was given an annuity of 200 florins in 1664 by the municipality.

paragraph: The Dutch nation fought for independence during the Eighty Years' War, and Hals was a member of the local schutterij, a military guild. He included a self-portrait in his 1639 painting of the St Joris company, according to its 19th-century painting frame. (It has not been possible to confirm this.) It was not common for ordinary members to be painted, as that privilege was reserved for the officers. Hals painted the company three times. He was also a member of a local chamber of rhetoric, and in 1644 he became chairman of the Guild of St Luke.

paragraph: Frans Hals died in Haarlem in 1666 and was buried in the city's St Bavo's Church. He had been receiving a city pension, which was highly unusual and a sign of the esteem with which he was regarded. After his death, his widow applied for aid and was admitted to the local almshouse, where she later died.

paragraph: Section::::Artistic career.

paragraph: Hals is best known for his portraits, mainly of wealthy citizens such as Pieter van den Broecke and Isaac Massa, whom he painted three times. He also painted large group portraits for local civic guards and for the regents of local hospitals. He was a Dutch Golden Age painter who practiced an intimate realism with a radically free approach. His pictures illustrate the various strata of society: banquets or meetings of officers, guildsmen, local councilmen from mayors to clerks, itinerant players and singers, gentlemen, fishwives, and tavern heroes. In his group portraits, such as "The Banquet of the Officers of the St Adrian Militia Company in 1627", Hals captures each character in a different manner. The faces are not idealized and are clearly distinguishable, with their personalities revealed in a variety of poses and facial expressions.

paragraph: Hals was fond of daylight and silvery sheen, while Rembrandt used golden glow effects based upon artificial contrasts of low light in immeasurable gloom. Both men were painters of touch, but of touch on different keys — Rembrandt was the bass, Hals the treble. Hals seized a moment in the life of his subjects with rare intuition. What nature displayed in that moment he reproduced thoroughly in a delicate scale of color and with mastery over every form of expression. He became so clever that exact tone, light and shade, and modeling were obtained with a few marked and fluid strokes of the brush. He became a popular portrait painter, and painted the wealthy of Haarlem on special occasions. He won many commissions for wedding portraits (the husband is traditionally situated on the left, and the wife situated on the right). His double portrait of the newly married Olycans hang side by side in the Mauritshuis, but many of his wedding portrait pairs have since been split up and are rarely seen together.

paragraph: Section::::Wedding portraits.

paragraph: The only record of his work in the first decade of his independent activity is an engraving by Jan van de Velde copied from the lost portrait of "The Minister Johannes Bogardus". Early works by Hals show him as a careful draughtsman capable of great finish yet spirited, such as "Two singing boys with a lute and a music book" and "Banquet of the Officers of the St George Militia" (1616). The flesh that he painted is pastose and burnished, less clear than it subsequently became. Later, he became more effective, displayed more freedom of hand and a greater command of effect.

paragraph: During this period, he painted the full-length portrait of Madame van Beresteyn (Louvre) and a full-length portrait of Willem van Heythuyzen leaning on a sword. Both these pictures are equalled by the other "Banquet of the Officers of the St George Militia" (with different portraits) and the "same militia in 1627" and "Banquet of the Officers of the St Hadrian Militia" of 1633. A similar painting with the date of 1639 suggests some study of Rembrandt masterpieces, and a similar influence is apparent in a representing the regents of the St Elisabeth Gasthuis and in his 1639 portrait of at Amsterdam.

paragraph: From 1620 till 1640, he painted many double portraits of married couples on separate panels, the man on the left panel and his wife on the right panel. Only once did Hals portray a couple on a single canvas: "Couple in a garden: Wedding portrait of Isaac Abrahamsz. Massa and Beatrix van der Laan", (, Rijksmuseum Amsterdam).

paragraph: His style changed throughout his life. Paintings of vivid color were gradually replaced by pieces where one color dominated: black. This was probably due to the sober dress of his Protestant sitters, more than any personal preference. One simple way to observe this change is to look at all of the portraits that he painted through the years with his trademark pose leaning over the back of a chair:

paragraph: Section::::Portrait painter.

paragraph: Later in his life, his brush strokes became looser, fine detail becoming less important than the overall impression. His earlier pieces radiated gaiety and liveliness, while his later portraits emphasized the stature and dignity of the people portrayed. This austerity is displayed in "" in 1641 and, two decades later, "The Regents" and "Regentesses of the Old Men's Almshouse" (), which are masterpieces of color, though in substance all but monochromes. His restricted palette is particularly noticeable in his flesh tints, which became greyer from year to year, until finally the shadows were painted in almost absolute black, as in the "".

paragraph: This tendency coincides with the period when Hals was less popular among the wealthy, and some historians have suggested that a reason for his predilection for black and white pigment was the low price of these colors as compared with the costly lakes and carmines. Both conclusions are probably correct, however, because Hals did not travel to his sitters, unlike his contemporaries, but let them come to him. This was good for business because he was exceptionally quick and efficient in his own well-fitted studio, but it was bad for business when Haarlem fell on hard times.

paragraph: As a portrait painter, Hals had scarcely the psychological insight of a Rembrandt or Velázquez, though in a few works, like the "Admiral de Ruyter", the "Jacob Olycan", and the "Albert van der Meer" paintings, he reveals a searching analysis of character which has little in common with the instantaneous expression of his so-called character portraits. In these, he generally sets upon the canvas the fleeting aspect of the various stages of merriment, from the subtle, half ironic smile that quivers round the lips of the curiously misnamed "Laughing Cavalier" to the imbecile grin of the "Malle Babbe". To this group of pictures belong "Baron Gustav Rothschilds Jester", the "Bohemienne" and the "Laughing Fisherboy", whilst the "Portrait of the Artist with his Second Wife", and the somewhat confused group of the "" at the Louvre show a similar tendency. Far less scattered in arrangement than this Beresteyn group, and in every respect one of the most masterly of Hals' achievements is the group called "", which was almost unknown until it appeared at the winter exhibition at the Royal Academy in 1906.

paragraph: Many of Hals' works have disappeared, but it is not known how many. According to the Frans Hals catalog raisonné, 1974, 222 paintings can be ascribed to Hals. This list was compiled by Seymour Slive in 1970−1974 who also wrote an exhibition catalogue in 1989 and produced an update to his catalog raisonné work in 2014. In 1989 another authority on Hals, Claus Grimm, disagreed with Slive and published a lower list of 145 paintings in his "Frans Hals. Das Gesamtwerk".

paragraph: It is not known whether Hals ever painted landscapes, still lifes or narrative pieces, but it is unlikely. His debut for Haarlem society in 1616 with his large group portrait for the St George militia shows all three disciplines, but if that painting was his signboard for future commissions, it seems he was subsequently only hired for portraits. Many artists in the 17th century in Holland opted to specialise, and Hals also appears to have been a pure portrait specialist.

paragraph: Section::::Painting technique.

paragraph: Hals was a master of a technique that utilized something previously seen as a flaw in painting, the visible brushstroke. The soft curling lines of Hals' brush are always clear upon the surface: "materially just lying there, flat, while conjuring substance and space in the eye."

paragraph: Lively and exciting, the technique can appear "ostensibly slapdash" – people often think that Hals 'threw' his works 'in one toss' ("aus einem Guss") onto the canvas. This impression is not correct. True, the odd work was largely put down without underdrawings or underpainting ('alla prima'), but most of the works were created in successive layers, as was customary at that time. Sometimes a drawing was made with chalk or paint on top of a grey or pink undercoat, and was then more or less filled in, in stages. It does seem that Hals usually applied his underpainting very loosely: he was a virtuoso from the beginning. This applies, of course, particularly to his genre works and his somewhat later, mature works. Hals displayed tremendous daring, great courage and virtuosity, and had a great capacity to pull back his hands from the canvas, or panel, at the moment of the most telling statement. He didn't 'paint them to death', as many of his contemporaries did, in their great accuracy and diligence whether requested by their clients or not.

paragraph: In the 17th century his first biographer, Schrevelius wrote: "An unusual manner of painting, all his own, surpassing almost everyone," on Hals' painting methods. For that matter, schematic painting was not Hals' own idea (the approach already existed in 16th century Italy), and Hals was probably inspired by Flemish contemporaries, Rubens and Van Dyck, in his painting method.

paragraph: As early as the 17th century, people were struck by the vitality of Hals' portraits. For example, Haarlem resident Theodorus Schrevelius noted that Hals' works reflected 'such power and life' that the painter 'seems to challenge nature with his brush'. Centuries later Vincent van Gogh wrote to his brother Theo: 'What a joy it is to see a Frans Hals, how different it is from the paintings – so many of them – where everything is carefully smoothed out in the same manner.' Hals chose not to give a smooth finish to his painting, as most of his contemporaries did, but mimicked the vitality of his subject by using smears, lines, spots, large patches of color and hardly any details.

paragraph: It was not until the 19th century that his technique had followers, particularly among the Impressionists. Pieces such as "The Regentesses of the Old Men's Alms House" and the civic guard paintings demonstrate this technique to the fullest.

paragraph: Section::::Influence.

paragraph: Frans influenced his brother Dirck Hals (born at Haarlem, 1591–1656), who was also a painter. Additionally, five of his sons became painters:

paragraph: BULLET::::- Harmen Hals (1611–1669)

paragraph: BULLET::::- Frans Hals the Younger (1618–1669)

paragraph: BULLET::::- Jan Hals (1620–1654)

paragraph: BULLET::::- Reynier Hals (1627–1672)

paragraph: BULLET::::- Nicolaes Hals (1628–1686)

paragraph: Though most of his sons became portrait painters, some of them took up still life painting or architectural studies and landscapes. Still lifes formerly attributed to his son Frans II have since been re-attributed to other painters, however. Hals painted a young woman reaching into a basket in a still life market scene by Claes van Heussen.

paragraph: Other contemporary painters who took inspiration from Hals were, with the main cities they were based in:

paragraph: BULLET::::- Jan Miense Molenaer (1609–1668), Haarlem and Amsterdam

paragraph: BULLET::::- Judith Leyster (wife of Molenaer) (1609–1660), Haarlem and Amsterdam

paragraph: BULLET::::- Adriaen van Ostade (1610–1685), Haarlem

paragraph: BULLET::::- Adriaen Brouwer (1605–1638), mostly Antwerp

paragraph: BULLET::::- Johannes Cornelisz Verspronck (1597–1662), Haarlem

paragraph: BULLET::::- Bartholomeus van der Helst (1613–1670), Amsterdam

paragraph: BULLET::::- Cornelis de Bie (1621–1664), Amsterdam

paragraph: Hals had a large workshop in Haarlem and many students, though 19th century biographers questioned some of his pupils, since their painting styles were so dissimilar to Hals. In his "De Groote Schouburgh" (1718–21), Arnold Houbraken mentions Philips Wouwerman, Adriaen Brouwer, Pieter Gerritsz van Roestraten, Adriaen van Ostade and Dirck van Delen as students. Vincent Laurensz van der Vinne was also a student, according to his diary with notes left by his son Laurens Vincentsz van der Vinne. Roestraten was not only a student (the Haarlem archives contain a notarised document, which supports this fact), but he also became a son-in-law of Hals when he married his daughter Adriaentje. The Haarlem portrait painter, Johannes Verspronck, one of about 10 competing portraitists in Haarlem at the time, possibly studied for some time with Hals.

paragraph: In terms of style, the closest to Hals' work is the handful of paintings that are ascribed to Judith Leyster, which she often signed. She also 'qualifies' as a possible student, as does her husband, the painter Jan Miense Molenaer.

paragraph: Two centuries after his death, Hals received a number of 'posthumous' students. Claude Monet, Édouard Manet, Charles-François Daubigny, Max Liebermann, James Abbott McNeill Whistler, Gustave Courbet, and in the Netherlands, Jacobus van Looy and Isaac Israëls are some of the Impressionists and realists who have delved deeply into the work of Hals by making study copies of his work and further building on his techniques and style. Lovis Corinth named Hals as his biggest influence. Many artists travelled to the Frans Hals Museum in Haarlem (since 1913 on the Groot Heiligland, and before that in the Town Hall), where several of his most important works are kept.

paragraph: Section::::Legacy.

paragraph: Hals' reputation waned after his death and for two centuries he was held in such poor esteem that some of his paintings, which are now among the proudest possessions of public galleries, were sold at auction for a few pounds or even shillings. The portrait of Johannes Acronius realized five shillings at the Enschede sale in 1786. The portrait of the sold in 1800 for 4, 5s.

paragraph: Starting at the middle of the 1860s his prestige rose again thanks to the efforts of critic Théophile Thoré-Bürger. With his rehabilitation in public esteem came the enormous rise in value, and, at the Secretan sale in 1889, the portrait of Pieter van den Broecke was bid up to 4,420 francs, while in 1908 the National Gallery paid 25,000 pounds for the from the collection of Lord Talbot de Malahide.

paragraph: Hals' work remains popular today, particularly with young painters who can find many lessons about practical technique from his unconcealed brushstrokes. Hals' works have found their way to countless cities all over the world and into museum collections. From the late 19th century, they were collected everywhere — from Antwerp to Toronto, and from London to New York. Many of his paintings were then sold to American collectors.

paragraph: A primary collection of his work is displayed in the Frans Hals Museum in Haarlem.

paragraph: The Hals crater on Mercury is named in his honor.

paragraph: Hals was pictured on the Netherlands' 10-guilder banknote of 1968.

paragraph: Section::::Public collections (selection).

paragraph: BULLET::::- Amsterdam Museum

paragraph: BULLET::::- Frans Hals Museum, Haarlem

paragraph: BULLET::::- Frick Collection, New York City

paragraph: BULLET::::- Koninklijk Museum voor Schone Kunsten Antwerpen

paragraph: BULLET::::- Louvre, Paris

paragraph: BULLET::::- Mauritshuis, Den Haag

paragraph: BULLET::::- Metropolitan Museum of Art, New York

paragraph: BULLET::::- Museum Boijmans Van Beuningen, Rotterdam;

paragraph: BULLET::::- Rijksmuseum Amsterdam.

paragraph: Section::::See also.

paragraph: BULLET::::- List of paintings by Frans Hals

paragraph: BULLET::::- Han van Meegeren

paragraph: Section::::Further reading.

paragraph: BULLET::::- Frans Hals biography in "De groote schouburgh der Nederlantsche konstschilders en schilderessen" (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature

paragraph: BULLET::::- Seymour Slive: "Frans Hals, 3 Volumes" (), New York / London 1970–1974

paragraph: BULLET::::- "Frans Hals" (, 1989.

paragraph: BULLET::::- Claus Grimm published his "" in 1989 (Stuttgart/Zürich; also translated into Dutch and English).

paragraph: BULLET::::- N. Middelkoop and A. van Grevenstein, Frans Hals. "Leven, werk, restauratie" ("Life, work and restorations") (Haarlem Amsterdam 1988). This work gives an account of restorations of the riflemen's pieces, but it also gives a picture of Hals' life and work.

paragraph: BULLET::::- Antoon Erftemeijer; 2004 : "Frans Hals in het Frans Hals Museum", Amsterdam/Gent (in Dutch, English and French), in which various chapters are devoted to Hals' life, his predecessors, portrait painting in the Golden Age, Hals' painting technique and other subjects. Many pictures with close-ups in this book show Hals' works in great detail.

paragraph: BULLET::::- Christopher Atkins (2004) "Frans Hals's Virtuoso Brushwork", Nederlands Kunsthistorisch Jaarboek 2003, Zwolle, p. 281-309).

paragraph: Parts of this article are excerpts of "The Frans Hals Museum, Haarlem, July 2005" by Antoon Erftemeijer, Frans Hals Museum curator.

paragraph: Section::::External links.

paragraph: BULLET::::- Frans Hals Museum in Haarlem

paragraph: BULLET::::- Frans Hals Works, Biography and Style

paragraph: BULLET::::- The National Gallery

paragraph: BULLET::::- The Wallace Collection

paragraph: BULLET::::- Web Gallery of Art (large collection of pictures and extensive biography)

paragraph: BULLET::::- Frans Hals at zeno.org

paragraph: BULLET::::- Olga's Gallery

paragraph: BULLET::::- Works and literature on Frans Hals

paragraph: BULLET::::- Walter Liedtke, ""Frans Hals: Style and Substance"" (Metropolitan Museum of Art, 2011)

alias:
Frans Halls
Franc Walls
Frankhalls
Frank Hals
Frans Hal
Frank Halls
Franks Hals
Frank Hall
Frans Khalʹs
Franc Hals
T. Hals
פראנס האלס
Francesco Half
Franck Halls
Frans Hall
Frans I Hals
Frans, I Hals
Franc Halls
Frans Halst
Fr. Hale
Franck Hals
Frans (I) Hals
Frans Hals (I)
Frans Franchoisz Hals
Frank Hal
Frantz Hals
Frantsz halsz
Fran. Halse
Franc. Hall
F. Hals
Franc Haals
Frans Hales
Franc. Halls
Franakhale
Fra. Hales
F. Hall
Franszhalsz
hals frans
Francis Halse
Franciscus Hals
François Hall
François Hals
Franchals
Franc-Hals
Frantszhalsz
Franz Hals
Franhalls
Frank Halle
France Halls
F: Hals
Francis Hales
Frans d. Ae. Hals
Frans Hauls
France Hauls
franz hals
François Haals
France Halts
Francalse
Franc. Halst
Francesco Ilals
Fr. Hall
Fr. Hals
Haal
Fran. Hals
Fr. Halls
Halls
Frantz Hal
hals f.
Franz Halls
Francois Hals
Francis Halls
Franshalce
Franz Haltz
Franck Hals.
Frans-Halls
Frank Hauls
Franshals
F. Halls
Hals
frans hals der altere
Frankals
Hals François
Fran. Halls
Frans Hasl
Francs Hals
Ouden Hals
Franshalls
Mr. Hales
F. Hal
Francis Hals
Frans Halse
Franç. Hals

description: painter from the Northern Netherlands

wikidata_label: Frans Hals

wikipedia_title: Frans Hals


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text: armillary sphere

text: Cleomedes

text: Earth's circumference

text: elevation

text: Sun

text: summer solstice

text: Elephantine

text: Syene

text: Aswan

text: Aristotle

text: barbarian

text: ophthalmia

text: Earth's circumference

text: local noon

text: Syene

text: Aswan

text: Tropic of Cancer

text: gnomon

text: surveying

text: Tropic of Cancer

text: circumference of the Earth

text: Pliny

text: Polybius

text: Strabo

text: Marcianus

text: Homer

text: Mediterranean

text: mathematical geography

text: political geography

text: Suda Lexicon

text: Strabo

text: Eusebius of Caesarea

text: Preparatio Evangelica

text: Book XV

text: stadia

text: myriad

text: ecliptic

text: Doubling the Cube

text: algorithm

text: prime numbers

text: Sieve of Eratosthenes

text: prime number sieves

text: destruction of the Library of Alexandria

text: Cleomedes

text: Strabo

text: Arsinoe

text: Athenaeus

text: Deipnosophistae

text: Aristo of Chios

text: Athenaeus

text: Deipnosophistae

text: Hellenistic

text: constellation

text: Catasterismi

text: Eratosthenes (crater)

text: Moon

text: Eratosthenian

text: lunar geologic timescale

text: Eratosthenes Seamount

text: Ératosthène de Cyrène

text: Bernhardy, Gottfried: "Eratosthenica"

text: Eratosthenes' sieve in Javascript

text: Measuring the Earth with Eratosthenes' method

text: International pedagogical project

text: Eratosthenes, video

categories: Ancient Greek inventors,3rd-century BC Egyptian people,Ancient Greek music theorists,Geodesists,3rd-century BC poets,Ancient Greek geographers,190s BC deaths,Ancient Greek mathematicians,Geometers,276 BC births,3rd-century BC Greek people,Cyrenean Greeks,Number theorists,Ancient Greek astronomers,Librarians of Alexandria,Ancient Greek poets,Deaths by starvation,270s BC births

paragraph: Eratosthenes

paragraph: Eratosthenes of Cyrene (; , ;  – ) was a Greek polymath (mathematician, geographer, poet, astronomer, and music theorist). He was a man of learning, becoming the chief librarian at the Library of Alexandria. He invented the discipline of geography, including the terminology used today.

paragraph: He is best known for being the first person to calculate the circumference of the Earth, which he did by comparing angles of the mid-day Sun at two places a known North-South distance apart. His calculation was remarkably accurate. He was also the first to calculate the tilt of the Earth's axis, again with remarkable accuracy. Additionally, he may have accurately calculated the distance from the Earth to the Sun and invented the leap day. He created the first map of the world, incorporating parallels and meridians based on the available geographic knowledge of his era.

paragraph: Eratosthenes was the founder of scientific chronology; he endeavoured to revise the dates of the chief literary and political events from the conquest of Troy. Eratosthenes dated The Sack of Troy to 1183 BC. In number theory, he introduced the sieve of Eratosthenes, an efficient method of identifying prime numbers.

paragraph: He was a figure of influence in many fields. According to an entry in the Suda (a 10th-century reference), his critics scorned him, calling him "Beta" (the second letter of the Greek alphabet) because he always came in second in all his endeavors. Nonetheless, his devotees nicknamed him "Pentathlos" after the Olympians who were well rounded competitors, for he had proven himself to be knowledgeable in every area of learning. Eratosthenes yearned to understand the complexities of the entire world.

paragraph: Section::::Life.

paragraph: The son of Aglaos, Eratosthenes was born in 276 BC in Cyrene. Now part of modern-day Libya, Cyrene had been founded by Greeks centuries earlier and became the capital of Pentapolis (North Africa), a country of five cities: Cyrene, Arsinoe, Berenice, Ptolemias, and Apollonia. Alexander the Great conquered Cyrene in 332 BC, and following his death in 323 BC, its rule was given to one of his generals, Ptolemy I Soter, the founder of the Ptolemaic Kingdom. Under Ptolemaic rule the economy prospered, based largely on the export of horses and silphium, a plant used for rich seasoning and medicine. Cyrene became a place of cultivation, where knowledge blossomed. Like any young Greek, Eratosthenes would have studied in the local gymnasium, where he would have learned physical skills and social discourse as well as reading, writing, arithmetic, poetry, and music.

paragraph: Eratosthenes went to Athens to further his studies. There he was taught Stoicism by its founder, Zeno of Citium, in philosophical lectures on living a virtuous life. He then studied under Aristo of Chios, who led a more cynical school of philosophy. He also studied under the head of the Platonic Academy, who was Arcesilaus of Pitane. His interest in Plato led him to write his very first work at a scholarly level, "Platonikos", inquiring into the mathematical foundation of Plato's philosophies. Eratosthenes was a man of many perspectives and investigated the art of poetry under Callimachus. He was a talented and imaginative poet. He wrote poems: one in hexameters called "Hermes", illustrating the god's life history; and another, in elegiacs called "Erigone", describing the suicide of the Athenian maiden Erigone (daughter of Icarius). He wrote "Chronographies", a text that scientifically depicted dates of importance, beginning with the Trojan War. This work was highly esteemed for its accuracy. George Syncellus was later able to preserve from "Chronographies" a list of 38 kings of the Egyptian Thebes. Eratosthenes also wrote "Olympic Victors", a chronology of the winners of the Olympic Games. It is not known when he wrote his works, but they highlighted his abilities.

paragraph: These works and his great poetic abilities led the pharaoh Ptolemy III Euergetes to seek to place him as a librarian at the Library of Alexandria in the year 245 BC. Eratosthenes, then thirty years old, accepted Ptolemy's invitation and traveled to Alexandria, where he lived for the rest of his life. Within about five years he became Chief Librarian, a position that the poet Apollonius Rhodius had previously held. As head of the library Eratosthenes tutored the children of Ptolemy, including Ptolemy IV Philopator who became the fourth Ptolemaic pharaoh. He expanded the library's holdings: in Alexandria all books had to be surrendered for duplication. It was said that these were copied so accurately that it was impossible to tell if the library had returned the original or the copy.

paragraph: He sought to maintain the reputation of the Library of Alexandria against competition from the Library of Pergamum. Eratosthenes created a whole section devoted to the examination of Homer, and acquired original works of great tragic dramas of Aeschylus, Sophocles and Euripides.

paragraph: Eratosthenes made several important contributions to mathematics and science, and was a friend of Archimedes. Around 255 BC, he invented the armillary sphere. In "On the Circular Motions of the Celestial Bodies", Cleomedes credited him with having calculated the Earth's circumference around 240 BC, using knowledge of the angle of elevation of the Sun at noon on the summer solstice in Alexandria and on Elephantine Island near Syene (modern Aswan, Egypt).

paragraph: Eratosthenes believed there was good and bad in every nation and criticized Aristotle for arguing that humanity was divided into Greeks and barbarians, and that the Greeks should keep themselves racially pure. As he aged he contracted ophthalmia, becoming blind around 195 BC. Losing the ability to read and to observe nature plagued and depressed him, leading him to voluntarily starve himself to death. He died in 194 BC at 82 in Alexandria.

paragraph: Section::::Measurement of the Earth's circumference.

paragraph: Eratosthenes calculated the Earth's circumference without leaving Alexandria. He knew that at local noon on the summer solstice in Syene (modern Aswan, Egypt), the Sun was directly overhead. (Syene is at latitude 24°05′ North, near to the Tropic of Cancer, which was 23°42′ North in 100 BC.) He knew this because the shadow of someone looking down a deep well at that time in Syene blocked the reflection of the Sun on the water. He then measured the Sun's angle of elevation at noon in Alexandria by using a vertical rod, known as a gnomon, and measuring the length of its shadow on the ground. Using the length of the rod, and the length of the shadow, as the legs of a triangle, he calculated the angle of the Sun's rays. This turned out to be about 7°, or 1/50th the circumference of a circle. Taking the Earth as spherical, and knowing both the distance and direction of Syene, he concluded that the Earth's circumference was fifty times that distance.

paragraph: His knowledge of the size of Egypt was founded on the work of many generations of surveying trips. Pharaonic bookkeepers gave a distance between Syene and Alexandria of 5,000 stadia (a figure that was checked yearly). Some historians say that the distance was corroborated by inquiring about the time that it took to travel from Syene to Alexandria by camel. Some claim Eratosthenes used the Olympic stade of , which would imply a circumference of , an error of 10%, but the Italian stade became (300 years later) the most commonly accepted value for the length of the stade, which implies a circumference of , an error of 15%. He made five important assumptions (none of which are perfectly accurate):

paragraph: BULLET::::1. That the distance between Alexandria and Syene was 5000 stadia,

paragraph: BULLET::::2. That Alexandria is due north of Syene

paragraph: BULLET::::3. That Syene is on the Tropic of Cancer

paragraph: BULLET::::4. That the Earth is a perfect sphere.

paragraph: BULLET::::5. That light rays emanating from the Sun are parallel.

paragraph: Eratosthenes later rounded the result to a final value of 700 stadia per degree, which implies a circumference of 252,000 stadia, likely for reasons of calculation simplicity as the larger number is evenly divisible by 60. In 2012, Anthony Abreu Mora repeated Eratosthenes's calculation with more accurate data; the result was , which is different (0.16%) from the currently accepted polar circumference of the Earth.

paragraph: Section::::"Father of geography".

paragraph: Eratosthenes now continued from his knowledge about the Earth. Using his discoveries and knowledge of its size and shape, he began to sketch it. In the Library of Alexandria he had access to various travel books, which contained various items of information and representations of the world that needed to be pieced together in some organized format. In his three-volume work "Geography" (), he described and mapped his entire known world, even dividing the Earth into five climate zones: two freezing zones around the poles, two temperate zones, and a zone encompassing the equator and the tropics. He had invented geography. He created terminology that is still used today. He placed grids of overlapping lines over the surface of the Earth. He used parallels and meridians to link together every place in the world. It was now possible to estimate one's distance from remote locations with this network over the surface of the Earth. In the "Geography" the names of over 400 cities and their locations were shown: this had never been achieved before. Unfortunately, his "Geography" has been lost to history, but fragments of the work can be pieced together from other great historians like Pliny, Polybius, Strabo, and Marcianus.

paragraph: BULLET::::- The first book was something of an introduction and gave a review of his predecessors, recognizing their contributions that he compiled in the library. In this book Eratosthenes denounced Homer as not providing any insight into what he now described as geography. His disapproval of Homer's topography angered many who believed the world depicted in the "Odyssey" to be legitimate. He also commented on the ideas of the nature and origin of the Earth: he had thought of Earth as an immovable globe; while on its surface was a place that was changing. He had hypothesized that at one time the Mediterranean was a vast lake that covered the countries that surrounded it; and had only become connected to the ocean to the west when a passage had opened up sometime in its history.

paragraph: BULLET::::- In the second book is his discovery about the circumference of the Earth. This is where, according to Pliny, "The world was grasped." Eratosthenes described his famous story of the well in Syene, described above. This book would now be considered a text on mathematical geography.

paragraph: BULLET::::- His third book of the "Geography" contained political geography. He cited countries and used parallel lines to divide the map into sections, to give accurate descriptions of the realms. This was a breakthrough, and can be considered the beginning of geography.

paragraph: Section::::Achievements.

paragraph: Eratosthenes was described by the Suda Lexicon as a Πένταθλος (Pentathlos) which can be translated as "All-Rounder", for he was skilled in a variety of things: He was a true polymath. He was nicknamed Beta because he was great at many things and tried to get his hands on every bit of information but never achieved the highest rank in anything; Strabo accounts Eratosthenes as a mathematician among geographers and a geographer among mathematicians.

paragraph: BULLET::::- Eusebius of Caesarea in his "Preparatio Evangelica" includes a brief chapter of three sentences on celestial distances (Book XV, Chapter 53). He states simply that Eratosthenes found the distance to the Sun to be "" (literally "of stadia myriads 400 and 80,000") and the distance to the Moon to be 780,000 stadia. The expression for the distance to the Sun has been translated either as 4,080,000 stadia (1903 translation by E. H. Gifford), or as 804,000,000 stadia (edition of Edouard des Places, dated 1974–1991). The meaning depends on whether Eusebius meant 400 myriad plus 80,000 or "400 and 80,000" myriad. With a stade of , 804,000,000 stadia is , approximately the distance from the Earth to the Sun.

paragraph: BULLET::::- Eratosthenes also calculated the Sun's diameter. According to Macrobious, Eratosthenes made the diameter of the Sun to be about 27 times that of the Earth. The actual figure is approximately 109 times.

paragraph: BULLET::::- During his time at the Library of Alexandria, Eratosthenes devised a calendar using his predictions about the ecliptic of the Earth. He calculated that there are 365 days in a year and that every fourth year there would be 366 days.

paragraph: BULLET::::- He was also very proud of his solution for Doubling the Cube. His motivation was that he wanted to produce catapults. Eratosthenes constructed a mechanical line drawing device to calculate the cube, called the mesolabio. He dedicated his solution to King Ptolemy, presenting a model in bronze with it a letter and an epigram. Archimedes was Eratosthenes' friend and he, too, worked on the war instrument with mathematics. Archimedes dedicated his book "The Method" to Eratosthenes, knowing his love for learning and mathematics.

paragraph: Section::::Prime numbers.

paragraph: Eratosthenes proposed a simple algorithm for finding prime numbers. This algorithm is known in mathematics as the Sieve of Eratosthenes.

paragraph: In mathematics, the sieve of Eratosthenes (Greek: κόσκινον Ἐρατοσθένους), one of a number of prime number sieves, is a simple, ancient algorithm for finding all prime numbers up to any given limit. It does so by iteratively marking as composite, "i.e.", not prime, the multiples of each prime, starting with the multiples of 2. The multiples of a given prime are generated starting from that prime, as a sequence of numbers with the same difference, equal to that prime, between consecutive numbers. This is the sieve's key distinction from using trial division to sequentially test each candidate number for divisibility by each prime.

paragraph: Section::::Works.

paragraph: Eratosthenes was one of the most pre-eminent scholarly figures of his time, and produced works covering a vast area of knowledge before and during his time at the Library. He wrote on many topics — geography, mathematics, philosophy, chronology, literary criticism, grammar, poetry, and even old comedies. Unfortunately, there are only fragments left of his works after the destruction of the Library of Alexandria.

paragraph: Section::::Works.:Titles.

paragraph: BULLET::::- "Platonikos"

paragraph: BULLET::::- "Hermes"

paragraph: BULLET::::- "Erigone"

paragraph: BULLET::::- "Chronographies"

paragraph: BULLET::::- "Olympic Victors"

paragraph: BULLET::::- "Περὶ τῆς ἀναμετρήσεως τῆς γῆς" ("On the Measurement of the Earth") (lost, summarized by Cleomedes)

paragraph: BULLET::::- "Гεωγραϕικά" ("Geographika") (lost, criticized by Strabo)

paragraph: BULLET::::- "Arsinoe" (a memoir of queen Arsinoe; lost; quoted by Athenaeus in the "Deipnosophistae")

paragraph: BULLET::::- "Ariston" (concerning Aristo of Chios' addiction to luxury); lost; quoted by Athenaeus in the "Deipnosophistae")

paragraph: BULLET::::- A fragmentary collection of Hellenistic myths about the constellations, called "Catasterismi" ("Katasterismoi"), was attributed to Eratosthenes, perhaps to add to its credibility.

paragraph: Section::::See also.

paragraph: Section::::See also.:Eponyms.

paragraph: BULLET::::- Eratosthenes (crater) on the Moon

paragraph: BULLET::::- Eratosthenian period in the lunar geologic timescale

paragraph: BULLET::::- Eratosthenes Seamount in the eastern Mediterranean Sea

paragraph: Section::::Further reading.

paragraph: BULLET::::- Aujac, G. (2001). "Eratosthène de Cyrène, le pionnier de la géographie". Paris: Édition du CTHS. 224p.

paragraph: BULLET::::- Fuentes González, P. P., "Ératosthène de Cyrène", in R. Goulet (ed.), "Dictionnaire des Philosophes Antiques", vol. III, Paris, Centre National de la Recherche Scientifique, 2000, pp. 188–236.

paragraph: BULLET::::- Geus K. (2002). "Eratosthenes von Kyrene. Studien zur hellenistischen Kultur- und Wissenschaftgeschichte". München: Verlag C.H. Beck. (Münchener Beiträge zur Papyrusforschung und antiken Rechtsgeschichte. Bd. 92) X, 412 S.

paragraph: BULLET::::- Honigmann, E. (1929). "Die sieben Klimata und die πολεις επισημοι". Eine Untersuchung zur Geschichte der Geographie und Astrologie in Altertum und Mittelalter. Heidelberg: Carl Winter's Universitätsbuchhandlung. 247 S.

paragraph: BULLET::::- Marcotte, D. (1998). "La climatologie d'Ératosthène à Poséidonios: genèse d'une science humaine". G. Argoud, J.Y. Guillaumin (eds.). "Sciences exactes et sciences appliquées à Alexandrie (IIIe siècle av J.C. – Ier ap J.C.)". Saint Etienne: Publications de l'Université de Saint Etienne: 263–277.

paragraph: BULLET::::- McPhail, Cameron (2011). "Reconstructing Eratosthenes' Map of the World: a Study in Source Analysis". A Thesis Submitted for the Degree of Master of Arts at the University of Otago. Dunedin, New Zealand.

paragraph: BULLET::::- Shcheglov, D.A. (2004/2006). "Ptolemy's System of Seven Climata and Eratosthenes' Geography". "Geographia Antiqua" 13: 21–37.

paragraph: BULLET::::- Thalamas, A. (1921). "La géographe d'Ératosthène". Versailles.

paragraph: Section::::External links.

paragraph: BULLET::::- English translation of the primary source for Eratosthenes and the size of the Earth at Roger Pearse.

paragraph: BULLET::::- Bernhardy, Gottfried: "Eratosthenica"  Berlin, 1822 (PDF) (Latin/Greek), Reprinted Osnabruck 1968 (German)

paragraph: BULLET::::- Eratosthenes' sieve in Javascript

paragraph: BULLET::::- About Eratosthenes' methods, including a Java applet

paragraph: BULLET::::- How the Greeks estimated the distances to the Moon and Sun

paragraph: BULLET::::- Measuring the Earth with Eratosthenes' method

paragraph: BULLET::::- List of ancient Greek mathematicians and contemporaries of Eratosthenes

paragraph: BULLET::::- New Advent Encyclopedia article on the Library of Alexandria

paragraph: BULLET::::- Eratosthenes' sieve in classic BASIC all-web based interactive programming environment

paragraph: BULLET::::- International pedagogical project : project .

paragraph: BULLET::::- Open source Physics Computer Model about Eratosthenes estimation of radius and circumference of Earth

paragraph: BULLET::::- Eratosthenes, video

description: ancient Greek scientist

enwikiquote_title: Eratosthenes

wikidata_label: Eratosthenes

wikipedia_title: Eratosthenes


text: New Orleans blues

text: The Things That I Used to Do

text: Johnny Vincent

text: Specialty Records

text: rock and roll

text: distorted

text: Jimi Hendrix

text: Greenwood, Mississippi

text: teen years

text: juke joint

text: World War II

text: New Orleans

text: Willie D. Warren

text: T-Bone Walker

text: Clarence "Gatemouth" Brown

text: amplifier

text: distortion

text: Muddy Waters

text: rhythm and blues

text: Ray Charles

text: covered

text: The Things That I Used to Do

text: Art Rupe

text: Specialty Records

text: number one on the "Billboard" R&B chart

text: blues standard

text: soul music

text: Imperial

text: Bullet

text: Specialty

text: Atco

text: alcoholic

text: pneumonia

text: Thibodaux, Louisiana

text: Buddy Guy

text: Albert Collins

text: Frank Zappa

text: Jimi Hendrix

text: Steve Stills

text: Stevie Ray Vaughan

text: cover version

text: Guitar Slim, Jr.

text: All Music

text: Cascade Blues

categories: Rock and roll musicians,African-American rock musicians,Deaths from pneumonia,20th-century American singers,Blues musicians from New Orleans,Imperial Records artists,African-American singers,Singers from Louisiana,1959 deaths,Guitarists from Mississippi,African-American guitarists,American male guitarists,1926 births,Guitarists from Louisiana,20th-century American guitarists,American blues singers,American blues guitarists,Specialty Records artists,Blues musicians from Mississippi

paragraph: Guitar Slim

paragraph: Eddie Jones (December 10, 1926 – February 7, 1959), better known as Guitar Slim, was a New Orleans blues guitarist in the 1940s and 1950s, best known for the million-selling song "The Things That I Used to Do", produced by Johnny Vincent for Specialty Records. It is listed in the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll. Slim had a major impact on rock and roll and experimented with distorted overtones on the electric guitar a full decade before Jimi Hendrix.

paragraph: Section::::Biography.

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

paragraph: Jones was born in Greenwood, Mississippi. His mother died when he was five, and he was raised by his grandmother. In his teen years he worked in cotton fields and spent his free time at juke joints, where he started sitting in as a singer or dancer; he was good enough as a dancer that he was nicknamed "Limber Leg".

paragraph: Section::::Biography.:Recording career.

paragraph: After returning from military service during World War II, he started playing in clubs around New Orleans, Louisiana. Bandleader Willie D. Warren introduced him to the guitar. He was particularly influenced by T-Bone Walker and Clarence "Gatemouth" Brown. About 1950 he adopted the stage name Guitar Slim and became known for his wild stage act. He wore bright-colored suits and dyed his hair to match them. He had an assistant who followed him around the audience with up to 350 feet of cord between his guitar and his amplifier, and occasionally rode on his assistant's shoulders or even took his guitar outside the club, bringing traffic to a stop. His sound was just as unusual—he played his guitar with distortion more than a decade before rock guitarists did, and his gospel-influenced vocals were easily identifiable.

paragraph: He got together with Muddy Waters in Los Angeles, California, for some lively playing.

paragraph: Section::::Biography.:Recordings.

paragraph: His first recording session was in 1951. He had a minor rhythm and blues hit in 1952 with "Feelin' Sad", which Ray Charles covered. His biggest success was "The Things That I Used to Do" (1954), produced by the young Ray Charles and released by Art Rupe's Specialty Records. The song spent weeks at number one on the "Billboard" R&B chart and sold over a million copies, soon becoming a blues standard. It also contributed to the development of soul music.

paragraph: He recorded for several labels, including Imperial, Bullet, Specialty, and Atco.

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

paragraph: His career having faded, Jones became an alcoholic. He died of pneumonia in New York City, at the age of 32. He is buried in a small cemetery in Thibodaux, Louisiana, where his manager, Hosea Hill, resided.

paragraph: Section::::Biography.:Influence.

paragraph: Buddy Guy, Albert Collins and Frank Zappa were influenced by Guitar Slim. So was Jimi Hendrix, who recorded a version of "The Things That I Used to Do", with Steve Stills playing bass guitar, in 1969.

paragraph: Stevie Ray Vaughan also recorded a cover version of the song.

paragraph: One of Jones's sons bills himself as Guitar Slim, Jr. around the New Orleans circuit. His repertoire includes many of his father's songs.

paragraph: Section::::Biography.:Other users of the name.

paragraph: Other musicians have used the nickname Guitar Slim. The North Carolina blues guitarist James Stephens had several releases under this billing. Joe Richardson, often billed as "Tender Slim", released records credited to Tender Guitar Slim and Fender Guitar Slim. Edgar Moore, also of North Carolina, used the name as a soul musician.

paragraph: Section::::External links.

paragraph: BULLET::::- All Music

paragraph: BULLET::::- Cascade Blues

description: American blues musician

wikidata_label: Guitar Slim

wikipedia_title: Guitar Slim


text:
Selma, Alabama
short stories
horror
Baptist
Mobile, Alabama
American Civil War
slaves
Birmingham
The Argonaut
Ambrose Bierce
William Randolph Hearst
Mussel Slough Tragedy
public relations
Southern Pacific Railroad
S. T. Joshi
Cabaret de L'Enfer
Cabaret du Néant
Cabaret du Ciel

wikipedia_title:
Selma, Alabama
Short story
Horror fiction
Baptists
Mobile, Alabama
American Civil War
Slavery in the United States
Birmingham, Alabama
The Argonaut
Ambrose Bierce
William Randolph Hearst
Mussel Slough Tragedy
Public relations
Southern Pacific Transportation Company
S. T. Joshi
Cabaret de L'Enfer
Cabaret du Néant
Cabaret du Ciel

categories: 1854 births,People from Selma, Alabama,1923 deaths,19th-century American short story writers,American male short story writers,19th-century American male writers,20th-century American novelists,19th-century American novelists,American male novelists,American horror writers,American mystery writers,20th-century American short story writers

paragraph: W. C. Morrow

paragraph: William Chambers Morrow (7 July 1854, Selma, Alabama – 1923) was an American writer, now noted mainly for his short stories of horror and suspense. He is probably best known for the much-anthologised story "His Unconquerable Enemy" (1889), about the implacable revenge of a servant whose limbs have been amputated on the orders of a cruel rajah.

paragraph: Section::::Biography.

paragraph: Morrow's father was a Baptist minister and the owner of a farm and of a hotel in Mobile, Alabama. The American Civil War meant that the family lost its slaves and by 1876 the young Morrow was running the hotel, having graduated from Howard College (now Samford University) in Birmingham at the age of fifteen.

paragraph: Morrow moved west to California in 1879 and began selling stories to "The Argonaut", where Ambrose Bierce was just terminating a two-year period of employment. Bierce was an enthusiast of Morrow's stories (in one of his squibs, a nervous reader declares, "I have one of Will Morrow's tales in my pocket, but I don't dare to go where there is light enough to read it"), and in 1887 probably recommended William Randolph Hearst to approach Morrow for material for the "San Francisco Examiner". Several of Morrow's most notable tales appeared in this newspaper.

paragraph: Morrow married Lydia E. Houghton in 1881. They had one child, which was either stillborn or died in infancy.

paragraph: His first novel, "Blood-Money" (1882), about the Mussel Slough Tragedy, was an indictment of the conduct of California railroad companies which were forcing settlers off their land. It gained little attention, and in fact Morrow took a position in the public relations department of the Southern Pacific Railroad some nine years later. A mystery/suspense novel, "A Strange Confession", was serialized in the "Californian" in 1880-81, but was never published in book form. His stories were collected in "The Ape, the Idiot and Other People" in 1897, but he published few stories thereafter. The book is now a much sought-after collectors' item.

paragraph: By 1899 Morrow had begun a school for writers, and in 1901 he produced a pamphlet, "The Art of Writing for Publication". Bierce commented that:

paragraph: Morrow published two romantic adventure novels, "A Man; His Mark" (1900) and "Lentala of the South Seas" (1908); an apparently journalistic work called "Bohemian Paris of Today", from "notes by Edouard Cucuel", and a short travel booklet, "Roads Around Paso Robles" (1904).

paragraph: A critical essay on Morrow's work can be found in S. T. Joshi's book "The Evolution of the Weird Tale" (2004), from which the above information is taken.

paragraph: Section::::Bibliography.

paragraph: Section::::Bibliography.:Short story collections.

paragraph: BULLET::::- "The Ape, the Idiot and Other People" (1897)

paragraph: BULLET::::- "The Monster Maker and Other Stories" (ed. S. T. Joshi and Stefan Dziemianowicz) (2000)

paragraph: Section::::Bibliography.:Novels.

paragraph: BULLET::::- "A Strange Confession" (1880–81; newspaper serial)

paragraph: BULLET::::- "Blood-Money" (1882)

paragraph: BULLET::::- "A Man; His Mark: A Romance" (1900)

paragraph: BULLET::::- "Lentala of the South Seas" (1908)

paragraph: Section::::Bibliography.:Further reading.

paragraph: BULLET::::- "W.C. Morrow: Horror in San Francisco" in S.T. Joshi, "The Evolution of the Weird Tale" NY: Hippocampus Press, 2004, 13-17.

paragraph: BULLET::::- "Bohemian Paris of To-day" by W. C. Morrow

paragraph: Section::::See also.

paragraph: BULLET::::- Cabaret de L'Enfer

paragraph: BULLET::::- Cabaret du Néant

paragraph: BULLET::::- Cabaret du Ciel

description: American writer

wikidata_label: W. C. Morrow

wikipedia_title: W. C. Morrow


text:
plein-air
Heidelberg School
New York
Sydney
Melbourne
suffragette
May Vale
Alphington
Box Hill
Tom Roberts
Arthur Streeton
Charles Conder
Clara Southern
9 by 5 Impression Exhibition
Heidelberg School
David Davies
William Sutherland
Ruth Sutherland
Art Gallery of South Australia
Ballarat Fine Art Gallery
National Gallery of Australia
National Gallery of Victoria

wikipedia_title:
En plein air
Heidelberg School
New York (state)
Sydney
Melbourne
Suffragette
May Vale
Alphington, Victoria
Box Hill, Victoria
Tom Roberts
Arthur Streeton
Charles Conder
Clara Southern
9 by 5 Impression Exhibition
Heidelberg School
David Davies (artist)
William Sutherland (physicist)
Ruth Sutherland
Art Gallery of South Australia
Art Gallery of Ballarat
National Gallery of Australia
National Gallery of Victoria

categories: Heidelberg School,Australian women painters,1853 births,19th-century women,Australian landscape painters,Burials at Box Hill Cemetery,Australian Impressionist painters,19th-century women artists,1928 deaths,Australian people of Scottish descent

paragraph: Jane Sutherland

paragraph: Jane Sutherland (26 December 1853 - 25 July 1928) was an Australian landscape painter who was part of the pioneering plein-air movement in Australia, and a member of the Heidelberg School. Her advocacy to advance the professional standing of female artists during the late nineteenth century was also a notable achievement.

paragraph: Section::::Early life.

paragraph: Jane Sutherland was born in New York to Scottish parents; the family emigrated to Sydney in 1864 and moved to Melbourne in 1870. The Sutherland family soon became an important part in the formation of Melbourne’s cultural influence in Australia. Uncommon at the time, Sutherland had the support and encouragement from her family to pursue a career as an artist. Due to the support of her family, Sutherland was able to live comfortably as an unmarried, working woman.

paragraph: In the late nineteenth century, there were two contrasting movements concerning women’s education. The first being the view that a woman’s role and purpose was reproduction; their importance was valued by their maternal care.

paragraph: The second view came from the Australian suffragette movement, which not only called for the female right to vote, but the need for equal education to access confidence, achievement and employment. This included the visual arts and gradually saw the inclusion of women into the National Gallery School. The intrepid leader that was Sutherland, had enrolled as early as 1871, a good 14 years before the Women’s Suffrage Society was formed in Melbourne. Unlike fields such as medicine, the study of visual arts was considered an easier area to transition into as it was already considered a suitable hobby for upper-class women. The likelihood of female artist being equal to a male artist in commission, exhibitions and respect was harder to gain.

paragraph: Section::::Career.

paragraph: From 1878, Sutherland exhibited at the Victorian Academy of Arts, then with the Australian Artists’ Association, and with the Victorian Artists’ Society (from 1888) until 1911.

paragraph: By the standards of the time, she was held in high regard for her artistry, which was supported by the fact she was reviewed on the same terms as male artists, rather than grouped in a general remark of works by lady artists in an exhibition. Critics justified the distinction due to Sutherland’s landscapes being a comparable to the strong form of male artist’s work.

paragraph: In 1884 she became one of the first women members of the Buonarotti Society, and in 1900 she and May Vale were the first women elected as Councillors of the Victorian Artists’ Society. During her years of active work, she was valued for her efforts in the visual arts scene of Melbourne.

paragraph: Sutherland was the leading female artist in the group of Melbourne painters who worked outside the studio; she took plein-air sketching trips to the outlying rural districts of Alphington, Templestowe and Box Hill with her male contemporaries of the Heidelberg School. Unlike her contemporaries, Tom Roberts, Arthur Streeton and Charles Conder, Sutherland, as a female, was unable to stay with the men at the campsites overnight, and instead made day journeys to the campsites.

paragraph: From 1888, Sutherland shared a studio for teaching with artist Clara Southern. The studio at Grosvenor Chambers in Collins Street, Melbourne, was considered a centre for the Heidelberg School with Tom Roberts and Jane Price later securing studios there.

paragraph: Jane Sutherland and Clara Southern both created works for 9 by 5 Impression Exhibition held in Melbourne, 1889. The exhibition held many works by artists from the Heidelberg School and is considered the beginning of the style known as Australian Impressionism. However, Sutherland’s and Southern’s works were not exhibited. There is a continuing debate, highlighted by art historians Juliet Peers and Humphrey McQueen, if the exclusion of Sutherland and Southern was due to gender roles of the time or merely that their work did not fit the curator’s, Elsie Goode, overall vision.

paragraph: Sutherland’s body of work mainly focus on Australian landscapes with the inclusion of women and children interacting with nature. Narrative is suggestive in her works as she leaves an impression of the land and her figures turn away from the viewer.

paragraph: Despite her efforts and success, Sutherland found difficulties in being considered a serious and professional artist. Sutherland was force to price her paintings at a tenth of the value of her male peers. In one example from 1894 exhibition, Sutherland’s work "To the Dandenong" asking price was eighteen guineas, while David Davies sold his piece "Moonrise" for seventy-five pounds.

paragraph: Section::::Illness and Death.

paragraph: In the early years of the 1900s, Sutherland suffered from a serious stroke and became fully reliant upon the care of her brother, William Sutherland. With William’s assistance for mobility, Sutherland was able to continue painting and exhibiting her work as well as teach art to a new generation. However, the impact of her illness can be seen by the diminishing the size of her works, from large canvases to small pastels.

paragraph: Following William’s death in 1911, Sutherland was forced to retire and remained so until her death in 1928. Unable to paint, it was during these years that she was gradually forgotten during the turn of the century. By the time of her passing on the 28th of July, there was little to no public acknowledgment.

paragraph: Section::::Legacy.

paragraph: Jane Sutherland was an important figure in a generation of Australian women who chose to create professional careers over marriage and creating a family. Her niece Ruth Sutherland was a painter. While little is known of her personality and motivations, Sutherland’s art now resides in national institutions for continuous interpretation.

paragraph: Section::::Awards.

paragraph: Wallen Prize, National Gallery School, Annual Students’ Exhibition, 1883

paragraph: Section::::Representation.

paragraph: Art Gallery of South Australia

paragraph: Ballarat Fine Art Gallery

paragraph: LaTrobe Library Picture Collection

paragraph: National Gallery of Australia

paragraph: National Gallery of Victoria

paragraph: Newcastle Region Art Gallery

paragraph: Northern Territory Museum and Art Gallery

paragraph: State Library of Victoria, Melbourne

paragraph: University of Melbourne Art Museum

paragraph: Section::::References.

paragraph: BULLET::::- Burke, Janine. "Australian Women Artists 1840-1940". Victoria: Greenhouse Publications Pty Ltd, 1980.

paragraph: BULLET::::- Hammond, Victoria and Peers, Juliet. "Completing the Picture". Victoria: Artmovers, 1992.

paragraph: BULLET::::- Kerr, Joan. "Heritage: The National Woman’s Art Book". Australia: G+B Arts International Limited, 1995.

paragraph: BULLET::::- Lindsay, Frances. "Sutherland". Melbourne: Victorian College of the Arts, 1977.

paragraph: BULLET::::- National Gallery of Victoria. "Completing the Picture: Woman Artists and the Heidelberg Era". Parkdale: Artmovers Inc. 1992.

paragraph: BULLET::::- Peers, Juliet “The Leader Amongst the Lady Artists”. "Australian Journal of Art", Volume 14, 1999.

paragraph: BULLET::::- Whimpress, Bernard. "Heidelberg School". South Australia: Axiom Distributors, 2013.

paragraph: BULLET::::- Notes

paragraph: Section::::External links.

paragraph: BULLET::::- "Field Naturalists, 1896" at The National Gallery of Victoria

paragraph: BULLET::::- "A Cabbage Garden, 1896" at The National Gallery of Australia

paragraph: BULLET::::- "After Autumn Rain", Private Collection

paragraph: BULLET::::- "Obstruction, Box Hill, 1887" at The Art Gallery of Ballarat

alias:
Miss Sutherland
II Jane Sutherland
Jane, II Sutherland

description: Australian artist

wikidata_label: Jane Sutherland

wikipedia_title: Jane Sutherland


text:
PC
FRSE
Scottish
Lord Advocate
John Cameron, Lord Cameron
Senator of the College of Justice
Edinburgh
Edinburgh Academy
Corpus Christi, Oxford
University of Edinburgh
Advocate
Queen's Counsel
Pensions Appeal Tribunal
Scotland
Advocate Depute
Lord Advocate
Great Officers of State
life peer
Loch Broom
Ross and Cromarty
Privy Counsellor
Senator of the College of Justice
Royal Fine Art Commission for Scotland
Royal Society of Edinburgh
Edinburgh University Sports Union

categories: Crossbench life peers,Living people,1931 births,Fellows of Corpus Christi College, Oxford,Fellows of the Royal Society of Edinburgh,Senators of the College of Justice,Lord Advocates,Members of the Privy Council of the United Kingdom,People educated at Edinburgh Academy,Alumni of Corpus Christi College, Oxford,People from Edinburgh,Alumni of the University of Edinburgh

paragraph: Kenneth Cameron, Baron Cameron of Lochbroom

paragraph: Kenneth John Cameron, Baron Cameron of Lochbroom, PC, FRSE (born 11 June 1931) is a retired Scottish judge who served as Lord Advocate from 1984 to 1989.

paragraph: Section::::Early life.

paragraph: He is the son of John Cameron, Lord Cameron (1900-1996), a Senator of the College of Justice.

paragraph: Born in Edinburgh, he was educated at Edinburgh Academy, at Corpus Christi, Oxford and at the University of Edinburgh.

paragraph: Section::::Judicial career.

paragraph: He became an Advocate in 1958 and Queen's Counsel in 1972. He was appointed President of the Pensions Appeal Tribunal for Scotland in 1976, and Chairman of the Committee of Investigation under the Agricultural Marketing Act 1958 in 1980.

paragraph: Section::::Judicial career.:Lord Advocate.

paragraph: Cameron was an Advocate Depute from 1981 and was appointed Lord Advocate in 1984, one of the Great Officers of State of Scotland, when he was also created a life peer as Baron Cameron of Lochbroom, of Loch Broom in the District of Ross and Cromarty, and a Privy Counsellor in 1984. He retired from the Lords on 21 April 2016.

paragraph: Section::::Retirement.

paragraph: Lord Cameron of Lochbroom held office as Lord Advocate until 1989 when he was appointed a Senator of the College of Justice.

paragraph: Section::::Arts and culture.

paragraph: Lord Cameron of Lochbroom was Chairman of the Royal Fine Art Commission for Scotland from 1995 until its abolition in 2005, and is a Fellow of the Royal Society of Edinburgh. He is the current Honorary President of Edinburgh University Sports Union.

paragraph: Section::::Sources.

paragraph: BULLET::::- Who's Who in Scotland, 2009

description: British politician


text:
Amasya
Ottoman Empire
Islamic calligraphy
Bâyezïd
Sultan Mehmed, the Conqueror
Yaqut al-Musta'simi
nashk
Yaqut al-Musta'simi
Hâfiz Osman
Mus'haf
Quran
En'am
Evrad
Juz'
Karacaahmet Cemetery
Üsküdar
Istanbul
Topkapi Collection
Mustafa Âlî
Culture of the Ottoman Empire
Islamic art
Islamic calligraphy
List of Ottoman calligraphers
Ottoman art

categories: Burials at Karacaahmet Cemetery,Muslim artists,15th-century artists of the Ottoman Empire,1436 births,Calligraphers of the Ottoman Empire,1520 deaths

paragraph: Sheikh Hamdullah

paragraph: Sheikh Hamdullah (1436–1520) (), born in Amasya, Ottoman Empire, was a master of Islamic calligraphy.

paragraph: Section::::Life and work.

paragraph: Sheikh Hamdullah was born in Amasya, a north-central town in Anatolia. His father, Mustafa Dede, was the Sheik of the Suhreverdi, a group that had migrated to Amasya from Central Asia.

paragraph: In Amasya, he studied the six scripts under the tutelage of Hayreddin Mar'asi. He learned the traditional method of the old masters, but struggled to reproduce it. While studying, he met Bâyezïd, the son of Sultan Mehmed, the Conqueror who was a fellow student, and the pair became friends. When Bâyezïd assumed the throne in 1481, following his father's death, he invited his friend, Sheikh Hamdullah, to the capital, Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace.

paragraph: In 1485, Bâyezïd II acquired seven works by the great calligrapher, Yaqut al-Musta'simi. Bâyezïd then encouraged his court calligrapher, Hamdullah, to devise a new script, inspired by the acquisition. Hamdullah regarded al-Musta'simi's work as unsurpassable, but at Bâyezïd's insistence, Hamdullah reluctantly agreed. Scholars have suggested that Bâyezïd's enthusiasm for a new script was symbolic of his desire to establish a new empire and a new dynasty.

paragraph: Hamdullah underwent a period of reclusion during which time he claimed that a prophet taught him the new scripts in a vision. He ultimately recodified and refined the "nashk" style of calligraphy, originally developed by Yaqut al-Musta'simi. Hamdullah's scripts were more elegant, balanced and legible. From 1500, the majority of Q'rans adopted Hamdallah's new style, which became known as the "Ottoman style" or "Seyh's manner'. For this, he is often considered to be the "father of Ottoman calligraphy". His many students spread his style throughout the Ottoman Empire. His style endured for 150 years, making him one of the greatest Ottoman calligraphers of all time. As much as two centuries later, students of calligraphy such as Hâfiz Osman continued to copy his works assiduously as part of their training.

paragraph: He devoted his whole life to the art of calligraphy, continuing to produce works well into his 80s. He produced 47 Mus'hafs, book of Quran, and innumerable En'ams, Evrads and Juz', a number of which are held in the collection of the Topkapi Palace. His inscriptions also decorate the Bâyezïd, Firuzaga and Davud Mosques in Istanbul and the Bâyezïd Mosque in Erdine.

paragraph: His son, Mawlana Dede Chalabi, became a calligrapher after studying with Hamdallah (his father) and Hamdallah's daughter, whose name is unknown, married a calligrapher by the name of Shukrullah Halife of Amasya, who had also been one of her father's pupils. Hamdullah's grandsons also became calligraphers; Pir Muhammad Dede (d. 986/1580, son of Hamdallah's daughter) and Dervish Muhammad (d. 888/1483, son of Mawlana Dede).

paragraph: As his reputation grew, many myths to his abilities outside calligraphy sprang up. It was said that he was a great archer, falconer, swimmer and even an extraordinary tailor.

paragraph: He died in Istanbul in 1520 and was buried at Karacaahmet Cemetery in the district of Üsküdar at Istanbul. Surviving examples of his works are held in the Topkapi Collection.

paragraph: Section::::Legacy.

paragraph: Biographical dictionaries outlining the lineages of calligraphers emerged as a small, but important literary genre in the 16th and 17th-centuries. In these works, a tradition of tracing an unbroken line of master-pupil relationships back to Sheikh Hamdullah, the man who was seen as the father of Ottoman calligraphy, is evident. These 'genealogies' continue to be published into the present.

paragraph: Examples of these calligraphic genealogies include:

paragraph: BULLET::::- Mustafa Âlî, "Epic Deeds of Artists," first published in 1587

paragraph: BULLET::::- Nefes-zade Ibrahim Efendi (d. 1650), "Gülzâr-i Savâb" [The Rose-garden of Proper Conduct], first published c. 1640

paragraph: BULLET::::- Sayocluzâde Mehmed Necîb (d. 1757), "Devhatü’l-küttâb" (دوحة الكتّاب) [Genealogy of the Scribes, sometimes translated as the Great Tree of Penmen], first published c. 1737

paragraph: BULLET::::- Müstakim-zade Süleyman Sa'deddin Efendi, "Tuhfei Hattatin" [Present for Calligraphers or sometimes translated as Choice Gift for Calligraphers], first published c. 1788

paragraph: BULLET::::- "The Genealogy of Ottoman Calligraphers" in: M. Uğur Derman (ed.), "Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection," New York, Harry Abrams, 2010, pp 186–189

paragraph: Section::::See also.

paragraph: BULLET::::- Culture of the Ottoman Empire

paragraph: BULLET::::- Islamic art

paragraph: BULLET::::- Islamic calligraphy

paragraph: BULLET::::- List of Ottoman calligraphers

paragraph: BULLET::::- Ottoman art

alias:
Shaykh Hamdulah ibn Mustafaa Ded
Scheikh Hamdulla
Seyh Hamdullah
Şeyh Hamdullah
Qiblet-el-Kuttab

description: Ottoman calligrapher

wikidata_label: Sheikh Hamdullah

wikipedia_title: Sheikh Hamdullah


text: Portuguese

text: Jew

text: physician

text: Herophilus

text: Galen

text: Ibn al-Nafis

text: Michael Servetus

text: Realdo Colombo

text: William Harvey

text: circulation of the blood

text: Castelo Branco

text: Portugal

text: Marrano

text: University of Salamanca

text: Portugal

text: Inquisition

text: Antwerp

text: Netherlands

text: France

text: Italy

text: Venice

text: Jacob Mantino

text: Ferrara

text: anatomy

text: Giambattista Canano

text: Jean Baptiste Cananus

text: Ancona

text: Pope Julius III

text: Pesaro

text: Ragusa

text: Thessaloniki

text: Ottoman Empire

text: circulation of the blood

text: Azygos vein

text: venous valves

text: University of Ferrara

text: Giambattista Canano

text: Avicenna

text: Wolf, Johann Christoph

text: Carmoly, Eliakim

text: Steinschneider, Moritz

text: Hermann Vogelstein

text: Paul Rieger

text: Short biography

categories: Portuguese emigrants to the Ottoman Empire,People from Castelo Branco, Portugal,Greek people of Portuguese descent,16th-century Portuguese people,Medieval Portuguese Jews,Portuguese anatomists,1511 births,Medieval Italian Jews,Italian people of Portuguese descent,16th-century Latin-language writers,16th-century Jewish physicians,People of the Ottoman Empire of Portuguese descent,Jews of the Ottoman Empire,16th-century Portuguese physicians,University of Ferrara alumni,Portuguese Renaissance writers,University of Salamanca alumni,16th-century Italian physicians,1568 deaths

paragraph: Amato Lusitano

paragraph: João Rodrigues de Castelo Branco, better known as Amato Lusitano and Amatus Lusitanus (1511–1568), was a notable Portuguese Jewish physician of the 16th century. Like Herophilus, Galen, Ibn al-Nafis, Michael Servetus, Realdo Colombo and William Harvey, he is credited as making a discovery in the circulation of the blood. He is said to have discovered the function of the valves in the circulation of the blood.

paragraph: Section::::Life.

paragraph: Lusitano was born in 1511 in Castelo Branco, Portugal. He was a descendant of a Marrano family called "Chabib" (= "Amatus", "beloved" in Latin), and was brought up in the Jewish faith. After having graduated with honors as M.D. from the University of Salamanca, he was unable to return Portugal for fear of the Inquisition. He went to Antwerp for a time and then traveled through the Netherlands and France, finally settling in Italy. His reputation as one of the most skilful physicians of his time preceded him there, and during his short sojourn at Venice, where he came in contact with the physician and philosopher Jacob Mantino, he attended the niece of Pope Julius III and other distinguished personages.

paragraph: In 1546 Amato was in Ferrara, at whose University he taught anatomy as an assistant to the physician Giambattista Canano and delivered lectures on medicinal plants. At one of his lectures he dissected twelve cadavers — a great innovation at that time — in the presence of many scholars, among whom was the anatomist Jean Baptiste Cananus, who through his experience on this occasion was wrongly credited with the discovery of the function of the valves in the circulation of the blood. During his sojourn in Ferrara, which lasted for six years, Amatus Lusitanus received an invitation from the King of Poland to move to that country, which he declined, preferring to settle in Ancona, where religious tolerance existed.

paragraph: Meanwhile, his reputation grew higher and higher. Jacoba del Monte, sister of Pope Julius III, was one of his patients; and he prescribed also for Julius himself, to whose sick-bed he was later summoned.

paragraph: With the accession of Paul IV, Amatus underwent all the sufferings which the Marranos of Ancona had to endure from this pope. He took refuge in Pesaro, leaving behind him all his possessions, including several manuscript works, the loss of which he greatly deplored. One of these manuscripts, however, the fifth part of his "Centuriæ", was later restored to him and published. During his sojourn at Pesaro he received an invitation from the municipality of Ragusa, After staying for some months he left the city for Thessaloniki, which then had a large Jewish community and was part of the Ottoman Empire; there he openly professed the Jewish faith and finally died in 1568.

paragraph: Section::::Work.

paragraph: He discovered the circulation of the blood, and through dissections of the Azygos vein, he was the first to observe and speculate about the venous valves found there.

paragraph: This discovery contradicted the conventional belief of the time that the blood flows from the heart via the arteries as well as the veins. It is obvious that this hypothesis was supported by the fact that the network of arteries and veins becomes thinner and thinner as they get farther from the heart. It was also assumed that the networks are not connected, so the blood cannot pass from one network to the other. (The microscope was not yet invented, so one could not view capillary arteries without aid.)

paragraph: Dr. Amatus Lusitanus described in the Centuria I, paragraph (Curatio) 513, how, in 1547, he performed an experiment before some scholars from the University of Ferrara. He blew air into the lower part of the azygos, and showed that the vena cava would not be inflated. It was not possible for the air to escape because of the valve or operculum mentioned. When it is clear that if air cannot pass out of the azygos into the vena cava, it is all the more certain that blood, much thicker than air, could not flow through. In the audience was "the admirable anatomist” Giambattista Canano, to whom the discovery of the valves was attributed later by mistake.

paragraph: Amatus enriched medical literature with several valuable works which for a long time enjoyed the highest reputation. Among these the most important was his "Centuriæ", in which he published accounts of his cases and their treatment. This work, in seven volumes, entitled "Curationum Medicinalium Centuriæ Septem", passed through a number of editions (Florence, 1551; Venice, 1552, 1557, 1560, 1653; Basel, 1556; Leyden, 1560, 1570; Paris, 1620; Bordeaux, 1620; Barcelona, 1628). His other works were: "Index Dioscoridis" (1536); "Enegemata in Duos Priores Dioscoridis de Arte Medica Libros" (Antwerp, 1536); "In Dioscorides de Medica materia Librum quinque enarrationis" (1556); "Commentatio de Introitu Medici ad Ægrotantem", (Venice, 1557); "De Crisi et Diebus Decretoriis", (Venice, 1557); "In Dioscoridis Anazarbei de Medica Materia Libros Quinque", (Venice, 1557; Leyden, 1558); "Enarrationes Eruditissimæ", (Venice, 1553); "La Historia de Eutropio" (Eutropius translated into Spanish); commentary on the first book of Avicenna's Canon, which, as he relates in the preface to the seventh "Centuria", he lost among his possessions at Ancona.

paragraph: Section::::References.

paragraph: BULLET::::- Amatus Lusitanus discovered valves in veins and arteries; by David Hashavit, citation: "There's a reasonable basis to assume that it was Dr. Amatus who first discovered the "Blood circulation" phenomena."

paragraph: BULLET::::- Harry Friedenwald: "Amatus Lusitanus". In: Bulletin of the Institute of the History of Medicine, The Johns Hopkins University, vol. 5, no. 7, July 1937, p. 603-653

paragraph: BULLET::::- Wolf, Johann Christoph, "Bibliotheca Hebræa" i. 200

paragraph: BULLET::::- Carmoly, Eliakim, in "Revue Orientale", ii. 200

paragraph: BULLET::::- David, Ernest, in "Archives Israélites", 1880

paragraph: BULLET::::- "Allg. Zeit. des Jud." 1880, pp. 668, 684, 749

paragraph: BULLET::::- Steinschneider, Moritz, "Die Hebräischen Übersetzungen" p. 686;

paragraph: BULLET::::- Hermann Vogelstein and Paul Rieger, "Geschichte der Juden in Rom", ii. 256

paragraph: Section::::External links.

paragraph: BULLET::::- Short biography

description: Portuguese physician

wikidata_label: Amato Lusitano

wikipedia_title: Amato Lusitano


text:
Belgian
liberal
Prime Minister
German occupation
political prisoner
Brussels
Paul Janson
Université Libre de Bruxelles
Vrije Universiteit Brussel
Belgian Chamber of Representatives
1910
1912
1914
minister without portfolio
Minister of State
30th Prime Minister of Belgium
Second World War
Hubert Pierlot
France
London
German
Buchenwald concentration camp
Marie Janson
Paul-Henri Spaak
Order of Leopold
Ixelles
Université Libre de Bruxelles
Liberal Party
Paul-Emile Janson
Paul-Emile Janson

categories: Members of the Belgian government in exile,Belgian people who died in Buchenwald concentration camp,1872 births,Prime Ministers of Belgium,1944 deaths,Belgian civilians killed in World War II,Belgian Ministers of State,Free University of Brussels alumni,Politicians from Brussels,Politicians who died in Nazi concentration camps

paragraph: Paul-Émile Janson

paragraph: Paul-Émile (Paul Emil) Janson (30 May 1872 – 3 March 1944) was a francophone Belgian liberal politician and Prime Minister (1937–1938). During the German occupation, he was arrested as a political prisoner and died in a German concentration camp in 1944.

paragraph: Section::::Biography.

paragraph: Born in Brussels, Janson was the son of liberal statesman Paul Janson (died 1913). He studied law at the Free University of Brussels (now split into the Université Libre de Bruxelles and the Vrije Universiteit Brussel), practised as a lawyer, and also taught at the university.

paragraph: Section::::Biography.:Political career.

paragraph: Janson was elected as a liberal to the Belgian Chamber of Representatives in 1910. He was not re-elected in 1912, but he was again elected in 1914. He held various minister posts including War (1920), Justice (1927–1931; 1932–1934; 1939, 1940) and minister without portfolio (1940–1944). He was made an honorary Minister of State in 1931.

paragraph: He served as the 30th Prime Minister of Belgium in 1937–1938. In the early part of the Second World War, Janson served as Foreign minister, and as minister without portfolio, in the government of Hubert Pierlot. He remained in France when the government in exile moved to London. In 1943 he was detained by the occupying German forces and incarcerated in the Buchenwald concentration camp. He died there in 1944.

paragraph: His sister Marie Janson was the first woman to be elected to the Chamber of Representatives in 1921 and the mother of Paul-Henri Spaak, Janson's nephew and the man who directly succeeded him as Prime Minister in 1938.

paragraph: Section::::Honours.

paragraph: BULLET::::- Minister of state, by Royal Decree.

paragraph: BULLET::::- Commander in the Order of Leopold.

paragraph: Section::::Commemoration.

paragraph: BULLET::::- A street in Ixelles is named "Rue Paul Emile Janson" in his honour.

paragraph: BULLET::::- The Université Libre de Bruxelles has an auditorium named after him.

paragraph: Section::::See also.

paragraph: BULLET::::- Liberal Party

paragraph: Section::::Sources.

paragraph: BULLET::::- D'Ydewalle, Ch., Silhouettes politiques : Paul-Emile Janson, in : Revue Générale, LXII, 1929, p. 86–90.

paragraph: BULLET::::- Miroir, A., in : Parisel, W., Histoire de La Loge "Les Vrais amis de l'Union et du Progrès Réunis" 1892–1980, Brussel, 1980, p. 283–285.

paragraph: BULLET::::- Stengers, J., Paul-Emile Janson, in : Académie Royale de Belgique, Bulletin de la Commission des Lettres et des Sciences Morales et Politiques, 5e série, LIX, 1973–1976, p. 202–281.

paragraph: Section::::External links.

paragraph: BULLET::::- Paul-Emile Janson at Liberaal Archief

paragraph: BULLET::::- Paul-Emile Janson at the Prime Minister's Office

description: French-speaking Belgian liberal politician (1872–1944)

wikidata_label: Paul-Émile Janson

wikipedia_title: Paul-Émile Janson


text:
rhythmic gymnast
2007 World
2006 European
European Championships
2005 World Championships
Olga Kapranova
Irina Tchachina
2005 European Championships
2006 European Championships
Moscow
Alina Kabaeva
2006 Grand Prix Final
Innsbruck
FIG
Mie
Ljubljana
2007 Grand Prix Final
2007 European Championships
Baku
2007 World Championships
Anna Bessonova
2007 Summer Universiade
Kapranova
2008 Olympics
Evgenia Kanaeva
Olga Kapranova
Benidorm
2008 Grand Prix Final
2009 European Championships
Baku
FIG Athletes Commission
Vera Sessina Russian Profile
Rhythmic Gymnastics Results

categories: People from Yekaterinburg,Universiade silver medalists for Russia,Competitors at the 2005 World Games,Living people,World Games silver medalists,1986 births,World Games bronze medalists,Universiade medalists in gymnastics,Russian rhythmic gymnasts,Medalists at the Rhythmic Gymnastics World Championships,World Games gold medalists,Sportspeople from Yekaterinburg

paragraph: Vera Sessina

paragraph: Vera Valeryevna Sessina (, born 23 February 1986) is a Russian individual rhythmic gymnast. She is the 2007 World All-around silver medalist, the 2006 European All-around Champion, two time (2006, 2005) Grand Prix Final All-around champion and three time (2008, 2007, 2003) Grand Prix Final All-around silver medalist. She was known for her high releve during her pivot.

paragraph: Section::::Career.

paragraph: Sessina began training in rhythmic gymnastics in 1993 and eventually moved to the Russian training center in Novogorsk. At the 2002 European Championships in Granada, she performed only one routine, but was noticed because of her flexibility, stability and clean performance. The same year, she took part in an international event in Thiais (France) and won some medals on various apparatus. In 2003, she performed well on the Grand Prix circuit.

paragraph: In 2005, Sessina competed at the 2005 World Championships. She placed fifth in all-around qualifications but did not advance into the finals because teammates Olga Kapranova and Irina Tchachina placed ahead of her. She was also sent to the 2005 European Championships.

paragraph: In 2006, Sessina won the all-around competition at the 2006 European Championships in Moscow, beating teammate and Olympic champion Alina Kabaeva. She won the 2006 Grand Prix Final all-around in Innsbruck and won three events of the FIG World Cup Final in Mie, Japan.

paragraph: Sessina continued to do well in 2007, winning the all-around silver medal at the World Cup series in Ljubljana as well as silver in all-around at the 2007 Grand Prix Final. At the 2007 European Championships in Baku, she won the gold medal in clubs, a silver for rope, a pair of bronze medals for ribbon and hoop for the individual event finals. At the 2007 World Championships, Sessina won the all-around silver medal behind Ukrainian Anna Bessonova and then took the all-around bronze medal at the 2007 Summer Universiade behind Bessonova and Kapranova.

paragraph: Sessina competed for a spot at the 2008 Olympics but struggled due to injury and was beaten by compatriots Evgenia Kanaeva and Olga Kapranova. She won a gold medal in rope and bronze in hoop at the 2008 World Cup Final in Benidorm and ended her season with silver in the all-around at the 2008 Grand Prix Final.

paragraph: Sessina won silver medals in All-around, rope, hoop and ribbon at the 2009 European Championships held in Baku, Azerbaijan. She retired from competition following the event.

paragraph: After her retirement, Sessina was elected to the FIG Athletes Commission as a rhythmic gymnastics representative.

paragraph: Section::::External links.

paragraph: BULLET::::- Vera Sessina Russian Profile

paragraph: BULLET::::- Rhythmic Gymnastics Results

description: Russian rhythmic gymnast

wikidata_label: Vera Sesina

wikipedia_title: Vera Sessina


text: Melchite

text: see of Alexandria

text: Monothelism

text: Byzantine

text: Phasis

text: Colchis

text: Byzantine Emperor

text: Heraclius

text: Persian campaign

text: Miaphysites

text: Patriarch of Constantinople

text: faith of Chalcedon

text: the Fathers

text: Alexandria

text: Miaphysite

text: Patriarch

text: Pope Honorius I

text: Arkadios II

text: Ecthesis

text: Caliph Umar the Great

text: 'Amr ibn al-'As

text: Romans

text: Amru

text: Prefecture

text: Egypt

text: prefect

text: Rashidun Caliphate

text: Alexandria

text: Sixth Œcumenical Council

text: Mansi

text: Pope Leo

text: St. Sophronius

text: St. Maximus

text: Denzinger

text: Al-Muqawqis

categories: People declared heretics by the first seven ecumenical councils,Greek Orthodox Patriarchs of Alexandria,Year of birth missing,7th-century Egyptian people,7th-century Byzantine people,Heraclius,Muslim conquest of Egypt,Roman Egypt,7th-century archbishops,640s deaths,Lazica,Melkite Greek Catholics

paragraph: Cyrus of Alexandria

paragraph: Cyrus of Alexandria ( "al-Muqawqis") was a Melchite patriarch of the see of Alexandria in the 7th century, one of the authors of Monothelism and the last Byzantine prefect of Egypt. He died in Alexandria on March 21, 642.

paragraph: Section::::Biography.

paragraph: He had been since 620 Bishop of Phasis in Colchis when the Byzantine Emperor Heraclius, in the course of his Persian campaign of 626, consulted him about a plan for bringing the Miaphysites of Egypt back to the Church, and to the support, of the empire. The plan, suggested by Sergius, Patriarch of Constantinople, consisted of confessing the faith of Chalcedon on the two natures of Christ, while practically nullifying it by the admission of one theandric will and operation, . Cyrus hesitated at first, but being assured by Sergius that this formula was opposed to neither the Fathers nor to Chalcedon and was destined to achieve great results, he became a staunch supporter of it, and was, in return, raised by Heraclius to the See of Alexandria in 630 in opposition to its Miaphysite Patriarch.

paragraph: Once a patriarch, Cyrus set himself vigorously to effect the desired union. In a synod held at Alexandria, he proposed what is known as the "plèrophoria" or "Satisfactio", an agreement in nine articles, the seventh of which is a bold assertion of Miathelitism. The Miaphysites (who were also called Theodosians or Severians) welcomed the agreement but remarked that Chalcedon was coming to them, not they to Chalcedon.

paragraph: The union thus effected was adroitly exploited, with a view to win over Pope Honorius I to the position which incorrectly became known as Monothelism. Cyrus attended another synod at Cyprus under Arkadios II, at which he served as moderator and permitted Monothelite opponents to submit their case to the Emperor. When Cyrus received the Emperor's Monothelite response, the Ecthesis, Cyrus signed it in 637. This compromise proved ineffective, and soon fell into discredit under the contemptuous name of .

paragraph: When Caliph Umar the Great's general, 'Amr ibn al-'As known to the Romans as Amru, threatened the Prefecture of Egypt, Cyrus was made prefect and entrusted with the conduct of the war. Certain humiliating stipulations, to which he subscribed for the sake of peace, angered his imperial master so much that he was recalled and harshly accused of connivance with the Rashidun Caliphate; however, he was soon restored to his former authority, owing to the impending siege of Alexandria, but could not avert the fall of the great city in 640 and died shortly after.

paragraph: Section::::Writings.

paragraph: From Cyrus there are three letters to Sergius and the "Satisfactio", all preserved in the acts of the Roman Synod of the Lateran and of the Sixth Œcumenical Council (Mansi, X, 1004; XI, 560, 562, 964).

paragraph: The first letter is an acceptation of the Ecthesis; in the second Cyrus describes his perplexity between Pope Leo and Sergius; the conversion of the Theodosians is narrated in the third.

paragraph: The seventh article of the "Satisfactio" — the others are irrelevant — reads thus: "The one and same Christ, the Son, performs the works proper to God and to man by one theandric operation according to St. Dionysius".

paragraph: Cyrus' chief opponents, St. Sophronius, died in 637 (Epistola synodica, Mansi, XI, 480), and St. Maximus, died in 662 ("Epistola ad Nicandrum; disputatio cum Pyrrho", P.G., XCI, 101, 345), reproached him for falsifying the then much-respected text of Dionysius and substituting for (new). They showed, moreover, the inanity of his claim to the support of the Fathers, and explained how the Divine and human natures of Christ, sometimes styled one, because they belong to the same person and work in perfect harmony, can no more by physically identified than the natures from which they proceed. Historians are not agreed as to how Cyrus came by this. Some think that he was, from the outset, a Monophysite at heart. Others, with more reason, hold that he was led to this belief by Sergius and Heraclius.

paragraph: Cyrus was posthumously condemned as a heretic in the Lateran Council of 649 (Denzinger, Enchiridion, 217, 219) and in 680 at the Third Ecumenical Council of Constantinople (Denzinger, 238; Mansi, XI, 554).

paragraph: Section::::See also.

paragraph: BULLET::::- Al-Muqawqis

description: Patriarch of Alexandria

wikidata_label: Cyrus of Alexandria

wikipedia_title: Cyrus of Alexandria