text: priest

text: prelate

text: Roman Catholic Church

text: Diocese of Stockton

text: Pope Francis

text: Modesto

text: Dos Palos, California

text: associates degree

text: West Hills College Coalinga

text: Coalinga, California

text: St. John's Seminary

text: Camarillo, California

text: Diocese of Fresno

text: parochial vicar

text: Atwater

text: Laton

text: pastor

text: Gustine

text: Vicar General

text: Moderator of the Curia

text: Pope John Paul II

text: Chaplain of His Holiness

text: Monsignor

text: Pope Benedict XVI

text: Prelate of Honor

text: Pope Francis

text: Diocese of Sacramento

text: Titular Bishop

text: Cathedral of the Blessed Sacrament

text: Sacramento

text: Jaime Soto

text: Armando Xavier Ochoa

text: José de Jesús Madera Uribe

text: M.Sp.S.

text: Archdiocese for the Military Services

text: Stockton

text: Salvatore Cordileone

text: Archdiocese of San Francisco

text: Christophe Pierre

text: Catholic Church hierarchy

text: Catholic Church in the United States

categories: Living people,21st-century Roman Catholic bishops,Roman Catholic Diocese of Sacramento,St. John's Seminary (California) alumni,1953 births,American titular bishops,Roman Catholic bishops of Stockton,People from Merced County, California

paragraph: Myron Joseph Cotta

paragraph: Myron Joseph Cotta (born March 21, 1953) is an American priest and prelate of the Roman Catholic Church. He was appointed as the sixth Bishop of the Diocese of Stockton by Pope Francis on January 23, 2018. His installation mass was celebrated on March 15, 2018 at St. Stanislaus Catholic Church in Modesto, California.

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

paragraph: Cotta was born in Dos Palos, California and was educated in public and Catholic schools before receiving an associates degree from West Hills College Coalinga in Coalinga, California. He studied for the priesthood at St. John's Seminary in Camarillo, California. Cotta was ordained a priest for the Diocese of Fresno on September 12, 1987. He is fluent in English, Spanish and Portuguese.

paragraph: Section::::Priesthood.

paragraph: After ordination, Cotta served as the parochial vicar at St. Anthony Parish in Atwater from 1987 to 1989 and the administrator of Our Lady of Fatima Shrine in Laton from 1989 to 1992. He served as the pastor of Our Lady of Miracles Parish in Gustine from 1992 to 1999. Following his pastoral assignments he served as the Vicar General and Moderator of the Curia for the Diocese of Fresno. Pope John Paul II named Cotta a Chaplain of His Holiness, with the title of Monsignor, in 2002. Pope Benedict XVI named him a Prelate of Honor in 2009.

paragraph: Section::::Episcopacy.

paragraph: Section::::Episcopacy.:Auxiliary Bishop of Sacramento.

paragraph: Pope Francis appointed Cotta to be an Auxiliary Bishop of the Diocese of Sacramento on January 24, 2014. He was also named Titular Bishop of "Muteci". He was consecrated in the Cathedral of the Blessed Sacrament in Sacramento on March 25, 2014 by Bishop Jaime Soto. Bishop Armando Xavier Ochoa of Fresno and retired Bishop José de Jesús Madera Uribe, M.Sp.S. of the Archdiocese for the Military Services were the principal co-consecrators.

paragraph: Section::::Episcopacy.:Bishop of Stockton.

paragraph: On January 23, 2018, Pope Francis named Cotta as the new bishop of Stockton. He was installed on March 15, 2018. At his installation mass, a number of other prominent prelates were in attendance including Archbishop Salvatore Cordileone of the Archdiocese of San Francisco and Bishop Christophe Pierre, Apostolic Nuncio to the United States.

paragraph: Section::::See also.

paragraph: BULLET::::- Catholic Church hierarchy

paragraph: BULLET::::- Catholic Church in the United States

paragraph: BULLET::::- Historical list of the Catholic bishops of the United States

paragraph: BULLET::::- List of Catholic bishops of the United States

paragraph: BULLET::::- Lists of patriarchs, archbishops, and bishops

paragraph: Section::::External links.

paragraph: BULLET::::- Roman Catholic Diocese of Stockton Official Website

description: Catholic bishop in the United States.

wikidata_label: Myron Joseph Cotta

wikipedia_title: Myron Joseph Cotta


text:
German
schlager musician
songwriter
Cologne, Germany
Echo awards
Goldene Stimmgabel
country
precision mechanics
Achim Petry

categories: German-language singers,Schlager musicians,1951 births,People from Cologne,Living people,German male musicians

paragraph: Wolfgang Petry

paragraph: Wolfgang "Wolle" Petry (born 22 September 1951, born "Franz Hubert Wolfgang Remling") is a German schlager musician and songwriter from Cologne, Germany. In 1997, he was named the leading German language musician in terms of chart figures for the year, with his most successful album "Alles".

paragraph: He won the award for "Best Folk/Pop Artist" National/International" during the Echo awards in 1997, 1998, 1999, 2000 and 2001. He also won the Goldene Stimmgabel award in 1996, 1997, 1999, 2000, 2001, 2002, 2003 and 2005 for "Most successful German solo pop act". In 1998 and 2006 he also won the "Platinum Life Award" during the same Goldene Stimmgabel awards.

paragraph: In late 2017, he announced a name change to "Pete Wolf". He released the album "Happy Man" under this moniker on October 27th, with his musical genre shifted towards country and lyrics in English language.

paragraph: Section::::Personal life.

paragraph: Petry was born in the Cologne neighborhood of Raderthal and grew up there. After his father's death at age 16, he assumed responsibility for his 11-year-old brother. He obtained a vocational degree in precision mechanics while touring with his band in Cologne and surroundings. He married Rosemarie Remling in 1972 and had a son, Achim Petry, two years later. Achim has re-recorded or made new editions of some of his father's songs.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- 1976 – Ein Freund, Ein Mann (A Friend, a Man)

paragraph: BULLET::::- 1979 – Zweisaitig (two-sided/two-stringed)

paragraph: BULLET::::- 1980 – Ganz oder gar nicht (All or Nothing)

paragraph: BULLET::::- 1981 – Einfach Leben (Easy Living)

paragraph: BULLET::::- 1982 – Der Himmel Brennt (The Sky is Burning)

paragraph: BULLET::::- 1983 – Wahnsinn (Madness)

paragraph: BULLET::::- 1984 – Rauhe Wege (Rough Paths)

paragraph: BULLET::::- 1986 – Mit offenen Armen (With Open Arms)

paragraph: BULLET::::- 1988 – Manche mögen's heiß (Some Like it Hot)

paragraph: BULLET::::- 1991 – Wo ist das Problem? (What's the Problem?)

paragraph: BULLET::::- 1991 – Ganz oder gar nicht (All or Nothing)

paragraph: BULLET::::- 1991 – Zweisaitig (two-sided/two-stringed)

paragraph: BULLET::::- 1992 – Verlieben, Verloren... (Falling in Love, Lost)

paragraph: BULLET::::- 1992 – Meine größten Erfolge (My Greatest Hits)

paragraph: BULLET::::- 1993 – Ganz oder gar nicht (All or Nothing)

paragraph: BULLET::::- 1993 – Sehnsucht nach Dir (Longing for You)

paragraph: BULLET::::- 1994 – Frei für Dich (Free for You)

paragraph: BULLET::::- 1995 – Ein Freund, Ein Mann (A Friend, a Man)

paragraph: BULLET::::- 1995 – Egal (Whatever)

paragraph: BULLET::::- 1996 – Alles (Everything)

paragraph: BULLET::::- 1996 – Die Längste Single Der Welt – Teil 1 (The Longest Single on Earth - Part 1)

paragraph: BULLET::::- 1996 – Gnadenlos (Merciless)

paragraph: BULLET::::- 1997 – Du bist ein Wunder (You're a Miracle)

paragraph: BULLET::::- 1997 – Nie Genug (Never Enough)

paragraph: BULLET::::- 1998 – Wahnsinn (Madness)

paragraph: BULLET::::- 1998 – Freude (Joy)

paragraph: BULLET::::- 1999 – Die Längste Single Der Welt – Teil 2 (The Longest Single on Earth - Part 2)

paragraph: BULLET::::- 1999 – Alles-Live (Everything-Live)

paragraph: BULLET::::- 1999 – Komplett (Completely)

paragraph: BULLET::::- 2000 – Konkret (Concretely)

paragraph: BULLET::::- 2000 – Freude 2 (Joy 2)

paragraph: BULLET::::- 2001 – Einfach Geil! (Simply Cool!)

paragraph: BULLET::::- 2001 – Achterbahn (Rollercoaster)

paragraph: BULLET::::- 2001 – Die Längste Single Der Welt – Teil 3 (The Longest Single on Earth - Part 3)

paragraph: BULLET::::- 2002 – Alles 2 (Everything 2)

paragraph: BULLET::::- 2003 – Kein Grund zur Panik (No reason for Panic)

paragraph: BULLET::::- 2003 – Freudige Weihnachten (Jolly Christmas)

paragraph: BULLET::::- 2004 – Typisch (Typical)

paragraph: BULLET::::- 2004 – Nur für dich (Just for You)

paragraph: BULLET::::- 2005 – Doppelt Stark (Doppel CD) (Double Strong)

paragraph: BULLET::::- 2005 – Die Längste Single Der Welt – Das Album (Teil 4) (The Longest Single on Earth - Part 4)

paragraph: BULLET::::- 2005 – Ich Bin Ene Kölsche Jung (I'm a Boy from Cologne)

paragraph: BULLET::::- 2006 – Meine Lieblingslieder (My Favourite Songs)

paragraph: BULLET::::- 2006 – 30 (Abschiedsalbum) (30 - Farewell Album)

paragraph: BULLET::::- 2007 – Seine schönsten Balladen (mit 2 unveröffentlichten Titeln) (His Most Beautiful Ballads; with 2 unreleased tracks)

paragraph: BULLET::::- 2007 – Das letzte Konzert – LIVE – einfach geil! (The Last Concert - LIVE - Simply Cool)

paragraph: BULLET::::- 2008 – Alles Maxi – Seine größten Erfolge (Everything Maxi - His Greatest Hits)

paragraph: BULLET::::- 2014 – Einmal noch! (Once More!)

paragraph: BULLET::::- 2014 – Wolles fröhliche weihnachten (Wolle's Merry Christmas)

paragraph: BULLET::::- 2015 – Brandneu (Brand-New)

paragraph: BULLET::::- 2016 – Die Jahre mit dir (The Years with You)

paragraph: BULLET::::- 2017 – Happy Man (as "Pete Wolf Band")

paragraph: BULLET::::- 2018 – Genau jetzt! (Right now!)

description: German singer and songwriter

wikidata_label: Wolfgang Petry

wikipedia_title: Wolfgang Petry


text: naturalist

text: Dublin

text: Nicholas Ball

text: Oscott College

text: Birmingham

text: Christ's College, Cambridge

text: Wrangler

text: Roman Catholic

text: botany

text: Cambridge

text: Switzerland

text: poor-law commissioner

text: Sligo

text: Carlow County

text: British House of Commons

text: Lord Palmerston

text: Palliser Expedition

text: Ball Range

text: Canadian Rockies

text: William Jackson Hooker

text: County Limerick

text: Alpine Club

text: Dolomites

text: Monte Pelmo

text: Morocco

text: Oxford Dictionary of National Biography

categories: Fellows of the Linnean Society of London,Irish mountain climbers,1889 deaths,Presidents of the Alpine Club (UK),Irish naturalists,Fellows of the Royal Society,Members of the Parliament of the United Kingdom for County Carlow constituencies (1801–1922),Irish Liberal Party MPs,1818 births,UK MPs 1852–1857,Politicians from County Dublin

paragraph: John Ball (naturalist)

paragraph: John Ball (20 August 1818 – 21 October 1889) was an Irish politician, naturalist and Alpine traveller.

paragraph: Section::::Background and education.

paragraph: Ball was born in Dublin, the eldest son of Nicholas Ball and his wife Jane Sherlock. He was educated at Oscott College near Birmingham, and at Christ's College, Cambridge, where he was 41st Wrangler but as a Roman Catholic could not be admitted to a BA degree. He showed in early years a taste for natural science, particularly botany; and after leaving Cambridge he travelled in Switzerland and elsewhere in Europe, studying his favourite pursuits, and contributing papers on botany and the Swiss glaciers to scientific periodicals.

paragraph: Section::::Political career.

paragraph: In 1846 Ball was made an assistant poor-law commissioner, but resigned in 1847, and in 1848 stood unsuccessfully as a parliamentary candidate for Sligo. In 1849 he was appointed second poor-law commissioner, but resigned in 1852 and successfully contested the Carlow County constituency in the Liberal interest. In 1854, while grave doubts were raised in well-informed quarters about entering a war with Russia, the voice of the people found expression in Ball who assured the government that justification of the Crimean war was vast, high and noble: 'the maintenance in civilised society of the principles of right and justice'. In the British House of Commons he attracted Lord Palmerston's attention by his abilities, and in 1855 was made Under-Secretary of State for the Colonies, a post which he held for two years.

paragraph: At the colonial office he had great influence in furthering the cause of natural science, particularly in connection with equipment of the Palliser Expedition in Canada (for his efforts, the Ball Range in the Canadian Rockies was named after him), and with William Jackson Hooker's efforts to obtain a systematic knowledge of the colonial floras.

paragraph: Section::::Alpinist.

paragraph: In 1858 Ball stood for County Limerick, but was defeated, and he then gave up politics and devoted himself to natural history. He was the first president of the Alpine Club (founded 1857), and it is for his work as an alpinist that he is chiefly remembered. His well-known "Alpine Guide" (London, 1863–1868) was the result of innumerable climbs and journeys and of careful observation recorded in a clear and often entertaining style. Among his accomplishments, he was the first to climb a major Dolomites peak (Monte Pelmo in 1857). He also travelled in Morocco (1871) and South America (1882), and recorded his observations in books which were recognised as having scientific value.

paragraph: Section::::Personal life.

paragraph: His wife was Elisa Parolini, daughter of the Italian naturalist Alberto Parolini.

paragraph: Ball died in London in October 1889, aged 71.

paragraph: Section::::References.

paragraph: BULLET::::- NEW EDITION

paragraph: BULLET::::- Gordon L. Herries Davies, 'Ball, John (1818–1889)', Oxford Dictionary of National Biography, Oxford University Press, 2004

description: British politician, naturalist and Alpine traveller.

wikidata_label: John Ball

wikipedia_title: John Ball (naturalist)


text:
English
Lollard
Peasants' Revolt of 1381
St Albans
Hertfordshire
Walsingham
Seynte Marie
prest
York
Norwich
Colchester
Black Death
years of war
poll taxes
Maidstone
Kent
John Wycliffe
Ashen
Billericay
Braintree
Cressing Temple
Dedham
Coggeshall
Fobbing
Goldhanger
Great Baddow
Little Henny
Stisted
Simon of Sudbury
Archbishop of Canterbury
excommunicated
Blackheath
Greenwich
sermon
Coventry
hanged, drawn and quartered
St Albans
Richard II
London Bridge
Froissart
villeinage
corvée
Piers Plowman
William Langland
Lollard
John Gower
Vox Clamantis
The Life and Death of Jack Straw
William Morris
Two extracts from a dream of John Ball
Sydney Carter
Conrad Noel
Katherine
Anya Seton
Newbery Medal
T. H. White
The Once and Future King
Zadie Smith
NW
Hamlet
Shakespeare
John Ball Primary School, Blackheath
Thomas Walsingham
Henry Thomas Riley
Henry Knighton
Joseph Rawson Lumby
Jean Froissart
Charles Edmund Maurice

categories: People excommunicated by the Catholic Church,People executed under the Plantagenets by hanging, drawing and quartering,Peasants' Revolt,English Roman Catholic priests,Executed people from Hertfordshire,Christian radicals,14th-century Roman Catholic priests,English revolutionaries,1330s births,Lollards,1381 deaths,English rebels,People educated at St Albans School, Hertfordshire

paragraph: John Ball (priest)

paragraph: John Ball ( 1338 – 15 July 1381) was an English Lollard priest who took a prominent part in the Peasants' Revolt of 1381.

paragraph: Section::::Biography.

paragraph: He was born and lived in St Albans, Hertfordshire (Dobson has no reference to Ball's birthplace, noting that "remarkably little is known about his career". Ball referred to himself, if Walsingham can be believed, as "Seynte Marie prest of York"), later moving to Norwich and then to Colchester during the plague years of the Black Death. The country was exhausted by death on a massive scale and crippling taxes; the Black Death was followed by years of war, which had to be paid for. The population was nearly halved by disease and overworked, and onerous flat-rate poll taxes were imposed.

paragraph: Ball was imprisoned in Maidstone, Kent, at the time of the 1381 Revolt. What is recorded of his adult life comes from hostile sources emanating from the religious and political social order. He is said to have gained considerable fame as a roving preacher without a parish or any link to the established order by expounding the doctrines of John Wycliffe, and especially by his insistence on social equality. He delivered radical sermons in many places, including Ashen, Billericay, Bocking, Braintree, Cressing Temple, Dedham, Coggeshall, Fobbing, Goldhanger, Great Baddow, Little Henny, Stisted and Waltham.

paragraph: His utterances brought him into conflict with Simon of Sudbury, Archbishop of Canterbury, and he was thrown in prison on several occasions. He also appears to have been excommunicated; owing to which, in 1366 it was forbidden for anyone to hear him preach. These measures, however, did not moderate his opinions, nor diminish his popularity. He took to speaking to parishioners in churchyards after the official services: in English, the "common tongue", not the Latin of the clergy, a radical political move. Ball was "using the bible against the church", very threatening to the status quo.

paragraph: Shortly after the Peasants' Revolt began, Ball was released by the Kentish rebels from his prison. He preached to them at Blackheath (the peasants' rendezvous to the south of Greenwich) in an open-air sermon that included the following:

paragraph: When the rebels had dispersed, Ball was taken prisoner at Coventry, given a trial in which, unlike most, he was permitted to speak. He was hanged, drawn and quartered at St Albans in the presence of King Richard II on 15 July 1381. His head was displayed stuck on a pike on London Bridge, and the quarters of his body were displayed at four different towns. Ball, who was called by Froissart "the mad priest of Kent," seems to have possessed the gift of rhyme. He voiced the feelings of a section of the discontented lower orders of society at that time, who chafed at villeinage and the lords' rights of unpaid labour, or "corvée".

paragraph: Ball and perhaps many of the rebels who followed him found some resonance between their ideas and goals and those of Piers Plowman, a key figure in a contemporary poem putatively by one William Langland. Ball put Piers and other characters from Langland's poem into his cryptically allegorical writings which may be prophecies, motivating messages, and/or coded instructions to his cohorts. This may have enhanced Langland's real or perceived radical and Lollard affinities as well as Ball's.

paragraph: Section::::John Ball in popular culture.

paragraph: Ball is also mentioned at John Gower's "Vox Clamantis" line 793. Morley translates this as:

paragraph: poem

paragraph: Ball was the preacher, the prophet and teacher, inspired by a spirit of hell,

paragraph: And every fool advanced in his school, to be taught as the devil thought well./poem

paragraph: Ball appears as a character in the anonymous play "The Life and Death of Jack Straw", published in London in 1593, which deals with the events of the Peasants' Revolt.

paragraph: William Morris wrote a short story called "Two extracts from a dream of John Ball", which was serialised in the "Commonweal" between November 1886 and February 1887. It was published in book form in 1888.

paragraph: English songwriter Sydney Carter wrote an eponymously titled song about Ball that has been recorded by a number of artists. 'Sing John Ball' is regularly performed in the UK by folk musicians including The Young' Uns, The Melrose Quartet, and in 2015 the group Sweet Liberties performed the song in the Houses of Parliament.

paragraph: There is a steep hill on the A5199 in Leicestershire, between Shearsby and Husbands Bosworth, that is colloquially called "John Ball Hill".

paragraph: A tower chapel at the parish church of Thaxted in Essex was dedicated to John Ball under the Anglo-Catholic socialist vicar, Conrad Noel (1910–1942).

paragraph: "The Bedfordshire on Sunday", a free local newspaper based in Bedford, runs a weekly column by a fictional journalist called "John Ball's Diary", which features behind-the-scenes life in the office of the newspaper. The column is written by all the members of the editorial staff.

paragraph: John Ball appears in the 1954 historical novel Katherine by Anya Seton.

paragraph: Ball made a star appearance in the Newbery Medal-winning 2002 novel "". He was a priest, as he usually is, and was assisting a character by the name of Bear in the Peasants' Revolt of 1381.

paragraph: John Ball is referenced several times in T. H. White's "The Once and Future King", most prominently in the fourth book, "The Candle in the Wind". In the final chapter (14), King Arthur muses on his failure to unite England. King Arthur tries to understand what forces are at work that make mankind fight wars and references the "communism" of John Ball as a precursor to Mordred's Thrashers.

paragraph: John Ball's line, "When Adam delved and Eve span, Who was then the gentleman?" serves as the epigraph to Zadie Smith's 2012 novel "NW", which follows characters who grew up on a council estate in northwest London.

paragraph: In Act V Scene 1 of Hamlet, Shakespeare has the Gravedigger (First Clown) discuss the line "When Adam delved and Eve span, Who was then the gentleman?" with a bit of a reversed sense: in Adam's time there were none but gentlemen.

paragraph: poem

paragraph: First Clown: ... Come, my spade. There is no ancient gentleman but gardeners, ditchers, and grave-makers: they hold up Adam's profession.

paragraph: Second Clown: Was he a gentleman?

paragraph: First Clown: He was the first that ever bore arms.

paragraph: Second Clown: Why, he had none.

paragraph: First Clown: What, art a heathen? How dost thou understand the Scripture? The

paragraph: Scripture says 'Adam digged:' could he dig without arms?

paragraph: /poem

paragraph: Section::::See also.

paragraph: BULLET::::- John Ball Primary School, Blackheath

paragraph: Section::::References.

paragraph: BULLET::::- Attribution

paragraph: BULLET::::- which in turn cites:

paragraph: BULLET::::- Thomas Walsingham, "Historia Anglicana", edited by Henry Thomas Riley (London, 1863–64)

paragraph: BULLET::::- Henry Knighton, the "Chronicon", edited by Joseph Rawson Lumby (London, 1889–95)

paragraph: BULLET::::- Jean Froissart, "Chroniques", edited by S. Luce and G. Raynaud (Paris, 1869–97)

paragraph: BULLET::::- More modern version published by Penguin Classics, 1978.

paragraph: BULLET::::- Charles Edmund Maurice, "Lives of English Popular Leaders in the Middle Ages" (London, 1875)

paragraph: BULLET::::- , Republished Oxford University Press, 1969

description: English rebel and priest

enwikiquote_title: John Ball (priest)

wikipedia_title: John Ball (priest)


text: Okhrana

text: secret service

text: Imperial Russia

text: Paris

text: Alexander II of Russia

text: revolution

text: revolutionary movement

text: Landesen

text: Narodnaya Volya

text: France

text: Switzerland

text: Anarcho-Communists

text: Social Democrat

text: Germany

text: Polish

text: London

text: Casimir Pilenas

text: Scotland Yard

text: Latvia

text: Socialist Revolutionaries

text: Fighting Unit

text: New York City

text: Jew

text: Bund

text: Brian Doherty

text: St. Petersburg

text: czar

text: Okhrana

text: secret police

text: Paris

text: anarchists

text: provocations

text: entrap

text: czar

text: Paris

text: French government

text: Russia

text: Geneva

text: Lev Tikhomirov

text: Jules Hansen

text: Minister Delcassé

text: President Loubet

text: Pope Leo XIII

text: Vatican

text: Catholic

text: Poland

text: agent Landesen

text: cutouts

text: Saint Petersburg

text: World War I

text: Russia

text: Paris

text: Russo-French alliance

text: World War I

text: The Protocols of the Elders of Zion

text: Matvei Golovinski

text: Russian Revolution of 1905

text: Jew

text: conspiracy

text: anti-Semitism

text: Yuliana Glinka

text: Orzhevsky

text: martial law

text: MVD

text: social democrat

text: Georgy Plekhanov

text: Fall of Eagles

text: Michael Bryant

text: The Prague Cemetery

text: Foucault's Pendulum

text: Paris Okhrana 1885-1905

text: CIA

text: Biography and documents

categories: People from Kherson Governorate,Okhrana personnel,1853 births,1910 deaths,People from Dubăsari

paragraph: Pyotr Rachkovsky

paragraph: Pyotr Ivanovich Rachkovsky (; 1853–1910) was chief of Okhrana, the secret service in Imperial Russia. He was based in Paris from 1885 to 1902.

paragraph: Section::::Activities in 1880s–1890s.

paragraph: After the assassination of Alexander II of Russia in 1881, the government moved against various revolutionary factions operated by émigrées or hiding out in Russia. Rachkovsky's principal mission was to compromise Russia's growing revolutionary movement. The list of penetration agents hired by Rachkovsky included:

paragraph: BULLET::::- Landesen (Abraham Hackelman), among the Narodnaya Volya terrorists in France and Switzerland

paragraph: BULLET::::- Ignaty Kornfeld, among the Anarcho-Communists

paragraph: BULLET::::- Prodeus, a well-known revolutionary, reporting on various revolutionary centers

paragraph: BULLET::::- Ilya Drezhner, among the Social Democrats in Germany, Switzerland, and France

paragraph: BULLET::::- Boleslaw Malankiewicz, among the Polish anarchists and terrorists in London

paragraph: BULLET::::- Casimir Pilenas, a spotter for Scotland Yard recruited to work among the Latvian terrorists

paragraph: BULLET::::- Zinaida Zhuchenko, among the Socialist Revolutionaries and their terrorist Fighting Unit

paragraph: BULLET::::- Aleksandr Evalenko, assigned to New York City for work among the Jewish Bundists and terrorists

paragraph: According to journalist Brian Doherty:

paragraph: "Rachkovsky started as a possibly sincere, possibly duplicitous mover in St. Petersburg’s radical underground in the late 1870s, after having been dismissed (for leniency toward political exiles) from a job as a prosecutor for the czar’s government. He ended up running the show for the Okhrana, the Russian secret police, in Paris, where so many radicals considered dangerous to the czarist regime had immigrated.

paragraph: From 1885 until 1902, Rachkovsky was responsible for keeping anarchists under surveillance and on the run—and also, in many cases, financed and supplied with ideas... “[P]rominent among his early initiatives were provocations designed to lure credulous émigrés into the most heinous crimes of which they may never have otherwise conceived.” Rachkovsky’s aim was to entrap his targets into committing acts that would help ensure that his job seemed of vital importance to the czar. This guaranteed him a solid berth in Paris that was lucrative both in salary and prestige [and] in opportunities for corrupt under-the-radar dealings with a French government doing heavy business with Russia."

paragraph: By personally winning the good will and cooperation of the services of host countries, Rachkovsky indirectly assisted his agents and crowned their efforts. For instance, when a penetration agent in Geneva had supplied the essential information about a gathering of terrorists there and external agents had located by surveillance their clandestine printshop and weapons store, Rachkovsky could call on Swiss security units to help destroy the underground and arrest the ringleaders. This happened in 1887; it was repeated in 1888, then again and again in other countries. His powers of persuasion were sufficient to recruit Lev Tikhomirov, one of the leading terrorists, when he had been softened by contrived exposure, and get him to write an anti-revolutionary book.

paragraph: Rachkovsky's political action operations, often highly successful, were exclusively his personal effort. He devised some plans for using others, but in every major instance he was the sole operator. He befriended a Danish journalist, Jules Hansen, during his first visit to Paris in 1884. Besides being one of the bright lights of his profession, Hansen was a counsellor in the French Ministry of Foreign Affairs and a friend of Minister Delcassé. He became the principal channel for promoting a friendly press for Russia in western Europe, and he made contacts for Rachkovsky with leading ministers and politicians, including even President Loubet. On the other hand, Rachkovsky also cultivated important personages in the imperial government and at court. In these activities he was, as revolutionary writers accused him of being, a manipulator behind the scenes preparing the ground for acceptance, both in Paris and at Petersburg, of the Franco-Russian alliance signed in 1893.

paragraph: Rachkovsky devised and developed access to several other governments beside the French. The files contain copies of dispatches about an audience he had with Pope Leo XIII and a proposed exchange of diplomats between Russia and the Vatican with particular view to the unrest in Catholic Poland. Advisers to the Tsar in Petersburg turned down the proposal, but the idea of combatting the insurrectional campaign in Poland by using religious interests clearly illustrates Rachkovsky's high-level concept of political action.

paragraph: Rachkovsky's major provocation operation was primarily in support of political action. In 1890 agent Landesen, having promoted among the revolutionaries in Paris an elaborate plot to kill the Tsar, arranged that after one underground meeting a large number of the terrorists would each have on their persons their weapons and written notes on the parts they were to play. The French police, tipped off through cutouts by Rachkovsky, arrested the entire group, and that summer they were tried and sentenced, Landesen in absentia. Rachkovsky thus scored a victory not only over the enemies of the state but against those in Saint Petersburg who had opposed the Franco-Russian alliance on the grounds that France was too soft on subversives. The stern police and court action proved to Petersburg that France too had a strong government capable of dealing with internal enemies.

paragraph: Rachkovsky may have also played a role in amplifying the carnage of World War I: "Rachkovsky’s bosses in Russia and his hosts in Paris both feared the radicals, allowing the Russian agent to tighten the ties between the two nations. He succeeded so well that [historian Alex] Butterworth argues he was partly to blame for the Russo-French alliance that helped make World War I such a bloody mess."

paragraph: Section::::Role in the creation of the Protocols of the Elders of Zion.

paragraph: These faction fights provide the backdrop to the infamous "The Protocols of the Elders of Zion". Many authors maintain that it was Rachkovsky's agent in Paris, Matvei Golovinski, who in the early 1900s authored the first edition. The text presented the impending Russian Revolution of 1905 as a part of a powerful global Jewish conspiracy and fomented anti-Semitism to deflect public attention from Russia's growing social problems. Another Rachkovsky agent, Yuliana Glinka, is often cited as the person who sent the forgery from France to Russia via her uncle General Orzhevsky.

paragraph: Section::::Career after 1905.

paragraph: After the Revolution of 1905, martial law was introduced in Saint Petersburg. Rachkovsky was brought back to head the entire Okhrana, first as MVD Special Commissioner and then as the Deputy Director of Police.

paragraph: Rachkovsky had the reputation of being an unrivalled master of intrigues and provocation.

paragraph: In 1902 he faked a letter by the leader of the Russian social democrats Georgy Plekhanov that accused Narodnaya Volya leaders of cooperation with the British Intelligence Service. This allowed the police to exploit mutual distrust and recriminations between the factions.

paragraph: Section::::In popular culture.

paragraph: He was portrayed in the "The Appointment", the eighth episode of 1974 BBC production "Fall of Eagles", by Michael Bryant. He appears in the novel "The Prague Cemetery" and is mentioned in "Foucault's Pendulum".

paragraph: Section::::Further reading.

paragraph: BULLET::::- "The World That Never Was: A True Story of Dreamers, Schemers, Anarchists and Secret Police" by Alex Butterworth (Pantheon Books, 2010)

paragraph: Section::::External links.

paragraph: BULLET::::- Paris Okhrana 1885-1905 CIA historical review program (Approved for release 22 September 1993)

paragraph: BULLET::::- The Paris Operations of the Russian Imperial Police by Ben B. Fischer. History Staff Center for the Study of Intelligence, CIA (declassified). 1997

paragraph: BULLET::::- Biography and documents at hrono.ru

paragraph: BULLET::::- Петр Иванович Рачковский // "Брачев В. С." Богатыри русского политического сыска

description: Russian secret service chief

wikidata_label: Pyotr Rachkovsky

wikipedia_title: Pyotr Rachkovsky


text: United States Navy

text: hydrographer

text: Director of Naval Intelligence

text: gunboat

text: Spanish–American War

text: Washington, D.C.

text: Naval Attaché

text: Asiatic Station

text: Board of Inspection and Survey

text: Hagerstown, Maryland

text: United States Naval Academy

text: Susquehanna

text: Naval Hydrographic Office

text: Long Island Sound

text: Straits of Magellan

text: Alaska

text: Dixon Entrance

text: Cordova Bay

text: Clarence Strait

text: Naval War College

text: Board on Geographic Names

text: Alfred Thayer Mahan

text: The Influence of Sea Power upon History

text: Office of Naval Intelligence

text: Secretary of the Navy

text: John D. Long

text: Assistant Secretary of the Navy

text: Theodore Roosevelt

text: Spanish–American War

text: gunboat

text: Naval Attaché

text: captain

text: Asiatic Fleet

text: Board of Inspection and Survey

text: rear admiral

text: Wyoming

text: Arlington National Cemetery

text: Senator John F. Miller

text: California

text: Alaska Commercial Company

text: Thomas Holcomb

text: Alexander Archipelago

categories: United States Naval Academy alumni,American hydrographers,1919 deaths,United States Coast and Geodetic Survey personnel,United States Navy admirals,American military personnel of the Spanish–American War,Burials at Arlington National Cemetery,People from Hagerstown, Maryland,1846 births

paragraph: Richardson Clover

paragraph: Richardson Clover (July 11, 1846 – October 14, 1919) was an officer of the United States Navy. An 1867 graduate of the United States Naval Academy, he was a noted hydrographer, served as Director of Naval Intelligence, and commanded the gunboat during the Spanish–American War. He was socially prominent in Washington, D.C. and served as US Naval Attaché to Great Britain. He commanded the on the Asiatic Station and served as president of the Board of Inspection and Survey. He was promoted to rear admiral in 1907 and retired in 1908.

paragraph: Section::::Biography.

paragraph: Clover was born in Hagerstown, Maryland, son of Lewis Peter Clover and Sarah Ann Ackerman Clover. His father was an artist who later became an Episcopal minister, serving congregations in Virginia, New Jersey, Illinois, and New York. Richardson Clover was appointed to the United States Naval Academy from Missouri in July 1863 and graduated in 1867. His first posting was to the frigate "Susquehanna".

paragraph: Clover had a varied career in the service including several hydrographic assignments. He served on the Coast Survey steamer on the Pacific coast 1874–77, and had a brief assignment to the Naval Hydrographic Office. He was again assigned to the Coast Survey in 1881, first in the Washington office and then commanding the schooner "Palinurus" surveying Long Island Sound. He supervised construction of the steamer and became her first commander. Under Clover, the "Patterson" sailed to California by way of the Straits of Magellan and subsequently made surveys in southeastern Alaska in 1885, covering the north shore of Dixon Entrance (except for Cordova Bay), and Clarence Strait as far north as Union Bay. He remained in charge of the "Patterson" and the Southeast Alaska survey until he was relieved by A.S Snow in March 1886.

paragraph: Following a year's leave accompanying his marriage, Clover was posted to the torpedo station at Newport and then attended the Naval War College from September 1887 until January 1888. Subsequently, he was posted as navigator on the , then as executive officer on the from December 1888 to December 1889. During this period "Dolphin" completed her round-the-world cruise.

paragraph: He returned to the Naval Hydrographic Office in 1889. He became acting hydrographer in September 1890 and was formally appointed hydrographer (i.e. head of the office) in May 1891, accompanying his appointment as lieutenant commander. He was appointed one of the initial members, and secretary, of the Board on Geographic Names in 1890. He continued as Hydrographer until 1893.

paragraph: Clover served on the Phythian Board on the reorganization of the Navy. Subsequently, he was posted to the cruiser , serving as executive officer under Captain Alfred Thayer Mahan, author of "The Influence of Sea Power upon History". In December 1895, he was appointed to the Board revising Naval Regulations. Subsequently, he commanded the in 1896-7.

paragraph: Clover was appointed Chief Intelligence Officer of the Office of Naval Intelligence from November 1897 to May 1898 and then again from October 1898 to February 1900. While on his first term as Chief Intelligence Officer, then-Cmdr. Clover was also member of the War and Strategy Board established by the Secretary of the Navy John D. Long to provide him with operational and strategic advice. Also on that board was Assistant Secretary of the Navy Theodore Roosevelt. In the period leading up to the Spanish–American War, Clover organized intelligence-gathering efforts to establish the location, condition, and order of battle of the Spanish naval forces. These efforts included espionage as well as the more usual compilation of information from open and diplomatic channels. However, when the war started, Clover left his position to take an active combat position as commanding officer of the gunboat from May to September 1898.

paragraph: After his stint on the "Bancroft" Clover resumed his duties as Chief Intelligence Officer until February 1900, then was reassigned as the Naval Attaché at the U.S. Embassy in London from April 1900 to June 1903 He was promoted to captain on April 11, 1902. After a short hiatus at home he became the commanding officer of the battleship from January 1904 to December 1905, while for most of this time also serving as Chief-of-Staff of the Asiatic Fleet. Then after a one-year hiatus he became a member, then the president of the Board of Inspection and Survey from February 1907 to July 1908, during which he was promoted to rear admiral. He retired on July 11, 1908.

paragraph: Clover died on October 14, 1919, in Wyoming while en route from San Francisco, California to Washington, D.C. He is buried with his wife in Arlington National Cemetery.

paragraph: Section::::Personal life.

paragraph: Clover was married on 19 May 1886 to Mary Eudora Miller. She was the daughter of Senator John F. Miller from California, the wealthy former head of the Alaska Commercial Company. Clover named Dora Bay, Miller Lake, and Mt. Eudora in Alaska, presumably for her, in 1885. The Clovers had two daughters, Beatrice Miller Clover and Mary Eudora Miller Clover. Beatrice married Thomas Holcomb, who served as Commandant of the United States Marine Corps during the early part of World War II. Mary Eudora Miller never married and died October 11, 1954 in San Francisco, Ca.

paragraph: Section::::Namesakes.

paragraph: Clover Bay and Clover Passage in the Alexander Archipelago, Alaska, are named for him. Clover Deep, an undersea valley at 37N, 137 W off the coast of California, was named for him in 1895. The name changed to Glover Deep as the result of a transcription error and neither name is in current use.

paragraph: Section::::Further reading.

paragraph: BULLET::::- The Rise and Fall of American Naval Intelligence, 1882–1917 Mark Russell Shulman "Intelligence and National Security 8" (2) 214–226, 1993. Posted on author's web site.

paragraph: BULLET::::- "Waiting for dead men's shoes: origins and development of the U.S. Navy's officer personnel system, 1793–1941" Donald Chisholm; includes coverage of the Phythian Board of 1891 dealing with imbalances of officer numbers and the Navy career path. Lists Clover as "Richardson Glover". Explains what the Phythian Board was trying to accomplish, and the results of their report.

paragraph: BULLET::::-   Clover's reports – operations of USS "Bancroft" during Spanish–American War.

description: United States naval officer, hydrographer

wikidata_label: Richardson Clover

wikipedia_title: Richardson Clover


text: Sofia

text: Bulgaria

text: Mandate Palestine

text: Tel Aviv

text: supplement

text: daily newspaper

text: periodical

text: United Press

text: news agency

text: Shlomo Kalo

text: Israel Prize

text: List of Israel Prize recipients

categories: Israeli Jews,Bulgarian emigrants to Israel,1935 births,Bulgarian people of Jewish descent,Israeli poets,Israel Prize in Hebrew poetry recipients,People from Sofia,Living people,Bulgarian Jews in Israel

paragraph: Israel Pincas

paragraph: Israel Pincas (; born January 28, 1935) is an Israeli poet.

paragraph: Section::::Biography.

paragraph: Pincas was born in Sofia, Bulgaria in 1935. He lost his father at the age of 6. As a boy, he emigrated to the Mandate Palestine with his mother in 1944. He lives in Tel Aviv.

paragraph: Section::::Published works.

paragraph: Pincas published his first book of poetry "14 Poems" in 1961. His most famous poem is "Ilmale" ("Were it not") His poems were published in various circles, in the literary supplements of daily newspapers and periodicals. Many of his poems were published in the magazine "Exclamation Point", after many years of nonrecognition. He has published eight books of poetry, to date, many by the "Exclamation Point" publishing house. He also worked as an editor for the local office of the United Press news agency. Pincas translated a number of books by Shlomo Kalo from Bulgarian to Hebrew. In 2012 he published the collection of poetry "Diskurs über die Zeit" ("Discourse about time") translated into German ( München).

paragraph: Section::::Awards.

paragraph: In 2005, Pincas was awarded the Israel Prize, for poetry.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Israel Prize recipients

paragraph: Section::::External links.

paragraph: BULLET::::- Israel Prize Official Site - CV of Israel Pinkas (in Hebrew)

description: Israeli poet

wikidata_label: Israel Pincas

wikipedia_title: Israel Pincas


text:
Egypt
Amenemhat IV
Twelfth Dynasty of Egypt
Sobek
Pharaoh
Amenemhat III
Manetho
Amenemhat IV
Neferuptah
Hawara
First Dynasty
Nitocris
Sixth Dynasty
Turin Canon
19th century BC
Twelfth Dynasty
Middle Kingdom
Thirteenth Dynasty
Gezer
One statue
Egyptian Museum of Berlin
Semna
Amenemhat III
Hawara
labyrinth
Herodotus
Heracleopolis Magna
royal titulary
British Museum
graffito
Nubia
Kumma
Season of the Emergence
Kim Ryholt
pyramid complex in Mazghuna
Sekhem
Harageh
Hatshepsut
Harry N. Abrams, Inc.

categories: Pharaohs of the Twelfth Dynasty of Egypt,19th-century BC women rulers,19th-century BC Pharaohs,Female pharaohs,19th-century BC deaths

paragraph: Sobekneferu

paragraph: Sobekneferu (sometimes written "Neferusobek") reigned as pharaoh of Egypt after the death of her brother Amenemhat IV. She was the last ruler of the Twelfth Dynasty of Egypt and governed Egypt for almost four years from 1806 to 1802 BC. Her name means "the beauty of Sobek."

paragraph: Section::::Family.

paragraph: She was the daughter of Pharaoh Amenemhat III. Manetho states she also was the sister of Amenemhat IV, but this claim is unproven; researchers have yet still to find proof. Sobekneferu had an older sister named Neferuptah, who was the intended heir. Neferuptah's name was enclosed in a cartouche and she had her own pyramid at Hawara. Neferuptah died at an early age, however, allowing Sobekneferu to be next in line.

paragraph: Section::::Reign.

paragraph: Sobekneferu was the first known woman reigning as pharaoh for which there is confirmed proof. There are five women who are believed to have ruled as early as the First Dynasty and Nitocris may have ruled in the Sixth Dynasty.

paragraph: Amenemhat IV most likely died without a male heir; consequently, Amenemhat III's daughter, Sobekneferu, assumed the throne. According to the Turin Canon, she ruled for three years, ten months, and 24 days in the late 19th century BC.

paragraph: She died without heirs/children, and the end of her reign concluded Egypt's Twelfth Dynasty and the Golden Age of the Middle Kingdom, which inaugurated the Thirteenth Dynasty.

paragraph: Section::::Monuments and Tomb.

paragraph: Few monuments have been discovered for her, although many of her (headless) statues have been preserved including the base of a representation of a king's royal daughter that was discovered in Gezer and bears her name. One statue with a head is known. A bust in the Egyptian Museum of Berlin (Inv. no. 14476), lost in World War II, could be identified as belonging to her. Today, the sculpture is known only from photographic images and plaster casts. It came in 1899 to the museum. The head fits on top of the lower part of a royal statue discovered at Semna. The latter can be identified for sure as royal because the royal symbol "unification of the two countries" appears on the side of her throne. It is known that she made additions to the funerary complex of Amenemhat III at Hawara (called a "labyrinth" by Herodotus) and also built structures at Heracleopolis Magna.

paragraph: A fine cylinder seal bearing her name and royal titulary is located in the British Museum. A Nile graffito, at the Nubian fortress of Kumma records the Nile inundation height of 1.83 meters in Year 3 of her reign. Another inscription discovered in the Eastern Desert records "year 4, second month of the Season of the Emergence". Her monumental works consistently associate her with Amenemhat III rather than Amenemhat IV, supporting the theory that she was the royal daughter of Amenemhat III and perhaps, only a stepsister of Amenemhat IV. The Danish Egyptologist, Kim Ryholt, notes that the contemporary sources from her reign show that Sobekneferu never adopted the title of King's Sister-only "King's Daughter"-which supports this hypothesis. Additionally, all Egyptian rulers were given the title "king", regardless of gender.

paragraph: Her tomb has not been identified positively, although she may have been interred in a pyramid complex in Mazghuna that lacks inscriptions. It is immediately north of a similar complex ascribed to Amenemhat IV. A place called Sekhemneferu is mentioned in a papyrus found at Harageh. This just might be the name of her pyramid.

paragraph: Section::::See also.

paragraph: BULLET::::- Hatshepsut

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Dodson, Aidan. Hilton, Dyan. 2004. "The Complete Royal Families of Ancient Egypt", Thames & Hudson

paragraph: BULLET::::- W. Grajetzki, "The Middle Kingdom of Ancient Egypt: History,Archaeology and Society", Duckworth, London 2006 , 61-63

paragraph: BULLET::::- Shaw, Ian. Nicholson, Paul. 1995. "The Dictionary of Ancient Egypt". Harry N. Abrams, Inc., Publishers.

paragraph: BULLET::::- Shaw, Ian, Ed. 2000. "The Oxford History of Ancient Egypt," Oxford University Press. Graffito ref. pg. 170.

description: Egyptian queen regnant

wikidata_label: Sobekneferu

wikipedia_title: Sobekneferu


text: photography

text: Belarus

text: Lithuania

text: pictorialism

text: Vilnius

text: Navahrudak

text: Russian Empire

text: Syrokomla

text: Roch

text: gymnasium

text: Wilno

text: Jagiellonian University

text: Kraków

text: Minsk

text: the Radziwiłłs

text: Belitsa

text: Pictorialism

text: Ciechocinek

text: Antwerp

text: Ferdynand Ruszczyc

text: Vilnius University

text: Dresden

text: Germany

text: Hugo Erfurth

text: symbolists

text: impressionists

text: Hrodna

text: Lublin

text: World War II

text: Kresy

text: Volhynia

text: Lviv

text: Poznań

text: Pomerania

text: Gdańsk

text: Nowogródek Voivodeship

text: the western land attached to Poland

text: Vilnius Conservatory

text: Stanisław Lorentz

text: the National Museum

text: Giżycko

text: Tomas Venclova

text: Western Belarus

text: National Museum in Warsaw

text: National Library of Poland

text: Canadian Centre for Architecture

text: Iris & B. Gerald Cantor Center for Visual Arts

text: Jan Bulhak Collection

text: Polish Room

text: University at Buffalo

text: Historypin

text: Ostra Brama

text: Website devoted to Bułhak

text: ""Fotograf zaginionego świata"" by Tomasz Mościcki

text: Extended biography at culture.pl

text: Biographical note and some works

text: Photographs

text: biographical note

categories: Vilnius University faculty,Belarusian photographers,Photography in Lithuania,People from Navahrudak District,1876 births,Polish photographers,1950 deaths

paragraph: Jan Bułhak

paragraph: Jan Brunon Bułhak (1876–1950) was a pioneer of photography in Poland and present-day Belarus and Lithuania, and one of the best-known Polish photographers of the early 20th century. A theoretician and philosopher of photography, he was among the most prominent exponents of pictorialism. He is best known for his landscapes and photographs of various places, especially the city of Vilnius (then in Poland, now in Lithuania). He was the founder of the "Wilno Photoclub" and "Polish Photoclub", the predecessors of the modern Union of Polish Art Photographers (ZPAF), of which he was an honorary headperson. He is also known as an ethnographer and folklorist.

paragraph: Section::::Biography.

paragraph: Jan Bułhak was born on October 6, 1876 in Ostaszyn (), near Navahrudak (), Russian Empire (now Belarus). His parents were Walery Antoni Stanisław Bułhak of Syrokomla and Józefa née Haciska of Roch, both local landowners in Ostaszyn. In the village of () near Navahrudak, not far from St. Ann's Roman Catholic church (), there are four graves of Jan Bułhak's ancestors.

paragraph: In 1888, Jan entered a "gymnasium" (a pre-Revolution secondary public school of the Russian Empire) in Wilno (present-day Vilnius), finishing it in 1897. From 1897 to 1899, he studied literature, history and philosophy at Jagiellonian University, Kraków, but did not graduate because of lack of money. Back home, he lived in the village of Peresieka () near Minsk, where he inherited a manor after his great-uncle's death. From there, Bułhak sent his news stories to Wilno newspapers. In 1901, he married a cousin, Hanna Haciska. After his father's death, he sold the manor and bought a mansion from the Radziwiłłs in Belitsa, near Minsk. On April 27, 1906, the couple had a son, , who would become a composer and a photographer.

paragraph: Section::::Photography.

paragraph: Section::::Photography.:Beginning.

paragraph: Jan Bułhak grew interested in photography quite by chance in 1905, when his wife was given a camera. The same year, he took his first pictures: portraits, landscapes, environs. In the beginning, he was advised by Bolesław Ignacy Domeyko, a Navahrudak photographer, who helped him in the basics of photography.

paragraph: In 1908, he created a darkroom of his own in Peresieka. That December, he made his debut and won the main award at a photo competition run by "Życie Ilustrowane" ("Illustrated Life"), a weekly supplement to "Kurier Litewski" ("Lithuanian Courier").

paragraph: Section::::Photography.:First successes.

paragraph: In 1910, Jan Bułhak participated for the first time in the World Photo Exhibition in Brussels. He corresponded with the Paris Photoclub and the French photographers Emil J. Constant Puyo, Robert de la Sizeranne, and Léonard Misonne. Two issues of the Berlin "Photographische Mitteilungen" ("Photographic News") in 1910 contained his pictures. Bułhak sent his pictures and news stories to the Warsaw magazine "Ziemia" ("Earth") as well as to the Polish Local Lore society. He published many translations and articles in Polish magazines and inculcated the aesthetics of Pictorialism in the minds of his readers.

paragraph: From November 1910, Bułhak regularly contributed his writings on photography to the monthly "Fotograf Warszawski" ("Warsaw Photographer"). He also soon began contributing to "Tygodnik Wileński" ("Vilnius Weekly") (up to 1939), and "Deutscher Almanach" ("German Almanac").

paragraph: In 1911, Bułhak organized a photo-exhibition in Minsk. He participated in a photo exhibition in Ciechocinek, Poland; and received an honorary diploma in the category of artistic portraits at a contest in Antwerp.

paragraph: Section::::Photography.:Professional work.

paragraph: Fotographika really sticks out of the photo books from the rest due to the solid, print form, manifested not too much in the pictorial and impressionist styles of photography art, but in layouts of books. In Fotographika, Bulhak shows that he cares and draws attention through the definition of photographic reproductions. Fotographika was pioneering for the conscious consideration of form and quality of photo publications in Poland. The book shows Jan Bulhak as a person that a father figure to generations of amazing photography beginners looking to practice and aspired the called artists, as well as offering interesting contribution to reflection on the image of the artists.Jan Bulhak could also be considered as a prominent producer when it came to the concept of self-promotion and entrepreneurial organization of a photographer's activity.

paragraph: Section::::Photography.:Professional work.:Acquaintance with Ferdynand Ruszczyc.

paragraph: It was Bułhak's publication in "Fotograf Warszawski" in 1910 that drew the attention of Ferdynand Ruszczyc, a Polish painter, printmaker, and a professor at the Fine Arts Department of the Stefan Batory University (now Vilnius University); and it was Ruszczyc who helped Bułhak move to Vilnius.

paragraph: Later, Ruszczyc had an appreciable influence upon him as photographer. Though Bułhak's views on art, inspired by French aestheticians, had already formed, Ruszczyc helped to turn the amateur photographer into a professional: the painter taught him some specific techniques of composition to perceive nature and architecture.

paragraph: Section::::Photography.:Professional work.:Study in Germany.

paragraph: After this Bułhak studied photography in Dresden, Germany, where he received some practical tutoring from the German portrait-painter Hugo Erfurth. He also visited various Dresden societies, where he became acquainted with the symbolists and impressionists.

paragraph: Section::::Photography.:Professional work.:Start at Vilnius.

paragraph: In 1911, Ruszczyc suggested that the Vilnius Magistrate (city council) should create the position of "city photographer", and Bułhak was asked to take it. Thus, Bułhak became the Vilnius city photographer, and photography became his main business.

paragraph: In 1912, he opened a photographic studio at 12 Portovaya Street, Vilnius. At the request of the Vilnius Magistrate and in cooperation with the municipal curator, Bułhak started making a "photographic inventory" of the city and took pictures of its historic landmarks from 1912 to 1915.

paragraph: Section::::Photography.:Professional work.:Vilnius period.

paragraph: The major part of Bułhak's work is connected with Wilno and its surroundings; he also documented the monuments and landscapes of some other parts of Poland: Warsaw, Kraków, Hrodna, Lublin, and so on. Bułhak sent a series of his photos to the "Vestnik fotografii" ("Photo Bulletin", ) magazine, which he co-operated with from 1913 to 1914. In Bułhak's house in Eliza Orzeszkowa street, a collection of twelve thousand pictures was stored, most of them taken from 1912 to 1915.

paragraph: From 1919, with Ruszczyc's help and encouragement, Bułhak started lecturing on artistic photography at the Fine Arts Department of the Stefan Batory University; he would continue until 1939.

paragraph: In 1919, he became one of the founders and the chairman of the "Vilnius Photoclub" () (other sources say that he founded the photoclub and had headed it since 1927); and headed it until the start of World War II. He and Marian Dederko were the founders of the "Polish Photoclub" () in 1929 or 1930.

paragraph: From 1919 to 1939, Jan Bułhak headed the photographic section (workshop) of the Fine Arts Department of Stefan Batory University in Wilno.

paragraph: From 1935 to 1939, he was one of the editors of the magazines "Przegląd Fotograficzny" ("Photographic Review") and "Fotograf Polski" ("Polish Photographer").

paragraph: In 1939, the collection titled "Polska w obrazach fotograficznych Jana Bułhaka" ("Poland in Jan Bułhak’s photographic pictures") contained over 11,000 photos arranged into 158 subject albums: Vilnius, Kresy, Volhynia, Lviv, Warsaw, Kraków, Poznań, Pomerania, Gdańsk, Nowogródek Voivodeship and others. By World War II, Bułhak had taken between 40,000 and 100,000 photographs. In 1939, he presented the collection to the Polish state, but most of these negatives perished during the war.

paragraph: Under the occupation during World War II, Jan Bułhak together with his son continued to photograph the destruction of many places in what was then Poland.

paragraph: Section::::Photography.:Last years.

paragraph: In 1944, after bombardments, Bułhak's studio in Vilnius burned down; about 30 thousand negatives perished, but some were spared.

paragraph: After World War II, in July 1945, he resettled in Warsaw. There, he took about a thousand photographs of destroyed and restored Warsaw, and about two thousand of the western land attached to Poland.

paragraph: Though Jan Bułhak's son Janusz studied music at the Vilnius Conservatory, the father taught him photography, so Janusz joined him in 1940s and all photographs made from 1945 to 1949 are signed "Jan Bułhak and son".

paragraph: In 1946, in Warsaw, with help from Stanisław Lorentz, the director of "Muzeum Narodowe w Warszawie" (the National Museum), the first postwar exhibition by Jan Bułhak took place: "Warszawa 1945 roku w obrazach fotograficznych Jana Bułhaka" ("Warsaw of 1945 in Jan Bułhak's Photographic Images").

paragraph: In 1946, he and Leonard Sempoliński became founders of the revived Union of Polish Pictorialists (), the successor to the Polish Photoclub, and headed it until his death. His member card was number 1.

paragraph: Bułhak took part in more than 170 international exhibitions, and received a number of high awards. For his photograph titled "Radość życia" ("Joy of Life"), which shows a shaded room with sun rays entering, he received the Golden Medal at the International Photographic Show () in Warsaw in 1937.

paragraph: He died suddenly in Giżycko during a photographic excursion on February 4, 1950.

paragraph: Section::::Creative output.

paragraph: Jan Bułhak became famous and popular for his pictures of Wilno (now Vilnius) and its vicinity, and other towns and countryside of what is now Lithuania. In the words of Tomas Venclova:

paragraph: Bułhak's portrayal of Vilnius and its environs is not just documentary: reminiscent of impressionist paintings, his valuable artistic photographs reflect the particular aura of the Old Town and its surrounding landscape. His image of the city has survived in the consciousness of several generations and has become one of the city's myths.

paragraph: In the estimation of Laimonas Briedis:

paragraph: [Bułhak] spoke of and, in his mesmerising black-and-white prints, attempted to capture [Wilno's] sinuous nature. Bułhak placed the city onto the fluid landscape of a human soul, and made it a challenge to the hardened, familiar parameters of European time and space.

paragraph: Bułhak wrote a number of books on the technique and art of photography, memoirs of Ferdynand Ruszczyc (1939), and also some poems and short stories. He published a series of albums, "Wędrówki fotografa" ("Photographer's Travels") (I–IX, 1931–1936). His photographs are used to illustrate a city guidebook by Juliusz Kłos, a book about Wilno by Jerzy Remer, and other publications.

paragraph: Jan Bułhak's creativity had a great influence on the development of Lithuanian art photography. Practically all of Vilnius pictorialists adopted his views on art. This influence helped advance photography in the Vilnius area, Western Belarus, and all of Poland.

paragraph: Photographs by Jan Bułhak are in many Polish institutions, including the National Museum in Warsaw, the Warsaw Institute of Arts, the Museum of Fine Arts in Łódź, the National Library of Poland, and the Walery Rzewuski Museum of History of Photography in Kraków. Some photographs are in the collections of the Canadian Centre for Architecture and the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University (California).

paragraph: There are four nations that consider Jan Bułhak an outstanding person of their own: Poland (he was from a Polish family), Belarus (he was born and lived in the Belarusian land for some time), Lithuania (he long lived and worked in Vilnius), and Russia (whose empire encompassed the former three).

paragraph: Digital Collections

paragraph: In October 2013, the University at Buffalo Libraries announced the Jan Bulhak Collection. This digital collection consists of 116 of Bulhak's photographs, mainly from Warsaw, Kraków and the Kresy region. Originally, the collection of photographs was donated to the Polish Room at the University at Buffalo in 1955 by John M. Walczak. The Jan Bulhak Collection was also integrated into the history mapping website Historypin.

paragraph: Section::::Books of works by Bułhak.

paragraph: BULLET::::- "Lithuania in Photographs by Jan Bulhak" (270 photos in six albums), 1915.

paragraph: BULLET::::- "Wilna, Eine Vergessene Kunststatte" ("Wilno Forgotten Art"). Published by the German 10th Army, Wilno, 1917.

paragraph: BULLET::::- "Moja ziemia" ("My Land"). Wilno, 1919.

paragraph: BULLET::::- "Vilniaus reginiai" ("Sights of Vilnius"). Vilnius, 1921.

paragraph: BULLET::::- "Wilno". Wilno, 1924

paragraph: BULLET::::- "Album Ostrobramskie" ("Ostra Brama Album"). (Co-authored with Mieczysław Limanowski.) Wilno, 1927.

paragraph: BULLET::::- "Polska w krajobrazie i zabytkach", Vol. 1 ("Polish Landscapes and Landmarks"). (Co-authored with Marian Zaruski, et al.) Warsaw, 1930.

paragraph: BULLET::::- "Polska w krajobrazie i zabytkach", Vol. 2 (Joint work.) Warsaw, 1931.

paragraph: BULLET::::- "Fotografika. Zarys fotografii artystycznej" ("Fine Art Photography. Outline"). Warsaw, 1931.

paragraph: BULLET::::- "Krajobraz wileński" ("Vilnius Landscape"). Wilno, 1931.

paragraph: BULLET::::- "Wędrówki fotografa" ("Photographer's Travels") Parts 1–4. Wilno, 1931–36.

paragraph: BULLET::::- "Technika bromowa" ("Bromide Technique"). Wilno, 1933.

paragraph: BULLET::::- "Bromografika" ("Bromography"). 1934.

paragraph: BULLET::::- "Estetyka światła" ("Aesthetics of Light"). Wilno, 1936.

paragraph: BULLET::::- "Polska fotografia ojczysta" ("Native Polish Photography"). Poznań, 1938 / 1951.

paragraph: BULLET::::- "26 lat z Ferdynandem Ruszczycem" ("26 Years with Ferdynand Ruszczyc"). Wilno, 1939.

paragraph: BULLET::::- "Fotografia ojczysta" ("Native Photography"). Wrocław, 1951.

paragraph: BULLET::::- "Vilnius Baroque: Ninety Architectural Photographs from 1912 to 1916." Vilnius: E. Karpavicius, 2003. .

paragraph: BULLET::::- "Vozera Svitsiaz': Fotaalʹbom () = Jezioro Switeź = Svitiaz Lake" (Photo album.) Minsk, 2003. .

paragraph: BULLET::::- "Kraj lat dziecinnych" ("Land of Childhood"). Gdynia: ASP Rymsza, 2003. About the Navahrudak area.

paragraph: BULLET::::- "Krai dzitsiachykh hadou / Jan Bułhak ()" ("Land of Childhood"; translation from Polish). Minsk, Belarus, 2004. (Bel) / (Pol).

paragraph: BULLET::::- "Vilniaus peizažas: Fotografo kelionės" ("Vilnius Landscapes. Photographer's Travels"). Vilnius: Vaga, 2006. .

paragraph: Section::::External links.

paragraph: BULLET::::- Website devoted to Bułhak

paragraph: BULLET::::- ""Fotograf zaginionego świata"" by Tomasz Mościcki

paragraph: BULLET::::- Extended biography at culture.pl

paragraph: BULLET::::- Biographical note and some works

paragraph: BULLET::::- Photographs by Bułhak of Gdańsk and a biographical note on him, both at Northern Light Gallery.

paragraph: BULLET::::- Jan Bulhak Digital Collection at the University at Buffalo

description: Polish photographer

wikidata_label: Jan Bułhak

wikipedia_title: Jan Bułhak


text:
Orduña
Biscay
Spain
Asunción
Paraguay
Spanish
Basque
conquistador
Peru
Diego de Almagro
Francisco Ortiz de Vergara
Royal Audience
Council of the Indies
Felipe de Cáceres
adelantado
Governorate of the Río de la Plata
San Lúcar de Barrameda
Colonia, Uruguay
Charrúa
Uruguay
Martín García Island
Juan de Garay
Santa Fe
Asunción
Ortiz de Zárate, Juan
Los Adelantados (1535-1590)

categories: Basque explorers,1520s births,1575 deaths,16th-century Spanish people

paragraph: Juan Ortiz de Zárate

paragraph: Juan Ortiz de Zárate (c. 1521 Orduña, Biscay (Spain) – 1575 Asunción, (Paraguay). was a Spanish Basque explorer and conquistador. He journeyed to the Americas as a teenager, where he took part in the conquest of Peru under Diego de Almagro.

paragraph: On the removal of Francisco Ortiz de Vergara from office, he was the conquistadors' preferred choice to be his replacement, but the Royal Audience required he return to Spain for confirmation by the Council of the Indies while Felipe de Cáceres governed in his stead.

paragraph: He returned to Spain and was appointed the third "adelantado" of the Governorate of the Río de la Plata, with the goal of exploring and populating the lands, founding towns, and introducing cattle and horses. His expedition left the port of San Lúcar de Barrameda in October 1572 but reached the mouth of the Plata more than a year later, disembarking at the location of present-day Colonia, Uruguay.

paragraph: Zárate attempted to subdue the Charrúa, who had destroyed several previous settlements in what is now Uruguay, but he was attacked and forced to seek shelter on Martín García Island. Juan de Garay, who had just founded the city of Santa Fe, was sent for and promptly came to the rescue; the combined forces defeated the Charrúas. Ortiz de Zárate was forced to leave a permanent guard at the settlement, while he marched to Asunción to assume his post as governor.

paragraph: He held this office until his death in 1575. He willed his authority to his daughter, Juana, but was succeeded by her husband, Juan Torres de Vera y Aragón.

paragraph: Section::::References.

paragraph: BULLET::::- Ortiz de Zárate, Juan at Biografica.info.

paragraph: BULLET::::- La Escuela Digital. Los Adelantados (1535-1590)

description: Spanish explorer

wikidata_label: Juan Ortiz de Zárate

wikipedia_title: Juan Ortiz de Zárate


text: Indian

text: Nizam

text: Hyderabad

text: Mahbub Ali Khan, Asif Jah VI

text: Viceroy of India

text: Royal Warrant

text: Queen Victoria

text: Sardhana

text: Meerut

text: Thompson College of Civil Engineering

text: Roorkee

text: IIT Roorkee

text: Indore

text: Maharaja Tukoji Rao II

text: Indore state

text: Henry Daly

text: Governor General

text: Central India

text: Daly College

text: Prince

text: Princess of Wales

text: Sir Lepel Griffin

text: Bundelkhand

text: Nizam of Hyderabad

text: Hyderabad

text: Viceroy of India

text: Nizam of Hyderabad

text: Raja

text: Queen Victoria

text: Prince

text: Princess

text: IGNCA

text: Peabody Essex Museum

text: Alkazi

text: Jyotindra Jain

text: Salar Jung Museum

text: Jubilee Hall

text: British Library

text: George Curzon

text: Raja Deen Dayal, official website

text: Lala Deen Dayal, resource website

text: Documentary

categories: 20th-century Indian photographers,Pioneers of photography,19th-century Indian photographers,People from Meerut district,Indian nature photographers,Photographers from Uttar Pradesh,Photography in India,1844 births,1905 deaths,Architectural photographers

paragraph: Lala Deen Dayal

paragraph: Lala Deen Dayal () 1844 – 1905; (also written as 'Din Dyal' and 'Diyal' in his early years) famously known as Raja Deen Dayal) was an Indian photographer. His career began in the mid-1870s as a commissioned photographer; eventually he set up studios in Indore, Mumbai and Hyderabad. He became the court photographer to the sixth Nizam of Hyderabad, Mahbub Ali Khan, Asif Jah VI, who awarded him the title Raja Bahadur Musavvir Jung Bahadur, and he was appointed as the photographer to the Viceroy of India in 1885.

paragraph: He received the Royal Warrant from Queen Victoria in 1897.

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

paragraph: Deen Dayal was born in Sardhana, Uttar Pradesh, near Meerut in a family of jewellers. He received technical training at Thompson College of Civil Engineering at Roorkee (now IIT Roorkee) in 1866 as an engineer in lower subordinate class.

paragraph: Section::::Career.

paragraph: In 1866, Deen Dayal entered government service as head estimator and draughtsman in the Department of Works Secretariat Office in Indore. Meanwhile, he took up photography. His first patron in Indore was Maharaja Tukoji Rao II of Indore state, who in turn introduced him to Sir Henry Daly, agent to the Governor General for Central India (1871–1881) and the founder of Daly College, who encouraged his work, along with the Maharaja himself who encouraged him to set up his studio in Indore. Soon he was getting commissions from Maharajas and the British Raj. The following year he was commissioned to photograph the governor general's tour of Central India. In 1868, Deen Dayal founded his studio – Lala Deen Dayal & Sons – and was subsequently commissioned to photograph temples and palaces of India. He established studios in Indore (Mid 1870s), Secunderabad (1886) and Bombay (1896).

paragraph: In 1875–76, Deen Dayal photographed the Royal Tour of the Prince and Princess of Wales. In the early 1880s he travelled with Sir Lepel Griffin through Bundelkhand, photographing the ancient architecture of the region. Griffin commissioned him to do archaeological photographs: The result was a portfolio of 86 photographs, known as "Famous Monuments of Central India".

paragraph: The next year he retired from government service and concentrated on his career as a professional photographer. Deen Dayal became the court photographer to the sixth Nizam of Hyderabad in 1885. Soon afterward he moved from Indore to Hyderabad. In the same year he was appointed as the photographer to the Viceroy of India. In time, the Nizam of Hyderabad conferred the honorary title of "Raja" upon him. It was at this time that Dayal created the firm Raja Deen Dayal & Sons in Hyderabad.

paragraph: Deen Dayal was appointed photographer to Queen Victoria in 1897.

paragraph: In 1905–1906, Raja Deen Dayal accompanied the Royal Tour of the Prince and Princess of Wales.

paragraph: Section::::Legacy.

paragraph: The Lala Deen Dayal studios' collection of 2,857 glass plate negatives was bought by the Indira Gandhi National Centre for the Arts (IGNCA), New Delhi in 1989. Today it is the largest repository of his work. A large collection including celebrated images of the 1870s' famine are with the Peabody Essex Museum, US and the Alkazi collection in Delhi. In 2010, a retrospective exhibition of his work was held at IGNCA, curated by Jyotindra Jain.

paragraph: In 2006, a curated collection of Raja Deen Dayal's photographs was exhibited at the Salar Jung Museum during the Times Hyderabad Festival; subsequently in November, the Ministry of Communications, Department of Posts released a commemorative stamp honouring him; the ceremony was held at Jubilee Hall, Hyderabad.

paragraph: Section::::Gallery.

paragraph: Photographs taken by Deen Dayal in the 1880s, sourced from the British Library, George Curzon's Collection: "Views of HH the Nizam's Dominions, Hyderabad, Deccan, 1892".

paragraph: Section::::References.

paragraph: BULLET::::- Anglo-American Name Authority File, s.v. “Deen Dayal, Raja”, LC Control Number n 79141503, cited 18 August 2006.

paragraph: BULLET::::- Canadian Centre for Architecture; Collections Online, s.v. “Dayal, Lala Deen”, cited 18 August 2006.

paragraph: BULLET::::- Johnson, William S. "Nineteenth-Century Photography: An Annotated Bibliography, 1839–1879" (Boston: G.K. Hall, 1990).

paragraph: BULLET::::- Thomas, G. "History of photography, India, 1840–1980" (Andhra Pradesh: Andhra Pradesh State Akademi of Photography, 1981), 24, 31, 39, 40.

paragraph: BULLET::::- Union List of Artist Names, s.v. "Dayal, Lala Deen", cited 18 August 2006.

paragraph: Section::::Further reading.

paragraph: BULLET::::- "Princely India: Photographs by Raja Deen Dayal, 1884–1910", by Deen Dayal (Author), Clark Worswick. Knopf, 1980. .

paragraph: BULLET::::- "Raja Deen Dayal : Prince of Photographers", by Narendra Luther, Sureshchand Deendayal. Hyderabadi, 2003. .

paragraph: BULLET::::- "Lala Deen Dayal: the eminent Indian photographer, 1844–1910", Deen Dayal (Raja), London Borough of Camden. Libraries & Arts Dept., 2002.

paragraph: BULLET::::- Raja Deen Dayal Collection at "Alkazi Foundation"

paragraph: Section::::External links.

paragraph: BULLET::::- Raja Deen Dayal, official website

paragraph: BULLET::::- Lala Deen Dayal, resource website

paragraph: BULLET::::- Documentary

alias:
Lala Din Dayal
Deen Dayal
Raja Deen Dayal
Musaur Jung Lal Deen Dayal

description: Indian photographer

wikidata_label: Lala Deen Dayal

wikipedia_title: Lala Deen Dayal


text:
ancient Greek
Ictinus
architect
Parthenon
Plutarch
Nike
Sanctuary of Athena Nike
Acropolis
amphiprostyle
Temple of Athena Nike
Middle
Athens
Piraeus
Plutarch
"Pericles" 13

categories: Ancient Greek architects,Year of birth unknown,Year of death unknown,Acropolis of Athens,5th-century BC Athenians

paragraph: Callicrates

paragraph: Callicrates (; , "Callicrátēs") was an ancient Greek architect active in the middle of the fifth century BC. He and Ictinus were architects of the Parthenon (Plutarch, "Pericles", 13). An inscription identifies him as the architect of "the Temple of Nike" in the Sanctuary of Athena Nike on the Acropolis (IG I 35). The temple in question is either the amphiprostyle Temple of Athena Nike now visible on the site or a small-scale predecessor (naiskos) whose remains were found in the later temple's foundations. An inscription identifies Callicrates as one of the architects of the Classical circuit wall of the Acropolis (IG I 45), and Plutarch further states (loc. cit.) that he contracted to build the Middle of three amazing walls linking Athens and Piraeus.

paragraph: Section::::Sources.

paragraph: BULLET::::- Plutarch, "Pericles" 13

alias: Kallikratēs Kallikrates Kallikratis

description: ancient Greek architect

wikidata_label: Callicrates

wikipedia_title: Callicrates


text: ukiyo-e

text: bijin

text: ōkubi-e

text: Toyotomi Hideyoshi

text: Impressionists

text: Ukiyo-e

text: Edo period

text: courtesans

text: kabuki

text: ukiyo

text: pleasure districts

text: woodblock prints

text: Edo

text: Kiyonaga

text: Shunshō

text: Katsukawa school

text: Katsukawa school

text: Shunkō

text: mica

text: Yoshiwara

text: Edo

text: Kawagoe

text: Musashi Province

text: Saitama Prefecture

text: Toriyama Sekien

text: Kanō school

text: Japanese painting

text: ukiyo-e

text: Edo

text: haiku

text: Eishōsai Chōki

text: eggplant

text: haikai

text: kabuki

text: Nakamura-za

text: Tsutaya Jūzaburō

text: Kitao Shigemasa

text: Katsukawa Shunshō

text: Ōta Nanpo

text: kyōka

text: "waka"

text: Yoshiwara

text: shunga

text: erotica

text: Toyokuni

text: samurai

text: their crests

text: Toyotomi Hideyoshi

text: kabuki

text: bunraku

text: Shuntei

text: Shun'ei

text: Jippensha Ikku

text: daimyō

text: Katō Kiyomasa

text: Ishida Mitsunari

text: Daigo-ji

text: Bunka

text: posthumous name

text: Tsukimaro

text: bijin-ga

text: kachō-e

text: Kiyonaga

text: Tsutaya Jūzaburō

text: body proportions

text: surimono

text: Izumiya Ichibei

text: "Japonisme"

text: Siegfried Bing

text: Impressionists

text: Hokusai

text: Hiroshige

text: Monet

text: Degas

text: Gauguin

text: Toulouse-Lautrec

text: Mary Cassatt

text: shin-hanga

text: Goyō Hashiguchi

text: Taishō period

text: Kazuo Ishiguro

text: An Artist of the Floating World

text: stele

text: Bunka

text: East Asian age reckoning

text: Ukiyo-e Ruikō

text: Ernest Fenollosa

text: Arthur Davison Ficke

text: Laurence Binyon

text: British Museum

text: James A. Michener

text: Sukenobu

text: Sharaku

text: sumptuary law

text: Edmond de Goncourt

text: Tadamasa Hayashi

text: Jack Hillier

text: Ten Types of Women's Physiognomies

text: Anthology of Poems: The Love Section

text: Twelve Hours of the Green Houses

text: Renowned Beauties from the Six Best Houses

text: Siegfried Bing

text: "The Art of Utamaro"

text: The Studio

text: University of Hawai'i Press

text: Works by Utamaro in the British Museum

text: Exploring the World of Kitagawa Utamaro

text: Kitagawa Utamaro Online at www.artcyclopedia.com

text: "Songs of the garden"

categories: 1753 births,Japanese printmakers,Ukiyo-e artists,1806 deaths,Japanese portrait painters

paragraph: Utamaro

paragraph: Kitagawa Utamaro (, ; ;  – 31 October 1806) was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his "bijin ōkubi-e" "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.

paragraph: Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few ukiyo-e artists to achieve fame throughout Japan in his lifetime. In 1804 he was arrested and manacled for fifty days for making illegal prints depicting the 16th-century military ruler Toyotomi Hideyoshi, and died two years later.

paragraph: Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the "Japanese influence" among these artists often refers to the work of Utamaro.

paragraph: Section::::Background.

paragraph: Ukiyo-e art flourished in Japan during the Edo period from the seventeenth to nineteenth centuries. The artform took as its primary subjects courtesans, kabuki actors, and others associated with the "ukiyo" "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. Ukiyo-e art was aimed at the common townspeople at the bottom of the social scale, especially of the administrative capital of Edo. Its audience, themes, aesthetics, and mass-produced nature kept it from consideration as serious art.

paragraph: In the mid-eighteenth century, full-colour ' prints became common. They were printed by using a large number of woodblocks, one for each colour. Towards the close of the eighteenth century there was a peak in both quality and quantity of the work. Kiyonaga was the pre-eminent portraitist of beauties during the 1780s, and the tall, graceful beauties in his work had a great influence on Utamaro, who was to succeed him in fame. Shunshō of the Katsukawa school introduced the ' "large-headed picture" in the 1760s. He and other members of the Katsukawa school, such as Shunkō, popularized the form for "" actor prints, and popularized the dusting of mica in the backgrounds to produce a glittering effect.

paragraph: Section::::Biography.

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

paragraph: Little is known of Utamaro's life. He was born Kitagawa Ichitarō in . As an adult, he was known by the given names Yūsuke, and later Yūki. Early accounts have given his birthplace as Kyoto, Osaka, Yoshiwara in Edo (modern Tokyo), or Kawagoe in Musashi Province (modern Saitama Prefecture); none of these places has been verified. The names of his parents are not known; it has been suggested his father may have been a Yoshiwara teahouse owner, or Toriyama Sekien, an artist who tutored him and who wrote of Utamaro playing in his garden as a child.

paragraph: Apparently, Utamaro married, although little is known about his wife and there is no record of their having had children. There are, however, many prints of tender and intimate domestic scenes featuring the same woman and child over several years of the child's growth among his works.

paragraph: Section::::Biography.:Apprenticeship and early work.

paragraph: Sometime during his childhood Utamaro came under the tutelage of Sekien, who described his pupil as bright and devoted to art. Sekien, although trained in the upper-class Kanō school of Japanese painting, had become in middle age a practitioner of ukiyo-e and his art was aimed at the townspeople in Edo. His students included haiku poets and ukiyo-e artists such as Eishōsai Chōki.

paragraph: Utamaro's first published work may be an illustration of eggplants in the "haikai" poetry anthology "Chiyo no Haru" published in 1770. His next known works appear in 1775 under the name Kitagawa Toyoaki,—the cover to a kabuki playbook entitled "Forty-eight Famous Love Scenes" which was distributed at the Edo playhouse Nakamura-za. As Toyoaki, Utamaro continued as an illustrator of popular literature for the rest of the decade, and occasionally produced single-sheet "" portraits of kabuki actors.

paragraph: The young, ambitious publisher Tsutaya Jūzaburō enlisted Utamaro and in the autumn of 1782 the artist hosted a lavish banquet whose list of guests included artists such as Kiyonaga, Kitao Shigemasa, and Katsukawa Shunshō, as well as writers such as Ōta Nanpo (1749–1823)and . It was at this banquet that it is believed the artist first announced his new art name, "Utamaro". Per custom, he distributed a specially made print for the occasion, in which, before a screen bearing the names of his guests, is a self-portrait of Utamaro making a deep bow.

paragraph: Utamaro's first work for Tsutaya appeared in a publication dated as 1783: "The Fantastic Travels of a Playboy in the Land of Giants", a "" picture book created in collaboration with his friend Shimizu Enjū, a writer. In the book, Tsutaya described the pair as making their debuts.

paragraph: At some point in the mid-1780s, probably 1783, he went to live with Tsutaya Jūzaburō. It is estimated that he lived there for approximately five years. He seems to have become a principal artist for the Tsutaya firm. Evidence of his prints for the next few years is sporadic, as he mostly produced illustrations for books of "kyōka" ("crazy verse"), a parody of the classical "waka" form. None of his work produced during the period 1790–1792 has survived.

paragraph: Section::::Biography.:Height of fame.

paragraph: In about 1791 Utamaro gave up designing prints for books and concentrated on making single portraits of women displayed in half-length, rather than the prints of women in groups favoured by other ukiyo-e artists.

paragraph: In 1793 he achieved recognition as an artist, and his semi-exclusive arrangement with the publisher Tsutaya Jūzaburō ended. Utamaro then went on to produce several series of well-known works, all featuring women of the Yoshiwara district.

paragraph: Over the years, he also created a number of volumes of animal, insect, and nature studies and "shunga", or erotica. Shunga prints were quite acceptable in Japanese culture, not associated with a negative concept of pornography as found in western cultures, but considered rather as a natural aspect of human behavior and circulated among all levels of Japanese society.

paragraph: Section::::Biography.:Later life.

paragraph: Tsutaya Jūzaburō died in 1797, and Utamaro thereafter lived in Kyūemon-chō, then Bakuro-chō, and finally near the Benkei Bridge. Utamaro was apparently very upset by the loss of his long-time friend and supporter. Some commentators feel that after this event, his work never reached the heights previously attained.

paragraph: A law went into effect in 1790 requiring prints to bear a censor's seal of approval to be sold. Censorship increased in strictness over the following decades, and violators could receive harsh punishments. From 1799 even preliminary drafts required approval. A group of Utagawa-school offenders including Toyokuni had their works repressed in 1801. In 1804, Utamaro ran into legal trouble over a series of prints of samurai warriors, with their names slightly disguised; the depiction of warriors, their names, and their crests was forbidden at the time. Records have not survived of what sort of punishment Utamaro received.

paragraph: Section::::Biography.:Later life.:Arrest of 1804.

paragraph: The , published from 1797 to 1802, detailed the life of the 16th-century military ruler, Toyotomi Hideyoshi. The work was widely adapted, such as for kabuki and bunraku theatre. When artists and writers put out prints and books based on the "Ehon Taikōki" in the disparaged "ukiyo-e" style, it attracted reprisals from the government. In probably the most famous case of censorship of the Edo period, Utamaro was imprisoned in 1804, after which he was manacled along with Tsukimaro, Toyokuni, Shuntei, Shun'ei, and Jippensha Ikku for fifty days and their publishers subjected to heavy fines.

paragraph: Government documents of the case are no longer extant, and there are few other documents relating to the incident. It appears that Utamaro was most prominent of the group. The artists might have offended the authorities by identifying the historical figures by name and with their identifying crests and other symbols, which was prohibited, and by depicting Hideyoshi with prostitutes of the pleasure quarters. Utamaro's censored prints include one of the "daimyō" Katō Kiyomasa lustily gazing at a Korean dancer at a party, another of Hideyoshi holding the hand of his page Ishida Mitsunari in a sexually suggestive manner, and another of Hideyoshi with his five consorts viewing the cherry blossoms at the temple Daigo-ji in Kyoto, a historical event famous for displaying Hideyoshi's extravagance. This last displays the names of each consort while placing them in the typical poses of courtesans at a Yoshiwara party.

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

paragraph: Records give Utamaro's death date as the 20th day of the 9th month of the year Bunka, which equates to 31 October 1806. He was given the Buddhist posthumous name Shōen Ryōkō Shinshi. Apparently with no heirs, his tomb at the temple was left untended. A century later, in 1917, admirers of Utamaro had the decayed grave repaired.

paragraph: Section::::Pupils.

paragraph: Utamaro had a number of pupils, who took names such as Kikumaro (later Tsukimaro), Hidemaro, and Takemaro. These artists produced works in the master's style, though none are considered of Utamaro's quality. Sometimes he allowed them to sign his name. Of his students, Koikawa Shunchō married Utamaro's widow on the master's death and took on the name . After 1820 he produced his work under the name "Kitagawa Tetsugorō".

paragraph: Section::::Analysis.

paragraph: What little information about Utamaro's life that has been passed down is often contradictory, so analysis of his development as an artist relies chiefly on his work itself. Utamaro is known primarily for his "bijin-ga" portraits of female beauties, though his work ranges from "kachō-e" "flower-and-bird pictures" to landscapes to book illustrations.

paragraph: Utamaro's early "bijin-ga" follow closely the example of Kiyonaga. In the 1790s his figures became more exaggerated, with thin bodies and long faces with small features. Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background. Utamaro's individuated beauties were in sharp contrast to the stereotyped, idealized images that had been the norm.

paragraph: By the end of the 1790s, especially following the death of his patron Tsutaya Jūzaburō in 1797, Utamaro's prodigious output declined in quality. By 1800 his exaggerations had become more extreme, with faces three times as long as they are wide and body proportions of eight heads length to the body. By this point, critics such as Basil Stewart consider Utamaro's figures to "lose much of their grace"; these later works are less prized amongst collectors.

paragraph: Utamaro produced more than two thousand prints during his working career, amongst which are over 120 "bijin-ga" print series. He made illustrations for nearly 100 books and about 30 paintings. He also created a number of paintings and "surimono", as well as many illustrated books, including more than thirty "shunga" books, albums, and related publications. Among his best-known works are the series "Ten Studies in Female Physiognomy", "A Collection of Reigning Beauties", "Great Love Themes of Classical Poetry" (sometimes called "Women in Love" containing individual prints such as "Revealed Love" and "Pensive Love"), and "Twelve Hours in the Pleasure Quarters". His work appeared from at least 60 publishers, of which Tsutaya Jūzaburō and Izumiya Ichibei were the most important.

paragraph: He alone, of his contemporary "ukiyo-e" artists, achieved a national reputation during his lifetime. His sensuous beauties generally are considered the finest and most evocative "bijinga" in all of "ukiyo-e".

paragraph: He succeeded in capturing the subtle aspects of personality and the transient moods of women of all classes, ages, and circumstances. His reputation has remained undiminished since. Kitagawa Utamaro's work is known worldwide, and he generally is regarded as one of the half-dozen greatest "ukiyo-e" artists of all time.

paragraph: Section::::Legacy.

paragraph: Utamaro was recognized as a master in his own age. He appears to have achieved a national reputation at a time when even the most popular Edo ukiyo-e artists were little known outside the city. Due to his popularity Utamaro had many imitators, some of whom likely signed their work with his name; this is believed to include students of his and his successor, Utamaro II. On rare occasions Utamaro signed his work "the genuine Utamaro" to distinguish himself from these imitators. Forgeries and reprints of Utamaro's work are common; he produced a large body of work, but his earlier, more popular works are difficult to find in good condition.

paragraph: A wave of interest in Japanese art swept France from the mid-19th century, called "Japonisme". Exhibitions in Paris of Japanese art began to be staged in the 1880s, include an Utamaro exhibition in 1888 by the German-French art dealer Siegfried Bing. The French Impressionists regarded Utamaro's work on a level akin with Hokusai and Hiroshige. French artist-collectors of Utamaro's work included Monet, Degas, Gauguin, and Toulouse-Lautrec

paragraph: Utamaro had an influence on the compositional, colour, and sense of tranquility of the American painter Mary Cassatt's work. The "shin-hanga" ("new prints") artist Goyō Hashiguchi (1880–1921) was called the "Utamaro of the Taishō period" (1912–1926) for his manner of depicting women. The painter character Seiji Moriyama in the British novelist Kazuo Ishiguro's "An Artist of the Floating World" (1986) has a reputation as a "modern Utamaro" for his combination of Western techniques Utamaro-like feminine subjects.

paragraph: In 2016 Utamaro's "Fukaku Shinobu Koi" set the record price for an ukiyo-e print sold at auction at €.

paragraph: Section::::Historiography.

paragraph: The only surviving official record of Utamaro is a stele at Senkō-ji Temple, which gives his death date as the 20th day of the 9th month of the year Bunka, which equates to 31 October 1806. The record states he was 54 by East Asian age reckoning, by which age begins at 1 rather than 0. From this a birth year of is deduced.

paragraph: Utamaro has gained general acceptance as one of the form's greatest masters. The earliest document of ukiyo-e artists, "Ukiyo-e Ruikō", was first compiled while Utamaro was active. The work was not printed, but exists in various manuscripts that different writers altered and expanded. The earliest surviving copy, the "Ukiyo-e Kōshō", wrote of Utamaro:

paragraph: The earliest comprehensive historical and critical works on ukiyo-e came from the West, and often denied Utamaro a place in the ukiyo-e canon. Ernest Fenollosa's "Masters of " of 1896 was the first such overview of ukiyo-e. The book posited ukiyo-e as having evolved towards a late-18th-century golden age that began to decline with the advent of Utamaro, which he condemned for his "gradual elongation of the figure, and an adoption of violent emotion and extravagant attitudes". Fenollosa had harsher criticism for Utamaro's pupils, who he considered to have "carried the extravagances of their teacher to a point of ugliness". In his "Chats on Japanese Prints" of 1915, Arthur Davison Ficke concurred that with Utamaro ukiyo-e entered a period of exaggerated, manneristic decadence.

paragraph: Laurence Binyon, the Keeper of Oriental Prints and Drawings at the British Museum, wrote an account in "Painting in the Far East" in 1908 that was similar to Fenollosa's, considering the 1790s a period of decline, but placing Utamaro amongst the masters. He called Utamaro "one of the world's artists for the intrinsic qualities of his genius" and "the greatest of all the figure-designers" in ukiyo-e, with a "far greater resource of composition" than his peers and an "endless" capacity for "unexpected invention". James A. Michener re-evaluated the development of ukiyo-e in "The Floating World" of 1954, in which he places the 1790s as "the culminating years of ukiyo-e", when "Utamaro brought the grace of Sukenobu to its apex". 's "Traditional Woodblock Prints of Japan" of 1964 set the golden age of ukiyo-e at the period of Kiyonaga, Utamaro, and Sharaku, followed by a period of decline with the declaration beginning in the 1790s of strict sumptuary laws that dictated what could be depicted in artworks.

paragraph: The French art critic Edmond de Goncourt published "Outamaro", the first monograph on Utamaro, in 1891, with help from the Japanese art dealer Tadamasa Hayashi. British ukiyo-e scholar Jack Hillier had the monograph "Utamaro: Colour Prints and Paintings" published in 1961.

paragraph: Section::::Print series.

paragraph: A partial list of his print series and their dates includes:

paragraph: BULLET::::- "Chosen Poems" (1791–1792)

paragraph: BULLET::::- "Ten Types of Women's Physiognomies" (1792–1793)

paragraph: BULLET::::- "Famous Beauties of Edo" (1792–1793)

paragraph: BULLET::::- "Ten Learned Studies of Women" (1792–1793)

paragraph: BULLET::::- "Anthology of Poems: The Love Section" (1793–1794)

paragraph: BULLET::::- "Snow, Moon, and Flowers of the Green Houses" (1793–1795)

paragraph: BULLET::::- "Array of Supreme Beauties of the Present Day" (1794)

paragraph: BULLET::::- "Twelve Hours of the Green Houses" (1794–1795)

paragraph: BULLET::::- "Renowned Beauties from the Six Best Houses" (1795–96)

paragraph: BULLET::::- "Flourishing Beauties of the Present Day" (1795–1797)

paragraph: BULLET::::- "An Array of Passionate Lovers" (1797–1798)

paragraph: BULLET::::- "Ten Forms of Feminine Physiognomy" (1802)

paragraph: Section::::Paintings.

paragraph: BULLET::::- "Shinagawa no Tsuki", "Yoshiwara no Hana", and "Fukagawa no Yuki"

paragraph: Section::::Further reading.

paragraph: BULLET::::- Siegfried Bing, "The Art of Utamaro", ("The Studio", February 1895)

paragraph: BULLET::::- Jack Hillier, "Utamaro: Color Prints and Paintings" (Phaidon, London, 1961)

paragraph: BULLET::::- Muneshige Narazaki, Sadao Kikuchi, (translated John Bester), "Masterworks of Ukiyo-E: Utamaro" (Kodansha, Tokyo, 1968)

paragraph: BULLET::::- Shugo Asano, Timothy Clark, "The Passionate Art of Kitagawa Utamaro" (British Museum Press, London, 1995)

paragraph: BULLET::::- Julie Nelson Davis, "Utamaro and the Spectacle of Beauty" (Reaktion Books, London, and University of Hawai'i Press, 2007)

paragraph: BULLET::::- Gina Collia-Suzuki, "The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogue" (Nezu Press, 2009) - complete catalogue raisonné

paragraph: Section::::External links.

paragraph: BULLET::::- Works by Utamaro in the British Museum

paragraph: BULLET::::- Exploring the World of Kitagawa Utamaro

paragraph: BULLET::::- Utamaro's books in the Fitzwilliam Museum, Cambridge

paragraph: BULLET::::- Kitagawa Utamaro Online at www.artcyclopedia.com

paragraph: BULLET::::- "Songs of the garden", the "Insect Book" by Utamaro, from The Metropolitan Museum of Art Libraries (fully available online as PDF)

alias:
Utamaro
Outamaro
Nobuyoshi Kitagawa
Entaisai
Toyoaki
Utamaro Kitagawa
Ichitarō
Toyoaki Kitagawa
Yūsuke
Yūsuke Kitagawa
Shioku
Nobuyoshi Toriyama
Fude no Ayamaru
Kitagawa
Kitagawa Toyoaki

description: Japanese artist

wikidata_label: Kitagawa Utamaro

wikipedia_title: Utamaro