text:
Antwerp
Antwerp
Ambrosius Bosschaert
Guild of Saint Luke
Osias Beert
Hieronymous Francken II
Jan Brueghel the Elder
Jan van Kessel the Elder
Daniel Seghers

categories: Flemish still life painters,1582 births,Flower artists,People from Antwerp,Flemish Baroque painters,Members of the Antwerp Guild of Saint Luke

paragraph: Jacob van Hulsdonck

paragraph: Jacob van Hulsdonck or Jan van Hulsdonck (1582, Antwerp – 1647, Antwerp), was a Flemish painter who played a role in the early development of the genre of still lifes of fruit, banquets and flowers.

paragraph: Section::::Life.

paragraph: Jacob van Hulsdonck was born in Antwerp in 1582. He moved to Middelburg at a young age and there he likely received at least part of his training. The prime still life painting studio in Middelburg was that of Flemish émigré Ambrosius Bosschaert. Although it is believed van Hulsdonck did not train with Bosschaert he may have been an early influence on his work.

paragraph: By 1608 van Hulsdonck had returned to Antwerp as is documented by the record of his admission as a master of the Antwerp Guild of Saint Luke that year. The following year he married Maria la Hoes and moved into the house that remained his residence for the rest of his life.

paragraph: The couple had seven children.

paragraph: Jacob van Hulsdonck was the teacher of his son Gillis who later worked as a still life painter in Amsterdam.

paragraph: Section::::Work.

paragraph: Section::::Work.:General.

paragraph: Jacob van Hulsdonck was a still life painter of banquet style pieces, fruit bowls and flowers. Roughly 100 paintings are currently attributed to him. The meticulous handling of detail in his work likely explains his relatively low output. More than half of his paintings are signed with his characteristic full signature in capitals while some are signed with a monogram only.

paragraph: Because he only left one dated work, the "" of 1614 (Bowes Museum, Barnard Castle) it is difficult to establish a chronology of his works. Panel makers' marks are of little help in dating his work because of his preference for panels prepared with gesso on the reverse, which makes the wood more stable and less susceptible to warping. It is believed that his earliest still lifes are the ones in which the edge of the table is close to the bottom of the picture and the table is depicted from a rather elevated viewpoint. In these early works, the table is partly covered with a white cloth. In his later works he abandoned some of the rigidity of these early works by lowering the viewpoint, leaving some space under the table and including one side of the table in the composition. His palette is also believed to have evolved over the years and his later works have brighter colours and less dark backgrounds. His later still lifes are set out on plain wooden tables. The grain of the wood is typically depicted in great detail. Occasionally these tables are partly covered with a dark (greyish- or greenish-black) cloth.

paragraph: Although he must have been familiar with the work of the Bosschaert studio, his work shows more affinity with the work of Osias Beert and even Hieronymous Francken II, two still life artists active in early 17th century Antwerp. It is even possible that van Hulsdonck worked in their circle before becoming a master in the Guild of Saint Luke in 1608. His flower pieces show the influence of Jan Brueghel the Elder.

paragraph: Whereas 17th-century still lifes are usually believed to convey a hidden ‘message’, often related to the vanitas motif of the transience of all things, in van Hulsdonck’s works this seems to have been largely absent. Van Hulsdonck did, however, often include a bluebottle as an eye-catching motif and the only living creature in his still lifes. Flies are often regarded as a symbol of the shortness of life.

paragraph: Section::::Work.:Banquet pieces and fruit bowls.

paragraph: The banquet pieces of van Hulsdonck typically depict one bowl or basket of fruit in the center. There are six examples where he placed a small vase of flowers to one side of the bowl. The fruits are usual freshly picked plums, grapes, apricots or strawberries, although there is an example of a painting, the "", which depicts dried fruit and nuts.

paragraph: Van Hulsdonck was particularly skilled in rendering the softness and delicacy of the skins of the fruit. He was a master in bringing out the difference of texture and colouring of the various types of fruit and their foliage.

paragraph: Section::::Work.:Flower pieces.

paragraph: Van Hulsdonck also painted pure flower still lifes although they account for a much smaller portion of his oeuvre. Only a few of these are signed and have therefore sometimes been attributed to other artists. For instance, the work "" (sold at Sotheby's on 3 July 2013 in London, lot 23) was previously attributed to Jan van Kessel the Elder. His flower pieces can be regarded as a precursor of van Kessel’s work as well as that of Daniel Seghers.

paragraph: A few of his flower pieces only depict a single variety of flowers such as carnations, but most of the time he painted a mixture of a restricted number of blooms in which tulips dominate. The flowers are typically set against a dark background and are held in simple clear glass beakers with prunts in the lower register only, in order to allow the stems of each flower to be followed through to the base. His flower pieces show a greater formal elegance and refined simplicity than Brueghel's usually more elaborate flower pieces. This may possibly be due to Bosschaert's formative influence.

alias:
Jacob van Visdonck
Jan Hulsdonck
Jacob Hulsdonck
Jacob van Helsdingh
Jacob van Hulsdonk
J. V. Aulsdonck
H. V. Esdonck
Hulsdonch
Hulsdonck
Van Hulsdonck
J. Hulsdouck
Helsdingh
Hulsdonk
Visdonck
J. Hulsdonck
Vanhulsdonk
Ulsdun
Ulsdoonk
J. van Hulsdonck

description: Flemish Baroque painter

wikidata_label: Jacob van Hulsdonck

wikipedia_title: Jacob van Hulsdonck


text:
Watervliet
Philip the Handsome
Lord of the Netherlands
Duke of Burgundy
Castile
Maximilian I, Holy Roman Emperor
Margaret of Austria
Watervliet
Erasmus
chansonnier
Bruges
Alexander Agricola
Loyset Compère
Jean Mouton
Josquin
motet-chanson
Egidius Kwartet

paragraph: Hieronymus Lauweryn van Watervliet

paragraph: Count Hieronymus Lauweryn or Jerome Laurinus of Watervliet was a courtier at the court of Philip the Handsome, (Lord of the Netherlands and Duke of Burgundy then briefly King of Castile) to whom Lauweryn was treasurer. He was also a courtier at the courts of Maximilian I, Holy Roman Emperor, and of Margaret of Austria. Of common origins, the lordship of Watervliet was awarded to Hieronymus by Philip in 1507. He married twice His son Matthias Lauweryn, or Matthias Laurinus (d.1540), the second lord of Watervliet, was well known to Erasmus. He was responsible for the construction of the Church of Our Lady's Ascension in Watervliet.

paragraph: He is primarily remembered for having commissioned a chansonnier, which is named after him, around 1505/6 in Bruges. His chansonnier contains works by Alexander Agricola, Loyset Compère, Jean Mouton and Josquin. The songs are composed in various languages, comprising 36 French, and 25 Dutch, 14 Latin and 2 Italian works. Finally there is one Latin-French double-texted motet-chanson.

paragraph: An edition of the chansonnier, with an introduction by W. McMurtry, was published by Alamire Music Publishers in 1989, and a selection of songs, including all Dutch songs, of the chansonnier recorded on 2 CDs by the Egidius Kwartet in 2007.

description: Music patron

wikidata_label: Hieronymus Lauweryn van Watervliet

wikipedia_title: Hieronymus Lauweryn van Watervliet


text: John VI of Werle

text: Nicholas IV of Werle

text: Christopher

text: Bogislaw VI

text: Eric I

text: Doberan Minster

text: Henry, Duke of Mecklenburg-Stargard

text: Biographical information on Nicholas

categories: 14th-century births,Lords of Werle,14th-century German people,15th-century deaths,House of Mecklenburg,Year of birth uncertain,Year of death uncertain

paragraph: Nicholas V of Werle

paragraph: Lord Nicholas V of Werle [-Goldberg and -Waren] (between 1341 and 1385 – after 21 January 1408) was Lord of Werle-Goldberg and Werle-Waren from 1385 (or 1395) until 1408. He was the son of John VI of Werle and Agnes, the daughter of Nicholas IV of Werle-Goldberg.

paragraph: He reigned jointly with his father and after his father's death, he ruled alone until 1401. After 1401, he ruled jointly with his brother Christopher on the rule Werle. After 1397 he married Sophie (died: before 21 August 1408), the daughter of Duke Bogislaw VI of Pomerania-Wolgast. She was the widow of the Duke Eric I of Mecklenburg-Schwerin.

paragraph: Nicholas V died in 1408 and was buried in the Doberan Minster.

paragraph: His daughter Judith (nicknamed "Jutta") was married to Henry, Duke of Mecklenburg-Stargard.

paragraph: Section::::External links.

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

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

description: Lord of Werle-Goldberg and goods

wikidata_label: Nicholas V of Werle

wikipedia_title: Nicholas V of Werle


text:
Ohio
Ohio Secretary of State
Ohio House of Representatives
Mexican–American War
Mont Vernon, New Hampshire
Dartmouth Medical School
Baltimore
Fairfield County, Ohio
Thornville
Perry County, Ohio
Ohio House of Representatives
Ohio Secretary of State
Carter B. Harlan
Philadelphia, Pennsylvania
Governor
Shannon
Ohio General Assembly
Mexican–American War
Free Soil Party
Whig
Republican
consul
Valparaíso, Chile
Callao, Peru
Franklin Pierce
Columbus, Ohio
Green Lawn Cemetery, Columbus, Ohio
Ohio Secretary of State elections

categories: 19th-century American journalists,1881 deaths,1809 births,Secretaries of State of Ohio,Geisel School of Medicine alumni,Members of the Ohio House of Representatives,People from Mont Vernon, New Hampshire,Burials at Green Lawn Cemetery, Columbus, Ohio,19th-century American diplomats,Ohio Democrats,19th-century American newspaper publishers (people),19th-century American male writers,19th-century American politicians,American male journalists,People from Baltimore, Ohio,American military personnel of the Mexican–American War,Physicians from Ohio

paragraph: William Trevitt

paragraph: William Trevitt (February 7, 1809 – February 8, 1881) was a doctor, politician, diplomat, and newspaper publisher in 19th century Ohio. He served two times as Ohio Secretary of State, three years in the Ohio House of Representatives, was a surgeon in the Mexican–American War, and was a diplomat in South America.

paragraph: Section::::Biography.

paragraph: William Trevitt was born February 7, 1809 in Mont Vernon, New Hampshire, youngest son of Henry and Jane Trevitt. He graduated as a doctor of medicine in the Class of 1830 from Dartmouth Medical School, and moved to Baltimore, Fairfield County, Ohio, where he practiced medicine.

paragraph: Trevitt moved to Thornville, Perry County, Ohio, where he was elected to serve 1836–1839 in the Ohio House of Representatives.

paragraph: Ohio Secretary of State Carter B. Harlan died in Philadelphia, Pennsylvania on June 9, 1840. Governor Shannon appointed Trevitt to the position on a temporary basis until the Ohio General Assembly met early in 1841 to elect a successor.

paragraph: During the Mexican–American War, Trevitt was a surgeon with the Second Ohio Infantry. In 1851, a new constitution in Ohio made the Secretary of State an elective position, and Trevitt defeated the Free Soil Party incumbent and a Whig, and was re-elected in 1853. He lost to a Republican for re-election in 1855, and served January 1852 to January 1856.

paragraph: From 1857 to 1860, Trevitt was consul to Valparaíso, Chile, and 1860–1861 to Callao, Peru, by appointment of President Franklin Pierce. He returned to Columbus, Ohio, where he entered the newspaper business. He established the "Sunday Morning News" in November 1867, and published it until selling in 1870.

paragraph: Trevitt died in Columbus on February 8, 1881. He was interred at Green Lawn Cemetery, Columbus, Ohio. He had married Lucinda Butler in Columbus, and had six children.

paragraph: Section::::See also.

paragraph: BULLET::::- Ohio Secretary of State elections

description: Ohio politician, diplomat, and doctor

wikidata_label: William Trevitt

wikipedia_title: William Trevitt


text: Mecklenburg-Stargard

text: Neubrandenburg

text: Stargard

text: Strelitz

text: Wesenberg

text: Henry IV of Mecklenburg

text: Ulrich I

text: John III

text: Henry IV, Duke of Mecklenburg

text: Werle

text: Mecklenburg-Stargard

text: Thomas Kantzow

text: Joachim

text: Peace of Wittstock

text: Nicholas V of Werle

text: Bogislaw VIII

text: Margaret

text: Ulrich II, Duke of Mecklenburg-Stargard

text: Wartislaw X

text: Genealogical table of the House of Mecklenburg

categories: 15th-century births,House of Mecklenburg,Year of birth uncertain,1466 deaths,Dukes of Mecklenburg-Stargard

paragraph: Henry, Duke of Mecklenburg-Stargard

paragraph: Henry, Duke of Mecklenburg-Stargard (before 1412 – 26 May/20 August 1466) was the ruling Duke of Mecklenburg-Stargard, including the Lordships of Neubrandenburg, Stargard, Strelitz and Wesenberg, from 1417 to 1466. He is sometimes called "Henry the Elder" to distinguish him from Duke Henry IV of Mecklenburg.

paragraph: Section::::Life.

paragraph: Henry was born before 1412 as the youngest child of Duke Ulrich I of Mecklenburg-Stargard and his wife Margaret. He ruled Neubrandenburg, initially under guardianship. In 1436 he and his cousin Duke John III of Mecklenburg-Stargard and Henry IV, Duke of Mecklenburg, inherited the Lordship of Werle. After John III's death, Henry ruled all of Mecklenburg-Stargard.

paragraph: Henry was considered a warlike ruler. Thomas Kantzow called him "a wicked robber, who always bothers the Mark (i.e. Brandenburg) and the entire country all the way to Stettin, who was mad at all the cows, leaving Duke Joachim of Stettin wondering where he stored all the hides". During Henry's reign, the Peace of Wittstock was concluded, which permanently fixed the southeastern boundary of Mecklenburg.

paragraph: Section::::Marriage and issue.

paragraph: Henry married three times:

paragraph: BULLET::::1. Jutta (d. 1427), the daughter of Lord Nicholas V of Werle-Waren

paragraph: BULLET::::2. Ingeborg, a daughter of Duke Bogislaw VIII of Pomerania

paragraph: BULLET::::3. Margaret (1442-1512), the daughter of Duke Frederick II, Duke of Brunswick-Lüneburg, whom he married in 1452

paragraph: Section::::Marriage and issue.:Issue.

paragraph: BULLET::::1. Ulrich II, Duke of Mecklenburg-Stargard

paragraph: BULLET::::2. Margaret (died: before 1451)

paragraph: BULLET::::3. Magdalene (died: 2 April 1532), married:

paragraph: BULLET::::1. Duke Wartislaw X of Pomerania

paragraph: BULLET::::2. Count Burchard V of Barby-Mühlingen

paragraph: BULLET::::4. Anne, a nun in Ribnitz Abbey (died: 7 January 1498)

paragraph: Section::::External links.

description: Duke of Mecklenburg-Stargard

wikidata_label: Henry, Duke of Mecklenburg-Stargard

wikipedia_title: Henry, Duke of Mecklenburg-Stargard


text: American

text: Kirkwood, Missouri

text: Westminster Christian Academy

text: the Stony Brook School

text: Framlingham College

text: Covenant College

text: Georgia

text: double major

text: New York University

text: Saint Louis University

text: St. Louis

text: Fontbonne University

text: Saint Louis University

text: Providence Christian College

text: Craigslist

text: Durham Technical Community College

text: Durham, North Carolina

text: The Atlantic

text: The Washington Post

text: Wall Street Journal

text: San Francisco Chronicle

text: St. Louis Post-Dispatch

text: Official website

text: Poems

text: YouTube channel

categories: The Stony Brook School alumni,American male poets,1971 births,Living people,Saint Louis University alumni

paragraph: Aaron Belz

paragraph: Aaron Belz (born September 27, 1971) is an American writer and poet.

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

paragraph: Belz grew up in Kirkwood, Missouri and attended schools including Westminster Christian Academy, the Stony Brook School and Framlingham College. He was awarded a Maclellan Foundation Scholarship to attend Covenant College in Georgia in 1990, and graduated with a double major in English and History in 1993. Belz was enrolled in the Creative Writing program at New York University's Graduate School of Arts and Sciences. In 2007, he received a Ph.D. in English at Saint Louis University.

paragraph: Section::::Career.

paragraph: In 2003 Belz founded "Observable Readings", a poetry series and imprint in St. Louis.

paragraph: Belz published his first book of poetry, "The Bird Hoverer", in 2007. He then began teaching English and Creative Writing at Fontbonne University, and later at Saint Louis University, Southern Illinois University Edwardsville, and Providence Christian College.

paragraph: He published a second book, "Lovely, Raspberry: Poems", in 2010. In 2013, he was in the news after many media outlets picked up a story about a Craigslist ad he placed to sell custom poems.

paragraph: Belz's poetry often contains elements of humor; in 2013 he performed readings at The Comedy Club and a writers' conference.

paragraph: In 2013, Belz opened up Hillsborough Bicycle, a bicycle repair shop, with his son Eli in Hillsborough, North Carolina.

paragraph: In 2014 Belz was teaching English at Durham Technical Community College in Durham, North Carolina. That year he published his third book, "Glitter Bomb: Poems".

paragraph: Belz's poetry has appeared in "Fence", "Exquisite Corpse", "The Atlantic" and "The Washington Post", and his essays and reviews have appeared in the "Wall Street Journal", the "San Francisco Chronicle" and the "St. Louis Post-Dispatch".

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "The Bird Hoverer", BlazeVOX Books, 2007.

paragraph: BULLET::::- "Lovely, Raspberry: Poems", Persea, 2010.

paragraph: BULLET::::- "Glitter Bomb: Poems", Persea, 2014.

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- Poems

paragraph: BULLET::::- YouTube channel

paragraph: BULLET::::- "Coming Close: Forty Essays on Philip Levine". "University of Iowa Press"

description: American poet

wikidata_label: Aaron Belz

wikipedia_title: Aaron Belz


text:
Institute of Archaeology
University College London
Bloomsbury
University of Cambridge
Star Carr
North Yorkshire
Grahame Clark
Public Archaeology
Schadla-Hall's staff page at UCL

categories: English archaeologists,People associated with the UCL Institute of Archaeology,Academics of University College London,Living people,Year of birth missing (living people)

paragraph: Tim Schadla-Hall

paragraph: Tim Schadla-Hall is an English archaeologist who specialises in the study of how the archaeological discipline interacts with the public. He is affiliated with the Institute of Archaeology at University College London in Bloomsbury, central London, where he now works as a Reader in Public Archaeology.

paragraph: In 1971, Schadla-Hall gained his BA in archaeology from the University of Cambridge, before attaining his MA there in 1974. His first book, "Tom Sheppard: Hull's Great Collector", was published in 1989.

paragraph: From 1985 to 1997, Schadla-Hall and Paul Mellars co-directed an excavation of the Mesolithic settlement site of Star Carr in North Yorkshire; it had previously been excavated by Grahame Clark in the late 1940s and early 1950s.

paragraph: Schadla-Hall is editor of the journal "Public Archaeology".

paragraph: Section::::External links.

paragraph: BULLET::::- Schadla-Hall's staff page at UCL

description: archaeologist

wikidata_label: Tim Schadla-Hall

wikipedia_title: Tim Schadla-Hall


text:
patron saint
Tolentino
Christian
relics
sarcophagus
Good Shepherd
Adoration of the Magi
tabula
prefect
reliquary
feast day
Santi e beati: San Catervo
Tolentino

categories: 4th-century Romans,4th-century Christian martyrs,Year of birth unknown

paragraph: Catervus

paragraph: Saint Catervus () (possibly 4th century) is the patron saint of Tolentino. Catervus is said to have brought the Christian faith to the city. Tolentino is known to have had bishops by the fifth century.

paragraph: The Cathedral of San Catervo in Tolentino holds his relics, in his original fourth century marble sarcophagus, carved with representations of the Good Shepherd and the Adoration of the Magi. The cathedral seems to have been built on the site of the saint's Roman mausoleum. On the "tabula" of the sarcophagus, his full name is given as Flavius Julius Catervus. He seems to have been of noble, senatorial rank, rising to the rank of prefect. He died at the age of 56; his wife Septimia Severina had the sarcophagus constructed for both of them.

paragraph: Section::::Christian tradition and veneration.

paragraph: Catervus was martyred for bringing Christianity to Tolentino. When his sarcophagus was opened in 1455, his head was transferred to a reliquary for greater veneration. It is recorded that in 1567, his body was discovered, along with those of his wife and his son Basso (Bassus). Some two thousand coins were found in the sarcophagus.

paragraph: His feast day is celebrated on October 17.

paragraph: Section::::External links.

paragraph: BULLET::::- Santi e beati: San Catervo

paragraph: BULLET::::- Tolentino

description: Patron saint of Tolentino

wikidata_label: Catervus

wikipedia_title: Catervus


text:
American football
linebacker
Houston Texans
2008 NFL Draft
college football
Virginia Tech
Minnesota Vikings
Chicago Bears
Tennessee Titans
high school football
Phoebus High School
Hampton, Virginia
touchdown
fullback
quarterback
U.S. Army All-American Bowl
college football
Virginia Tech
redshirt freshman
2004
USC
Georgia Tech
Atlanta
tackles
sacks
Reggie Ball
field goal
2005
2006
shutout
Virginia
ACC
fumble
2008 NFL Draft
Houston Texans
Minnesota Vikings
Chicago Bears
Tennessee Titans
Zac Diles
defensive end
college soccer
Oklahoma State
Hampton University
Chicago Bears bio
Houston Texans bio
Virginia Tech bio

categories: Houston Texans players,Minnesota Vikings players,People from Stillwater, Oklahoma,1984 births,Chicago Bears players,American football linebackers,Virginia Tech Hokies football players,Living people

paragraph: Xavier Adibi

paragraph: Xavier Oyekola Adibi (born October 18, 1984) is a former American football linebacker. He was drafted by the Houston Texans in the fourth round of the 2008 NFL Draft. He played college football at Virginia Tech.

paragraph: He also played for the Minnesota Vikings, Chicago Bears, and Tennessee Titans.

paragraph: Section::::Early years.

paragraph: Adibi attended and played high school football at Phoebus High School in Hampton, Virginia, and graduated in 2003.

paragraph: He helped the Phantoms win their first state championship. Phoebus' first undefeated season came during Adibi's senior year where the Phantoms won their second consecutive state championship. Adibi rushed for 155 yards and four touchdowns in the 2002 state football game, while playing fullback, with future college teammate, D. J. Parker, as the quarterback.

paragraph: Following his high school career, Adibi played in the 2003 U.S. Army All-American Bowl.

paragraph: Section::::College career.

paragraph: Adibi played college football at Virginia Tech. As a redshirt freshman in 2004, Adibi backed up Mikal Baquee. He was injured during the first game against USC and returned for a Thursday night game against Georgia Tech in Atlanta. Against Georgia Tech, Adibi had a prolific game, making eight tackles, including two sacks. He had a key game-saving sack on a Georgia Tech fourth quarter scoring drive. Georgia Tech had an opportunity to ice the game away, but Adibi's sack of Reggie Ball forced a field goal and kept it a one-score game, which Virginia Tech would ultimately rally to win.

paragraph: Adibi earned the starting inside linebacker spot before the 2005 season and has held that position ever since.

paragraph: In 2006, Adibi finished second on the team in tackles with 82. Following a 17-0 shutout of Virginia, he was honored as the ACC defensive lineman of the week for his performance, which included a forced fumble to set up the first (and winning) touchdown.

paragraph: Section::::Professional career.

paragraph: Adibi was drafted in the 4th round of the 2008 NFL Draft by the Houston Texans. On September 5, 2011, Adibi was claimed off waivers by the Minnesota Vikings.

paragraph: On August 11, 2012, Adibi signed with the Chicago Bears. He was released on August 31, 2012.

paragraph: On October 24, 2012, the Tennessee Titans signed Adibi to replace Zac Diles.

paragraph: Section::::Personal life.

paragraph: Adibi's older brother, Nathaniel Adibi, was a standout defensive end for the Hokies. Their father, Abiodun Adibi, was a college soccer player at Oklahoma State and is a professor at Hampton University.

paragraph: Section::::External links.

paragraph: BULLET::::- Chicago Bears bio

paragraph: BULLET::::- Houston Texans bio

paragraph: BULLET::::- Virginia Tech bio

description: American football player

wikidata_label: Xavier Adibi

wikipedia_title: Xavier Adibi


text:
political poetry
William Shakespeare
Vienna
annexation of Austria
Nazi Germany
Jewish
Anschluss
Nazi
Stalinist
Catherine Boswell
BBC
Shakespeare
T. S. Eliot
Dylan Thomas
Zionist
Hans Werner Henze
Voices
Baden-Baden
Kensal Green Cemetery
literary prize
Erich Fried Prize
Arden Must Die
Geoffrey Skelton
Schott
Associated Music Publishers
Georg Rapp
Swallow Press
Stuart Hood
John Calder
Red Dust
Martin Chalmers
Serpent's Tail

categories: Georg Büchner Prize winners,British male poets,Naturalised citizens of the United Kingdom,Austrian refugees,Jewish poets,20th-century Austrian poets,British essayists,20th-century essayists,Burials at Kensal Green Cemetery,Austrian essayists,1921 births,Jewish emigrants from Austria after the Anschluss,Austrian male poets,1988 deaths,20th-century British poets,German-language poets,Jewish emigrants from Nazi Germany to the United Kingdom,Austrian emigrants to England

paragraph: Erich Fried

paragraph: Erich Fried (6 May 1921 – 22 November 1988) was an Austrian-born poet, writer and translator. He initially became known to a broader public in both Germany and Austria for his political poetry, and later for his love poems. As a writer he mostly wrote plays and short novels. He also translated works by different English writers from English into German, most notably works by William Shakespeare.

paragraph: He was born in Vienna, Austria, but fled to England after the annexation of Austria by Nazi Germany in 1938. He settled in London and adopted British Nationality in 1949. His first official visit back to Vienna was in 1962.

paragraph: Section::::Biography.

paragraph: Born to Jewish parents Nelly and Hugo Fried in Vienna, he was a child actor and from an early age wrote strongly political essays and poetry. He fled to London after his father was murdered by the Gestapo after the Anschluss with Nazi Germany. During the war, he did casual work as a librarian and a factory hand. He arranged also for his mother to leave Nazi occupied Austria, as well as helping many other Jews to come to the UK. He joined Young Austria, a left-wing emigrant youth movement, but left in 1943 in protest of its growing Stalinist tendencies. In 1944 he married Maria Marburg, shortly before the birth of his son Hans. In the same year his first volume of poetry was published. He separated from Maria in 1946, and they divorced in 1952. In the same year he married Nan Spence Eichner, with whom he had two children; David (b. 1958) and Katherine (b. 1961). Erich and Nan divorced in 1965. In 1965 he married for a third time, wedding Catherine Boswell with whom he had three children; Petra (b. 1965), Klaus and Thomas (b. 1969).

paragraph: From 1952 to 1968 he worked as a political commentator for the BBC German Service. He translated works by Shakespeare, T. S. Eliot and Dylan Thomas. In 1962 he returned to Vienna for the first time.

paragraph: He published several volumes of poetry as well as radio plays and a novel. His work was sometimes controversial, including attacks on the Zionist movement and support for left-wing causes. His work was mainly published in the West, but in 1969, a selection of his poetry was published in the GDR poetry series "Poesiealbum", and his Dylan Thomas translations were published in that same series in 1974. The composer Hans Werner Henze set two of Fried's poems for his song-cycle "Voices" (1973).

paragraph: In 1982 he regained his Austrian nationality, though he also retained the British nationality he had adopted in 1949. He died of intestinal cancer in Baden-Baden, West Germany, in 1988 and is buried in Kensal Green Cemetery, London.

paragraph: An Austrian literary prize is named after him – the Erich Fried Prize.

paragraph: Section::::Works.

paragraph: BULLET::::- "Drei Gebete aus London" (Three Prayers from London), 1945

paragraph: BULLET::::- "Ein Soldat und ein Mädchen" (A Soldier and a Girl), 1960

paragraph: BULLET::::- "Reich der Steine", 1963

paragraph: BULLET::::- "Warngedichte" (Warning Poems), 1964

paragraph: BULLET::::- "Überlegungen", 1964

paragraph: BULLET::::- "Kinder und Narren", 1965

paragraph: BULLET::::- "und Vietnam und" (and Vietnam and), 1966

paragraph: BULLET::::- "Anfechtungen", 1967

paragraph: BULLET::::- "Die Beine der größeren Lügen", 1969

paragraph: BULLET::::- "Poesiealbum", 1969

paragraph: BULLET::::- "Unter Nebenfeinden", 1970

paragraph: BULLET::::- "Die Freiheit den Mund aufzumachen", 1972

paragraph: BULLET::::- "Höre Israel", 1974

paragraph: BULLET::::- "So kam ich unter die Deutschen", 1977

paragraph: BULLET::::- "100 Gedichte ohne Vaterland", 1978

paragraph: BULLET::::- "Liebesgedichte" (Love Poems), 1979

paragraph: BULLET::::- "Es ist was es ist" (It is what it is), 1983

paragraph: BULLET::::- "Um Klarheit", 1985

paragraph: BULLET::::- "Mitunter sogar Lachen", 1986

paragraph: Section::::Translations of Erich Fried's Works into English.

paragraph: BULLET::::- "Arden Must Die": An Opera on the Death of the Wealthy Arden of Faversham. (Original title: "Arden muss sterben"). Translated by Geoffrey Skelton. London: Schott 1967; New York: Associated Music Publishers 1967

paragraph: BULLET::::- "Last Honours". A selection of poems translated by Georg Rapp. London: Turret 1968

paragraph: BULLET::::- "On Pain of Seeing". A selection of poems translated by Georg Rapp. London: Rapp and Whiting 1969; Chicago: Swallow Press 1969

paragraph: BULLET::::- "100 Poems Without a Country" (identical in most parts with the original "100 Gedichte ohne Vaterland"). Translated by Stuart Hood and Georg Rapp. London: John Calder 1978; New York: Red Dust 1980

paragraph: BULLET::::- "Love Poems". Bilingual edition. A selection of poems from "Liebesgedichte" (1979) and "Es ist was es ist" (1983), translated by Stuart Hood. London: Calder Publication Limited Riverrun Press 1991. New, revised edition Alma Classics Ltd, 2011

paragraph: BULLET::::- "Children and Fools". A selection of 34 stories translated by Martin Chalmers. London: Serpent's Tail 1993

paragraph: There are as well translations of single poems in different anthologies.

description: Austrian writer

enwikiquote_title: Erich Fried

wikidata_label: Erich Fried

wikipedia_title: Erich Fried


text:
poet
Somerville, New Jersey
Henry M. Hoyt
governor
Pennsylvania
Helen Hoyt
Henry Martyn Hoyt, Jr.
United States Solicitor General
New York City
Bavaria
Washington, D.C.
Washington, D.C.
Philadelphia, Pennsylvania
Tallulah Bankhead
romance novel
Holton-Arms School
Harvard
rear-admiral
Washington, D.C.
ostracized
scandal
Washington, D.C.
suicide
miscarriage
stillbirth
premature child
New York City
John Peale Bishop
Edmund Wilson
John Dos Passos
Sinclair Lewis
Carl Van Vechten
William Rose Benét
William Rose Benét
Stephen Vincent Benét
Poetry
Dictionary of Literary Biography
Edna St. Vincent Millay
Louis Untermeyer
Manhattan
Vanity Fair
The New Republic
Romantic poets
Shelley
stroke
metaphysical poets
John Donne
George Herbert
Andrew Marvell
Louis Untermeyer
Tennessee Williams
In Masks Outrageous and Austere
Fonds
Elinor Wylie at the Poetry Foundation
Poems of Elinor Wylie
Poems of Elinor Wylie

categories: 1885 births,Novelists from New Jersey,American women novelists,20th-century American poets,1928 deaths,People from Somerville, New Jersey,American women poets,20th-century American novelists,Sonneteers

paragraph: Elinor Wylie

paragraph: Elinor Morton Wylie (September 7, 1885 – December 16, 1928) was an American poet and novelist popular in the 1920s and 1930s. "She was famous during her life almost as much for her ethereal beauty and personality as for her melodious, sensuous poetry."

paragraph: Section::::Life.

paragraph: Section::::Life.:Family and childhood.

paragraph: Elinor Wylie was born Elinor Morton Hoyt in Somerville, New Jersey, into a socially prominent family. Her grandfather, Henry M. Hoyt, was a governor of Pennsylvania. Her aunt was Helen Hoyt, a poet. Her parents were Henry Martyn Hoyt, Jr., who would be United States Solicitor General from 1903 to 1909; and Anne Morton McMichael (born July 31, 1861 in Pa.). Their other children were:

paragraph: BULLET::::- Henry Martyn Hoyt (May 8, 1887, in Pa. – August 25, 1920 in New York City) who married Alice Gordon Parker (1885–1951)

paragraph: BULLET::::- Constance A. Hoyt (May 20, 1889, in Pa. – 1923 in Bavaria, Germany) who married Ferdinand von Stumm-Halberg on March 30, 1910, in Washington, D.C.

paragraph: BULLET::::- Morton McMichael Hoyt (April 4, 1899, in Washington, D.C. - August 21, 1949, in Philadelphia, Pennsylvania), three times married and divorced Eugenia Bankhead, known as "Sister" and sister of Tallulah Bankhead

paragraph: BULLET::::- Nancy McMichael Hoyt (born October 1, 1902, in Washington, D.C. - 1949) romance novelist who wrote "Elinor Wylie: The Portrait of an Unknown Woman" (1935). She married Edward Davison Curtis; they divorced in 1932.

paragraph: Because of her father's political aspirations, Elinor spent much of her youth in Washington, DC. She was educated at Miss Baldwin's School (1893–97), Mrs. Flint's School (1897–1901), and finally Holton-Arms School (1901–04). In particular, from age 12 to 20, she lived in Washington again where she made her debut in the midst of the "city's most prominent social élite," being "trained for the life of a debutante and a society wife".

paragraph: "As a girl she was already bookish—not in the languid or inactive sense but girded, embraced by books, between whose covers lay the word-perfect world she sought. She grew into a tall, dark beauty in the classic 1920s style. Some who knew her claimed she was the most striking woman they ever met."

paragraph: Section::::Life.:Marriages and scandal.

paragraph: The future Elinor Wylie became notorious, during her lifetime, for her multiple affairs and marriages. On the rebound from an earlier romance she met her first husband, Harvard graduate Philip Simmons Hichborn (1882–1912), the son of a rear-admiral. She eloped with him and they were married on December 13, 1906, when she was 20. She had a son by him, Philip Simmons Hichborn, Jr., born September 22, 1907 in Washington, D.C. However, "Hichborn, a would-be poet, was emotionally unstable", and Elinor found herself in an unhappy marriage.

paragraph: She also found herself being stalked by Horace Wylie, "a Washington lawyer with a wife and three children", who "was 17 years older than Elinor. He stalked her for years, appearing wherever she was."

paragraph: Following the death in November 1910 of Elinor's father, and unable to secure a divorce from Hichborn, she left her husband and son, and eloped with Wylie.

paragraph: "After being ostracized by their families and friends and mistreated in the press, the couple moved to England" where they lived "under the assumed name of Waring; this event caused a scandal in the Washington, D.C., social circles Elinor Wylie had frequented". Philip Simmons Hichborn Sr. committed suicide in 1912.

paragraph: With Horace Wylie's encouragement, in 1912 Elinor anonymously published "Incidental Number", a small book of poems she had written in the previous decade.

paragraph: Between 1914 and 1916, Elinor tried to have a second child, but "suffered several miscarriages ... as well as a stillbirth and ... a premature child who died after one week."

paragraph: After Horace Wylie's wife agreed to a divorce, the couple returned to the United States and lived in three different states "under the stress of social ostracism and Elinor's illness." Elinor and Horace Wylie officially married in 1916, after Elinor's first husband had committed suicide and Horace's first wife had divorced him. By then, however, the couple were drawing apart."

paragraph: Elinor began spending time in literary circles in New York City—"her friends there numbered John Peale Bishop, Edmund Wilson, John Dos Passos, Sinclair Lewis, Carl Van Vechten, and ... William Rose Benét."

paragraph: Her last marriage (in 1923) was to William Rose Benét (February 2, 1886 – May 4, 1950), who was part of her literary circle and brother of Stephen Vincent Benét. By the time Wylie's third book of poetry, "Trivial Breath" in 1928 appeared, her marriage with Benét was also in trouble, and they had agreed to live apart. She moved to England and fell in love with the husband of a friend, Henry de Clifford Woodhouse, to whom she wrote a series of 19 sonnets which she published privately in 1928 as "Angels and Earthly Creatures" (also included in her 1929 book of the same name).

paragraph: Section::::Life.:Career.

paragraph: Elinor Wylie's literary friends encouraged her to submit her verse to "Poetry" magazine. "Poetry" published four of her poems, including what became "her most widely anthologized poem, 'Velvet Shoes'", in May 1920. With Benét now acting as her informal literary agent, "Wylie left her second husband and moved to New York in 1921". "The Dictionary of Literary Biography (DLB)" says: "She captivated the literary world with her slender, tawny-haired beauty, personal elegance, acid wit, and technical virtuosity."

paragraph: In 1921, Wylie's first commercial book of poetry, "Nets to Catch the Wind", was published. The book, "which many critics still consider to contain her best poems," was an immediate success. Edna St. Vincent Millay and Louis Untermeyer praised the work. The Poetry Society awarded her its Julia Ellsworth Ford Prize.

paragraph: In 1923 she published "Black Armor", which was "another successful volume of verse". The "New York Times" enthused: "There is not a misplaced word or cadence in it. There is not an extra syllable."

paragraph: 1923 also saw the publication of Wylie's first novel, "Jennifer Lorn", to considerable fanfare. Van Vechten "organized a torchlight parade through Manhattan to celebrate its publication". She would write "four historical novels widely admired when first published, although interest in them diminished in the masculine era of the 1940s and 50s".

paragraph: According to Carl Van Doren, Wylie had "as sure and strong an intelligence" as he has ever known. Her novels were "flowers with roots reaching down into unguessed deeps of erudition."

paragraph: She worked as the poetry editor of "Vanity Fair" magazine between 1923 and 1925. She was an editor of "Literary Guild", and a contributing editor of "The New Republic", from 1926 through 1928.

paragraph: Wylie was an "admirer of the British Romantic poets, and particularly of Shelley, to a degree that some critics have seen as abnormal". "A friend claimed she was 'positively dotty' about Shelley, not just making him her model in art and life but on occasion actually 'seeing' the dead poet." She wrote a 1926 novel, "The Orphan Angel", in which "the great young poet is rescued from drowning off an Italian cape and travels to America, where he encounters the dangers of the frontier."

paragraph: By the time of Wylie's third book of poetry, "Trivial Breath" in 1928, her marriage with Benét was also in trouble, and they had agreed to live apart. She moved to England and fell in love with the husband of a friend, Henry de Clifford Woodhouse, to whom she wrote a series of 19 sonnets which she published privately in 1928 as "Angels and Earthly Creatures" (also included in her 1929 book of the same name).

paragraph: Elinor Wylie's literary output is impressive, given that her writing career lasted just eight years. In that brief period, she crowded four volumes of poems, four novels, and enough magazine articles to "make up an additional volume."

paragraph: Section::::Life.:Death.

paragraph: Wylie suffered from very high blood pressure all her adult life. As a result, she was prone to unbearable migraines and died of a stroke at Benét's New York apartment at the age of forty-three. At the time, they were both preparing for publication her "Angels and Earthly Creatures".

paragraph: Section::::Writing.

paragraph: Section::::Writing.:Poetry.

paragraph: Wylie's "highly polished, articulate, and deeply emotional verse shows the influence of the metaphysical poets," such as John Donne, George Herbert, and Andrew Marvell. If her poetry is derivative of anyone, though, that would be "of the British Romantic poets, and particularly of Shelley," whom she admired "to a degree that some critics have seen as abnormal."

paragraph: In her first book, Nets to Catch the Wind, "Stanzas and lines were quite short, and the effect of her images was of a highly detailed, polished surface. Often, her poems expressed a dissatisfaction with the realities of life on the part of a speaker who aspired to a more gratifying world of art and beauty." Louis Untermeyer wrote that the book "impresses immediately because of its brilliance ... which, at first, seems to sparkle without burning... It is the brilliance of moon-light corruscating on a plain of ice. But if Mis. Wylie seldom allows her verses to grow agitated, she never permits them to remain dull... in 'August' the sense of heat is conveyed by tropic luxuriance and contrast; in 'The Eagle and the Mole' she lifts didacticism to a proud level ... never has snow-silence been more unerringly communicated than in 'Velvet Shoes.'" Other notable poems include "Wild Peaches," "A Proud Lady," "Sanctuary," "Winter Sleep," "Madman's Song," "The Church-Bell," and "A Crowded Trolley Car."

paragraph: In Black Armor (1923), "the intellect has grown more fiery, the mood has grown warmer, and the craftsmanship is more dazzling than ever... she varies the perfect modulation with rhymes that are delightfully acrid and unique departures which never fail of success ... from the nimble dexterity of a rondo like 'Peregrine' to the introspective poignance of 'Self Portrait,' from the fanciful 'Escape' to the grave mockery of 'Let No Charitable Hope.'"

paragraph: Trivial Breath (1928) "is the work of a poet in transition. At times the craftsman is uppermost; at times the creative genius."

paragraph: Wylie's biographer Stanley Olson called the sonnets that begin 1929's Angels and Earthly Creatures "perhaps, her finest achievement... The love in these lyrics is not a private love, not a variety of confession, but an abstracted one... The nineteen sonnets are paced with strength, energy and undeniable feeling, sustained as a group by shifting through the complexities and vicissitudes of love." Untermeyer also praised the sonnets, but added: "The other poems share this intensity. 'This Corruptible' is both visionary and philosophic; 'O Virtuous Light' deals with that piercing clarity, the intuition ... The other poems are scarcely less uplifted, finding their summit in 'Hymn to Earth, which is one of her deeper poems and one which is certain to endure."

paragraph: Section::::Writing.:Fiction.

paragraph: Wylie's four novels "are delicately wrought and filled with ironic fancy". They were "widely admired when first published, although interest in them diminished in the masculine era of the 1940s and 50s".

paragraph: Section::::Cultural references.

paragraph: The title of Tennessee Williams' play, "In Masks Outrageous and Austere", is taken from the last stanza of Wylie's poem "Let No Charitable Hope:" ""In masks outrageous and austere /" "The years go by in single file;" "/" "But none has merited my fear," "/" "And none has quite escaped my smile.""

paragraph: Section::::Publications.

paragraph: Section::::Publications.:Poetry.

paragraph: BULLET::::- [Anonymous], "Incidental Numbers". London: private, 1912.

paragraph: BULLET::::- "Nets to Catch the Wind". New York: Harcourt, Brace, 1921.

paragraph: BULLET::::- "Black Armour". New York: Doran, 1923.

paragraph: BULLET::::- "Trivial Breath". New York, London: Knopf, 1928.

paragraph: BULLET::::- "Angels and Earthly Creatures: A Sequence of Sonnets" Henley on Thames, UK: Borough Press, 1928. (also known as "One Person").

paragraph: BULLET::::- "Angels and Earthly Creatures". New York, London: Alfred A. Knopf, 1929. (includes "Angels and Earthly Creatures: A Sequence of Sonnets").

paragraph: BULLET::::- "Birthday Sonnet". New York: Random House, 1929.

paragraph: BULLET::::- "Collected Poems of Elinor Wylie". New York: Alfred A. Knopf, 1932.

paragraph: BULLET::::- "Last Poems of Elinor Wylie", transcribed by Jane D. Wise, foreword by William Rose Benet, tribute by Edith Olivier. New York: Knopf, 1943. Chicago: Academy, 1982.

paragraph: BULLET::::- "Selected Works of Elinor Wylie". Evelyn Helmick Hively ed. Kent State U Press, 2005.

paragraph: Velvet Shoes, Gutenburg Project

paragraph: Section::::Publications.:Novels.

paragraph: BULLET::::- "Jennifer Lorn: A Sedate Extravaganza". New York: Doran, 1923. London: Richards, 1924.

paragraph: BULLET::::- "The Venetian Glass Nephew". New York: Doran, 1925. Chicago: Academy, 1984.

paragraph: BULLET::::- "The Orphan Angel". New York: Knopf, 1926. Also published as "Mortal Image". London: Heinemann, 1927.

paragraph: BULLET::::- "Mr. Hodge & Mr. Hazard". New York. Knopf, 1928. London: Heinemann, 1928. Chicago: Academy, 1984.

paragraph: BULLET::::- "Collected Prose of Elinor Wylie". New York: Knopf, 1933.

paragraph: Section::::Publications.:Fonds.

paragraph: BULLET::::- Papers reside in the Elinor Wylie Archive, Beinecke Rare Book Room and Manuscript Library, Yale University, New Haven, CT, and in the Berg Collection, New York Public Library.

paragraph: Section::::References.

paragraph: BULLET::::- Olson, Stanley. "Elinor Wylie: A Biography". New York: Dial, 1979.

paragraph: BULLET::::- Hively, Evelyn Helmick. "Elinor Wylie," "Twentieth Century Criticism. Vol 8". Detroit: Gale Research, 1982.

paragraph: BULLET::::- Hively, Evelyn Helmick. "A Private Madness: The Genius of Elinor Wylie". Kent State U P, 2003.

paragraph: Section::::External links.

paragraph: BULLET::::- Elinor Wylie at the Poetry Foundation - Biography and 8 poems (A Crowded Trolley Car, Cold Blooded Creatures, Epitaph, Full Moon, Little Elegy, Speed the Parting, Valentine, Wild Peaches)

paragraph: BULLET::::- Poems of Elinor Wylie at Poemtree.com

paragraph: BULLET::::- Poems of Elinor Wylie at Poets' Corner

description: American poet

enwikiquote_title: Elinor Wylie

wikidata_label: Elinor Wylie

wikipedia_title: Elinor Wylie


text:
Oslo, Norway
Berklee College of Music
Boston, Massachusetts
2017
Charlotte Dos Santos at SoundCloud
Charlotte Dos Santos "Red Clay"

categories: Musicians from Oslo,Living people,Norwegian female singers,1990 births,Norwegian jazz composers,Female jazz composers,21st-century Norwegian singers,Norwegian jazz singers

paragraph: Charlotte Dos Santos

paragraph: Charlotte Hall Dos Santos (born 1990 in Oslo, Norway) is a Brazilian-Norwegian jazz singer, composer, and arranger, currently based in Berlin.

paragraph: Section::::Biography.

paragraph: Dos Santos attended jazz studies at the Berklee College of Music in Boston, Massachusetts (2013–16), where she earned a Bachelor of Music in Contemporary Writing and Production, and Vocal Jazz Performance. Her music mixes South-American traditions, jazz, neo soul, and tasty beats, with music history samples in a colorful way. Dos Santos released her debut solo album "Cleo" in 2017 on the label Fresh Selects. The album received good reviews in Norwegian media.

paragraph: Section::::Discography.

paragraph: BULLET::::- 2017: "Cleo" (Fresh Selects)

paragraph: Section::::External links.

paragraph: BULLET::::- Charlotte Dos Santos at SoundCloud

paragraph: BULLET::::- Charlotte Dos Santos "Red Clay"

wikidata_label: Charlotte Dos Santos

wikipedia_title: Charlotte Dos Santos


text:
sprint car racing
USAC
Little 500
stock car racing
ARCA Racing Series
NASCAR Camping World Truck Series
MB Motorsports
DGR-Crosley
Eldora Speedway
Indy Lights
Belardi Auto Racing
Freedom 100
Indianapolis Motor Speedway
Jonathan Byrd's Racing
Bryan Clauson
IndyCar Series

categories: ARCA Menards Series drivers,NASCAR drivers,Indy Lights drivers,Racing drivers from Illinois,1990 births,Living people

paragraph: Chris Windom

paragraph: Christopher "Chris" Windom (born December 24, 1990) is an American professional racing driver.

paragraph: Windom has had much success in sprint car racing having won the 2017 USAC National Sprint Car Championship and the 2016 USAC Silver Crown Championship. He is also a two time Indiana Sprint Week (2011, 2018) & Eastern Storm (2017, 2018) champion, and a two time winner of the Little 500 (2011, 2015).

paragraph: Windom also participates in stock car racing, making seven starts from 2011 to 2015 in the ARCA Racing Series and three starts in the NASCAR Camping World Truck Series in 2017 for MB Motorsports and one in 2018 for DGR-Crosley with a best finish of 14th at Eldora Speedway.

paragraph: On March 27, 2018, it was announced that Windom would make his Indy Lights debut driving for Belardi Auto Racing in the Freedom 100 at the Indianapolis Motor Speedway with support from Jonathan Byrd's Racing, the same group that supported fellow sprint car driver Bryan Clauson venture into Indy Lights and the IndyCar Series. Windom, however, crashed during the first morning testing session on May 21 and the damage to the car forced Windom to withdraw from the Freedom 100.

paragraph: Section::::Motorsports career results.

paragraph: Section::::Motorsports career results.:ARCA Racing Series.

paragraph: Season still in progressbr

paragraph: Section::::Motorsports career results.:American open-wheel racing results.:Indy Lights.

paragraph: * Season still in progress

description: American auto racing driver

wikidata_label: Chris Windom

wikipedia_title: Chris Windom


text:
Montreal Museum of Fine Arts
Winnipeg Art Gallery
McMichael Canadian Art Collection
National Gallery of Canada
Canadian Museum of Civilization
Glenbow Museum

categories: 1974 deaths,1940 births,Deaths from fire,Inuit from Nunavut,Artists from Nunavut

paragraph: Karoo Ashevak

paragraph: Karoo Ashevak (1940 – October 19, 1974) was an Inuit sculptor who lived a nomadic hunting life in the Kitimeot, central Arctic region before moving into Spence Bay in 1960. His career as an artist started in 1968 by participating in a government-funded carving program. Working with the primary medium of fossilized whalebone, Ashevak created approximately 250 sculptures in his lifetime, and explored themes of shamanism and Inuit spirituality through playful depictions of human figures, shamans, spirits, and arctic wildlife.

paragraph: In 1970, the Canadian Eskimo Art Council held the Centennial competition in Yellowknife. Ashevak's sculptures won Third Prize in that competition, and he became a recognizable artist after his solo exhibition at the American Indian Art Centre in New York in 1973. Unlike other Inuit primitivist carvings, Ashevak's work abandoned cultural references and adopted a modern expressionistic style, which visually appealed to a broader audience than collectors of Inuit art.

paragraph: An extensive collection of Ashevak's sculptures went on solo or group exhibitions at commercial galleries around the world, including Franz Bader Gallery at Washington D.C., Lippel Gallery in Montreal, Upstairs Gallery in Winnipeg and Inuit Gallery in Toronto. Ashevak's works were also widely traded on the auction market. Despite his short and tragic passing — he died in October 1974 from a house fire, Ashevak was crucial to the development of Inuit sculpture by visualizing an imaginative world with supernatural beings and shamanistic practices.

paragraph: Section::::Early life.

paragraph: Ashevak was born in 1940 in the Kitimeot, central Arctic region of Nunavut. Like many Netsilik youths, he lived a traditional Inuit life by acquiring hunting skills that were necessary to support himself in later life. However, Ashevak grew up at a time when the establishment of wage-earning settlements rapidly replaced the Eskimo lifestyle and economy. In the past, Netsilik people lived in small communities and worked as nomadic hunters. Since they moved off the land to Spence Bay, they were forced to adopt a southern-style economy such as living in a house and having a stable job. Ashevak and his wife Doris moved into the settlement in 1968. During that time, Abjon Bromfield, the Arts and Crafts officer at Fort Smith received a shipment of two carvings from Spence Bay. These Inuit carvings were highly appreciated in Ottawa and inspired people's interest in purchasing more sculptures from the region. Therefore, a carving program was funded by the government in Spence Bay, and sculptor Algie Malauskas was hired to teach Inuit people some fundamental sculpture techniques. Ashevak soon joined the program because he could no longer support his family by hunting, and carving was one of the well-paid alternatives to earn a livelihood. Ashevak's official entrance into the art world was in 1970, where he participated in the Centennial competition in Yellowknife, held by the Canadian Eskimo Art Council. Ashevak's sculptures, "Bird" and "Drum Dancer" won Third Price and an honourable Mention respectively. In 1972, Avrom Isaacs collected Ashevak's works to organize a solo exhibition at the Inuit Gallery in Toronto. The show was financially successful in which about 30 pieces of Ashevak's sculptures became trendy among the public and sold well. However, this exhibition did not make Ashevak famous. His reputation was firmly established after the exhibition at the American Indian Art Centre in New York in 1973.

paragraph: Section::::Career.

paragraph: In 1968, Karoo Ashevak settled in Taloyak where his career began through an arts and crafts program sponsored by the government. His style evolved into the well-known "expressionistic style" in the Kitikmeot area in the early 1970s. His works are inspired by stories told to him in his childhood by his father. Many of his sculptures have wide noses, gaping mouths, and uneven eyes. His art is admired for this originality and abnormal appearance. While some people praised his work, others considered it too grotesque. The majority of his artistic production occurred from 1971 to 1974. During this time, he was unknown in the art market, nonetheless, he held several exhibitions where his work appealed to the majority and sold in mass amounts. He was first noticed in Yellowknife when he entered the Centennial competition in 1970 organized by the Canadian Eskimo Art Council. It was not until his late artistic career that he gained recognition. He is now acknowledged as an important artist in Canadian Inuit art. He was not exclusively recognized until spring of 1972 when Avrom Isaacs used Karoo's sculptures in a one-man exhibition at the Inuit Gallery in Toronto. Despite its success, it did not make him famous he was mainly known to those associated with Eskimo art. Finally, in January 1973, his exhibition at the American Indian Art Centre in New York established his local fame and overall reputation in Eastern U.S. and Canada. This marked the height of his career, just a year prior to his death.

paragraph: Section::::Media.

paragraph: In the 1970s, Ashevak favoured and used predominantly aged whalebones as his medium. During his artistic years, whalebones would be imported to the community through charter planes from Somerset Island because this material was sparse while demands were higher than the inventory. They were not readily available in Spence Bay and many other carvers were seeking it for their artistic production. Historically, bones were used in Taloyoak to make tools and weapons. It was not until the settlement began its carving production that bone was used as the main medium, with whalebone being the material used for the first carving produced.

paragraph: The prehistoric Thule Eskimo and the colonialist European whalers left mass amounts of whalebone. These aged bones experienced inconsistent and prolonged exposure from arctic conditions. This altered their qualities and features, such as their density and colour. Whalebones needed to be aged for approximately 50 to 100 years before it is qualified for carving. If the material is partially aged or dried, it may smell or shrink while working with the material.

paragraph: Whalebone is an inconsistent medium that varies in colour from a white to a cream, to brown, and to nearly black. Moreover, they have a range from very dense to extremely fragile bone consistency. Bones may also transform from one density to another, which makes the material difficult to work with. For example, sometimes bone can become extremely hard to the point that it is nearly impossible to carve. Additionally, they may crack or split before, during, and after carving. Cracks that occur during the production process can be integrated into the final piece, however, splits that appear after carving often destroy the piece.

paragraph: His medium choice could be a result of the insufficient amount of materials for sculpting in the community or a liking for light materials rather than media such as stones or ivory. Even though Ashevak used fossilized whalebone as his primary medium, he would incorporate local materials, such as stone, caribou antler and baleen, and walrus ivory, as additional supplements.

paragraph: Ashevak first chooses his idea for his sculpture before he selects the medium or media that he would use. He took advantage of the preexisting shapes of the material and manipul ates the bone in order to illustrate his ideas and the work's theme. Also, he tended to reassembled and fashioned different pieces taken from different parts of the whale to conform to his design concept, rather than carving from a solid piece of bone. For example, he inserts whale baleen as the eyes and mouths.

paragraph: Section::::Ashevak and the Art Market.

paragraph: According to Leon Lippel, Ashevak's sculptures evoked an overwhelmingly affirmative response at his own time. Between 1972 and 1974, the artist had several successful exhibitions, and his works were sold very well on the art market. Ashevak's sculptures were universal in message and appeal, which was strikingly different from most Eskimo art. Max Wheitzenhoffer from the Gimpel-Wheitzenhoffer gallery stated that he "never looked at Ashevak’s pieces as Eskimo art."

paragraph: Eskimo sculptures followed a narrative tradition by depicting legends, events or social activities that were well known among Eskimo communities. In contrast, Ashevak's sculptures abandoned this illustrative tradition. Each of his pieces portrays an individual being with no cultural references to particular myths, stories or events. Therefore, Ashevak's work could speak to the audience who did not have any knowledge of the Eskimo culture and attract the audience based on its purely aesthetic values. There were two distinctive characteristics of Ashevak's early exhibitions. First, his sculptures were strongly appealing to Non-Eskimo art collectors, including those who did not regularly collect. Second, people were astonished by Ashevak's work and reacted immediately with tremendous enthusiasm. Ashevak became a recognizable figure in Canada and the United States shortly after his exhibitions at the Inuit Gallery of Toronto (1972) and the American Indian Arts Centre in New York (1973). It normally took a while for the audience to embrace a new artistic style, but they fell in love with Ashevak's work at once.

paragraph: Section::::Works and Shamanism.

paragraph: Ashevak's sculptures present a fantasy of spirits and supernatural beings bursting with powerful emotions. His figures embody wide eyes, gaping mouths, distorted body features and incised lines, which are directly related to Inuit shamanism. Shamans are people with special powers that enable them to act as a mediator between the temporal world and the spiritual world. Shamanism is based on the animistic belief that a spirit could exist in every being and take different forms. Some spirits are friendly to human beings, and they function as helping spirits to assist shamans performing supernatural tasks. In contrast to the helping spirits, evil spirits attack or eat humans, and they would bring misfortune and disasters to the community. Shamans could protect people from evil spirits by acquiring helping spirits that are frequently seen in polar bears, birds and walrus. Ashevak portrayed various helping spirits in animal forms such as "Bear" (1973), "Flying Walrus" (1972), and a mystical four-legged creature with wings.

paragraph: Another favourite subject of Ashevak's sculptures is Bird. Some of them have prey in their mouths, while others embody unusual features such as human arms (1972), or experience a human-bird transformation. Birds are associated with the shaman's magical flights. In the Netilik tradition, shamans could be transformed into birds, and travel to all regions in the cosmo. During their magical journeys, shamans fly into the sky, the land of the dead, and even to the homes of ancient Eskimo deities. Ashevak depicted these shamanistic flights through his sculptures of "Flying Figure" (1971) and "Shaman" (1973), where the shamans’ bodies are represented in a flying position.

paragraph: Ashevak untitled most of his works, but one of the very few sculptures which had a title was directly related to shamanism. In the Eskimo culture, one needs to take an apprenticeship to become a shaman. The shaman candidate needs to receive formal training from an elder, which helps him gain skills and powers that are necessary to fulfil his future position. By the end of the practice, an elder shaman would transmit his power to the young shaman by placing his hands on the young shaman's head. Ashevak's work, "Coming and Going of the Shaman" (1973) represents the transformation of powers between two shamans. This sculpture has two heads of different sizes that share one body. The shaman with the larger head is disappearing as he passes his powers to the shaman with the smaller head.

paragraph: Ashevak's choices of subjects also came from dreams, childhood stories and hunting scenes. Dream was a crucial element of Eskimo culture, especially in the Netchilik community. Ashevak's sculpture, "Drum Dancer" was inspired by his dream of a man with three arms. Other visual elements in Ashevak's creations included varying sizes and shapes of eyes. According to the shamanistic belief, certain spirits acted as the shaman's eyes, and they could fly over long distance and report to the shaman what they had seen. Moreover, Ashevak's use of incised lies was related to Thule culture. In his sculptures, Bird of 1970 and 1971, incised lines are used to depict the skeleton of the birds, which is a typical characteristic of shamanism.

paragraph: Section::::Personal life.

paragraph: Ashevak was known for having a distinctive personality among the Inuit artists by being openly expressive about his emotions. It was uncommon for Inuit adults to display their feelings because they highly valued the idea of "Ihuma", which was the ability of emotional restraint. "Ihuma" was a significant indigenous personality, and the grown-ups exercised "Ihuma" by hiding their joy or anger in front of the public. However, Ashevak freely vented his emotions, and sometimes he even displayed aggressive and antagonistic behaviours.

paragraph: Ashevak enjoyed the creative process of carvings, and he took enormous pride in his work. Although the artist was aware of the market value of his sculptures, he priced them accurately by himself. Carving was the primary resource of Ashevak's income, but money was not the only factor to inspire his continuous creations. Ashevak's favourite part of sculpture was to apply finishing touches, which gave the final piece distinctive details. Ashevak respected the originality of carvings, and he became irritated when other sculptors copied his works since he did not know how to deal with the imitators.

paragraph: In August 1974, Ashevak's life started to come to a tragic end. His adopted son, Lary, was killed by dogs. On October 19 of the same year, Ashevak and his wife Doris both died in a fire that destroyed their house.

paragraph: Section::::Achievements.

paragraph: Ashevak established a well-known reputation in his community and the nearby area of Uqsuqtuc, otherwise recognized as Gjoa Haven, during his artistic career. His work inspired a whole generation of Kitikmeot carvers. Although he only created about 250 sculptures during his short artistic career, his works have been included in multiple exhibitions and continue to be widely collected as well as traded on the art market and during auctions. They are also included in many corporate and museum collections. He executed solo exhibitions in Toronto, Montreal, and New York. When he was first officially noticed in 1970 during the Centennial competition in Yellowknife, he won Third Prize and Honourable Mention for his entries of Bird and Drum Dancer, respectively. This was the beginning of his successful career. Ashevak's early exhibitions between 1972 and 1974 had very successful outcomes as many works were sought after and sold even though he was not well-known yet. Two features that make these exhibitions stand out is the type of purchaser and the audience reaction. The sculptures were popular amongst Eskimo and non-Eskimo art collectors as well as people who normally do not collect Eskimo art. The audience were also immediately captivated by his work, especially in exhibitions at the Inuit Gallery in Toronto and the American Indian Arts Centre in New York.

paragraph: Theatrical producer, Max Weitzenhoffer, ranked Ashevak as one of the top contemporary Canadian sculptors because he viewed Askevak's work apart and unique from the other Inuit artists’ production. He believes that they are universally accepted and appeal to a mass majority. Scholar, George Swinton, compared him to Henry Moore who is a well-known English artist famous for his sculptures.

paragraph: Section::::Exhibitions.

paragraph: BULLET::::- 1972: "Eskimo Fantastic Art", University of Manitoba, Winnipeg

paragraph: BULLET::::- 1973: "Cultures of the Sun and the Snow: Indian and Eskimo Art of the Americas", Montreal Museum of Fine Arts, Quebec

paragraph: BULLET::::- 1973: "Karoo Ashevak: Spirits", at the American Indian Arts Centre, New York City

paragraph: BULLET::::- 1973: "Karoo Ashevak Whalebone Sculpture", Lippel Gallery, Montreal

paragraph: BULLET::::- 1973: "Spirits", Franz Bader Gallery, Washington, D.C.

paragraph: BULLET::::- 1977: "Karoo Ashevak", Winnipeg Art Gallery, Manitoba

paragraph: BULLET::::- 1977: "White Sculpture of the Inuit", Simon Fraser University Art Gallery, Burnaby, B.C.

paragraph: BULLET::::- 1977: "Karoo Ashevak (1940-1974): Sculpture", Upstairs Gallery, Winnipeg

paragraph: BULLET::::- 1978: "The Coming and Going of the Shaman: Eskimo Shamanism and Art", Winnipeg Art Gallery, Manitoba

paragraph: BULLET::::- 1980: "Whalebone Carvings and Inuit Prints", Memorial University of Newfoundland Art Gallery, St. John's

paragraph: BULLET::::- 1983: "Inuit Masterworks: Selections from the Collection of Indian and Northern Affairs Canada", McMichael Canadian Art Collection, Kleinberg, Ontario

paragraph: BULLET::::- 1985: "Uumajut: Animal Imagery in Inuit Art", Winnipeg Art Gallery, Manitoba

paragraph: BULLET::::- 1986: "Contemporary Inuit Art", National Gallery of Canada, Ottawa

paragraph: BULLET::::- 1988: "Building on Strengths: New Inuit Art from the Collection", Winnipeg Art Gallery, Manitoba

paragraph: BULLET::::- 1988: "In the Shadow of the Sun: Contemporary Indian and Inuit Art in Canada", Canadian Museum of Civilization, Gatineau, Quebec

paragraph: BULLET::::- 1990: "Arctic Mirror", Canadian Museum of Civilization, Gatineau, Quebec

paragraph: BULLET::::- 1990: "Inuit Art From the Glenbow Collection", Glenbow Museum, Calgary

paragraph: BULLET::::- 1994: "Transcending the Specifics of Inuit Heritage: Karoo in Ottawa", at the National Gallery of Canada

paragraph: BULLET::::- 1999 – 2000: "Carving and Identity: Inuit Sculpture from the Permanent Collection", National Gallery of Canada, Ottawa

paragraph: BULLET::::- 1999: "Iqqaipaa: Celebrating Inuit Art, 1948 - 1970", Canadian Museum of Civilization, Gatineau, Quebec

paragraph: Section::::Collections.

paragraph: Museum and gallery collections that permanently houses his works:

paragraph: BULLET::::- Art Gallery of Ontario (Toronto)

paragraph: BULLET::::- Canadian Museum of Civilization (Gatineau, Quebec)

paragraph: BULLET::::- Glenbow Museum (Calgary, Alberta)

paragraph: BULLET::::- Heard Museum (Phoenix, Arizona)

paragraph: BULLET::::- McMichael Canadian Art Collection (Kleinburg, Ontario)

paragraph: BULLET::::- Montreal Museum of Fine Arts (Quebec), Museum of Anthropology (University of British Columbia, Vancouver)

paragraph: BULLET::::- Museum of Inuit Art (Toronto, Ontario)

paragraph: BULLET::::- Prince of Wales Northern Heritage Centre (Yellowknife, Northwest Territories)

paragraph: BULLET::::- Quebec Museum of Fine Arts (Quebec City)

paragraph: BULLET::::- Smithsonian Institution National Museum of the American Indian (Washington, D.C.)

paragraph: BULLET::::- University of Alberta (Edmonton, Alberta)

paragraph: BULLET::::- Winnipeg Art Gallery (Manitoba)

paragraph: BULLET::::- National Gallery of Canada (Ottawa)

paragraph: BULLET::::- Lorne Balshine Inuit Art Collection at the Vancouver International Airport (Vancouver, B.C.)

paragraph: BULLET::::- TD Gallery of Inuit Art at the Toronto-Dominion Centre (Toronto, Ontario)

paragraph: Section::::Further reading.

paragraph: Invaluable. "Karoo Ashevak." Accessed March 20, 2018. https://www.invaluable.com/artist/ashevak-karoo-2z2whovizy.

description: Native American carver and sculptor

wikidata_label: Karoo Ashevak

wikipedia_title: Karoo Ashevak


text:
Tunja
Tunja
Bogotá
novelist
essayist
playwriter
El País
La Vanguardia
Quimera

categories: 20th-century essayists,2005 deaths,Colombian male novelists,Colombian essayists,1945 births,20th-century Colombian novelists

paragraph: R. H. Moreno Durán

paragraph: Rafael Humberto Moreno Durán, also known by his acronym R.H. Moreno Durán (Tunja, November 7, 1945 Tunja—November 21, 2005 Bogotá) was a novelist, essayist and playwriter considered one of the most remarkable Colombian writers of the 20th century. His work includes the trilogy Femina Suite (comprising "Juego de Damas", "El toque de Diana" and "Finale Capriccioso con Madonna"), and the play Cuestión de Habitos, for which he received the Ciudad de San Sebastián prize. He collaborated with several publications, including "El País" and "La Vanguardia" newspapers. He also was director of the Latin-American edition of "Quimera" journal.

description: Colombian playwright and writer (1945-2005)

wikidata_label: Rafael Humberto Moreno-Durán

wikipedia_title: R. H. Moreno Durán


text:
Swedish
psychoanalyst
Uppsala
Stockholm
geology
zoologist
journalist
repressed memories
expert testimony
Thomas Quick
Säter
Sven Å. Christianson
expert witness
Catrine da Costa murder case
Stockholm

paragraph: Margit Norell

paragraph: Margit Sonja Annie Norell, née Quensel, (23 February 1914 – 28 January 2005) was a Swedish psychoanalyst.

paragraph: Section::::Biography.

paragraph: Margit Norell was born in and grew up in Uppsala and Stockholm, as the daughter of geology professor Percy Quensel and zoologist and journalist Annie Weiss. She was the granddaughter of theology professor Oscar Quensel. She graduated Bachelor and trained as a psychoanalyst. She resigned from the Swedish Psychoanalytical Association in the 1960s, and in 1968 established the Swedish Association for Holistic Psychotherapy and Psychoanalysis.

paragraph: Norell felt that deep-seated, repressed memories could be brought forward in therapy, and advocated a psychoanalytic treatment for developing them. This approach was popular in the US during the 1980s and formed the basis for expert testimony in several criminal cases in Sweden in the 1990s.

paragraph: Norell was a supervisor and therapist for psychologists and therapists who treated and studied Thomas Quick in the Forensic Psychiatric Clinic in Säter. One of these, the psychologist Sven Å. Christianson was an expert witness in the murder trial of Quick. Norell was also the mentor of feminist therapist Hanna Olsson who, on Norell's advice, wrote the book "Catrine och rättvisan" ("Catrine and Justice") which detailed the acclaimed Catrine da Costa murder case. They also collaborated in a 1977 prostitution investigation.

paragraph: Margit Norell married Curt Norell in 1939, and the couple had three children. She died at the age of 90 in Stockholm.

description: Swedish psychoanalyst (1914-2005)

wikidata_label: Margit Norell

wikipedia_title: Margit Norell


text: film actress

text: singer

text: theatre

text: Cologne

text: Kalk

text: Mülheim

text: Social Democratic Party of Germany

text: Ewersbach

text: Hesse

text: Willy Millowitsch

text: Willi Schaeffers

text: schlager

text: North Rhine-Westphalia

text: WDR Fernsehen

text: Monheim am Rhein

text: Wolfgang Niedecken

text: Tommy Engel

text: Bläck Fööss

text: Fiji

text: Suva

text: Günther Jauch

text: Lauris

text: Vaucluse

text: Provence-Alpes-Côte d'Azur

text: Triplets on Board

text: Of Course, the Motorists

text: The Last Pedestrian

text: Conny and Peter Make Music

text: Our Crazy Aunts

text: Robert and Bertram

text: Café Oriental

text: Our Crazy Aunts in the South Seas

text: Freddy in the Wild West

text: The Mad Aunts Strike Out

categories: German-language singers,1927 births,Schlager musicians,German television actresses,German film actresses,People from Cologne,German female singers,1991 deaths

paragraph: Trude Herr

paragraph: Trude Herr (4 May 1927 – 16 March 1991) was a German film actress, singer and theatre owner. She was a popular entertainer in Germany from the early 1960s until her retirement.

paragraph: Section::::Early life.

paragraph: Trude Herr was born in the Cologne district of Kalk, grew up in the city's district of Mülheim and attended school there. Her father Robert Herr was a locomotive driver and was imprisoned for a long time because of his membership in the Communist Party; later he was sent to a concentration camp. For him she wrote the song "Papa", in which she thanked her father for her time; she sang it in 1961 at his funeral. She herself was a member of the Social Democratic Party of Germany. In 1933, she attended primary school in Cologne-Mülheim after which she worked in a bakery. Since the apartment of the Herrs was destroyed by bombs in 1943, they lived two years in the community of Ewersbach in Hesse.

paragraph: There she worked as a typist in the Dillenburg city administration, where she was known by her nicknames of "Tutti" and jokingly also as "dat Pummel" because of her full figure. In 1946, she became an extra at the Aachener Wanderbühne, and from 1948 she received supporting roles at the Cologne Millowitsch Theater.

paragraph: Section::::Career.

paragraph: In the Millowitsch theater, she played her first major role in the recorded for television 1955 comedy "The Sold Grandfather" alongside Willy Millowitsch, Elsa Scholten, Franz Schneider and others. In 1949, she and her friend and mentor Gustav Schellhardt founded the "Cologne Lustspielbühne", whose existence, however, was not long lasting. Throughout her life, she was proud of this project and mentioned it repeatedly in press interviews. After its bankruptcy, Trude Herr worked between 1949 and 1954 as a barmaid in the gay bar Barberina (Hohes Tor).

paragraph: From 1954 onwards, she performed at the carnival time again and again at the events of various clubs in Cologne as Büttenrednerin (carnival comedy speaker) and always earned great applause. In her performances, she followed the style of the well-known 1920s variety and revue singer Grete River. Trude Herr was discovered by Willi Schaeffers, the head of the cabaret Tingel-Tangel, who engaged her in Berlin in 1958. With the German version of Percolator under the title "Ich will keine Schokolade (ich will lieber einen Mann)" (English: "I do not want chocolate (I'd prefer a man)") she reached No. 18 on the German hit charts. The song's German text was written by Carl-Ulrich Blecher. The song was performed by Herr in the German hit movie "Marina" (where she played "Trude Pippes"). The film premiered on 19 August 1960 and featured 15 hits, helping Herr to achieve her 1960 breakthrough.

paragraph: Afterwards, she appeared in more than 30 films, made numerous appearances on television programs and was successful in the German schlager genre. In August 1964, she took a five-month journey through the Saharan States, where in 1969 she met the Tunesian Tuareg Ahmed M'Barek. He accompanied her back to Germany, where they were married; the marriage lasted until 1976. With her own ensemble, she performed successfully in the Millowitsch Theater; from 16 September 1970 she delighted audiences in "The Pearl Anna", and from 21 September 1972 in "The Pütz Family".

paragraph: On 9 September 1977, she opened her folk theater Theater im Vringsveedel on Severinstraße. There she wanted to build a popular alternative to the established Millowitsch Theater. With plenty of Cologne humor and Kölsch sentimentality, garnished with a dose of vulgarity, she wrote and performed in pieces like "Die Kölsche Geisha" (1977), "Der Hausmann" and "Massage Salon Denz" (1979), "Drei Glas Kölsch" (1980), "Scheidung Auf Kölsch" (1981), "Der Prophet" (1985) and, as the last play, "Der zweite Frühling" (1986). Her stage partner at this time was Hans Künster. The schedule lasted only from September to the end of December, the rest of the time the theater was rented out or was dark. Without municipal subsidies, which she vainly applied for in 1977 and 1982, the theater was financially constantly on weak feet. The very high visitor utilization rate of 97 percent did not change this either - the fixed costs, including for 21 employees, were too high. Even though it was one of the best attended theaters in North Rhine-Westphalia, and also because of increasing health problems, she ended the theater experiment on 27 February 1986.

paragraph: In between theatrical productions, she worked in the WDR Fernsehen television production of "Schöne Bescherung", which was broadcast in December 1983. Between October 1986 and January 1987, she recorded in the Info Studios in Monheim am Rhein with producer Thomas Brück her album "Ich sage was ich meine" ("I say what I mean") with international hits featuring German lyrics. The melancholic song "Niemals geht man so ganz" ("You never leave completely"), which she interpreted with Wolfgang Niedecken (BAP) and Tommy Engel (Bläck Fööss) was her last great success; it reached in No. 20 in the German charts in August 1986.

paragraph: Section::::Last Years.

paragraph: After six serious operations on her neck and legs, she moved to Fiji in 1987 for health reasons and settled near the capital of Suva. In 1988, she received the Cross of Merit of the Federal Republic of Germany. That same year, she appeared in her final TV interview with Günther Jauch.

paragraph: In January 1991, she returned with Samuel Bawesi, her partner, from Fiji to Cologne. In February 1991, she moved to Lauris, a small village in Vaucluse, Provence-Alpes-Côte d'Azur in southern France, where she died of heart failure on 16 March 1991. She was buried in the Cologne North Cemetery.

paragraph: Section::::Selected filmography.

paragraph: BULLET::::- "Triplets on Board" (1959)

paragraph: BULLET::::- "Of Course, the Motorists" (1959)

paragraph: BULLET::::- "The Last Pedestrian" (1960)

paragraph: BULLET::::- "Conny and Peter Make Music" (1960)

paragraph: BULLET::::- "Our Crazy Aunts" (1961)

paragraph: BULLET::::- "Robert and Bertram" (1961)

paragraph: BULLET::::- "Café Oriental" (1962)

paragraph: BULLET::::- "Our Crazy Aunts in the South Seas" (1964)

paragraph: BULLET::::- "Freddy in the Wild West" (1964)

paragraph: BULLET::::- "The Mad Aunts Strike Out" (1971)

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Thomas Weisser. "Spaghetti Westerns--the Good, the Bad and the Violent: A Comprehensive, Illustrated Filmography of 558 Eurowesterns and Their Personnel, 1961–1977". McFarland, 2005.

description: German actress and singer

wikidata_label: Trude Herr

wikipedia_title: Trude Herr


text:
Swedish Navy
admiral
Chief of the Navy
Film
Uppsala County
Governor of Stockholm
Swedish Navy
Royal Swedish Naval Academy
law of war
maritime law
naval warfare
Ministry for Naval Affairs
Berlin
Copenhagen
Royal Swedish Society of Naval Sciences
Naval Staff
World Disarmament Conference
Geneva
Coastal Fleet
Chief of the Navy
Rederi AB Svea
Royal Swedish Society of Naval Sciences
Royal Swedish Academy of War Sciences
Galärvarvskyrkogården
Order of the Sword
Order of the Polar Star
Order of Vasa
Order of the Crown of Italy
Order of the Three Stars
Order of the German Eagle
Order of the Dannebrog
Order of the White Rose of Finland
Order of St. Olav
Order of Polonia Restituta
Order of Saints Maurice and Lazarus
Order of the Griffon
Order of the Crown
Order of St. Anna
Swedish Voluntary Motorboat Corps

categories: People from Östhammar Municipality,Members of the Royal Swedish Society of Naval Sciences,Members of the Royal Swedish Academy of War Sciences,Swedish Navy admirals,1955 deaths,1879 births

paragraph: Fabian Tamm

paragraph: Claës Fabian Tamm (13 November 1879 – 4 October 1955) was a Swedish Navy admiral who was the Chief of the Navy from 1939 to 1945.

paragraph: Section::::Career.

paragraph: Tamm was born in Film, Uppsala County, Sweden, the son of the Governor of Stockholm and cabinet minister baron Claës Gustaf Adolf Tamm and his wife Ebba (née Tersmeden). He became acting sub-lieutenant in the Swedish Navy in 1899 and sub-lieutenant in 1901. Tamm was promoted to lieutenant in 1907 and was adjutant and librarian at the Royal Swedish Naval Academy as well as teacher in law of war and maritime law from 1907 to 1910 and in naval warfare from 1910. He was adjutant at the Military Office of the Ministry for Naval Affairs from 1911. Tamm was naval attaché in Berlin and Copenhagen from 1914 to 1917, secretary in Royal Swedish Society of Naval Sciences from 1918 to 1921 and was head of the Royal Swedish Naval Academy from 1921 to 1925.

paragraph: Tamm was then head of department at the Naval Staff in 1926, was promoted to captain in 1927 and was a member of the Defense Committee in 1928 and 1929. He was promoted to flag captain in 1930 and was an expert at the World Disarmament Conference in Geneva in 1932. Tamm was head of the Military Office of the Ministry for Naval Affairs from 1931 to 1933 and Chief of the Coastal Fleet from 1933 to 1939. He was promoted to vice admiral in 1939 and was Chief of the Navy from 1939 to 1945. He was appointed admiral in the reserve in 1947, two years after he left active service.

paragraph: Section::::Other work.

paragraph: Tamm was chairman of the board of Ströms Bruks AB, Ljusne-Woxna AB and Rederi AB Svea (1945–52). Tamm was also chairman of the board of the Association of Army, Navy and Air Film ("Föreningen Armé- Marin- och Flygfilm") from 1932 to 1939 and board member of AB Finnboda Varv.

paragraph: In 1914, Tamm became a member of the Royal Swedish Society of Naval Sciences (honorary member in 1933) and in 1925 he became a member of the Royal Swedish Academy of War Sciences.

paragraph: Section::::Personal life.

paragraph: In 1908, Tamm married baroness Eva Ebba Gustafva Beck-Friis (1884–1963), daughter of baron Carl Joachim Beck-Friis and baroness Anna von Otter. Tamm died in 1955 and was buried at Galärvarvskyrkogården in Stockholm.

paragraph: Section::::Dates of rank.

paragraph: BULLET::::- 1899 – Acting Sub-Lieutenant ("Underlöjtnant")

paragraph: BULLET::::- 1901 – Sub-Lieutenant ("Löjtnant")

paragraph: BULLET::::- 1907 – Lieutenant ("Kapten")

paragraph: BULLET::::- 1918 – Commander ("Kommendörkapten")

paragraph: BULLET::::- 1927 – Captain ("Kommendör")

paragraph: BULLET::::- 1933 – Rear admiral

paragraph: BULLET::::- 1939 – Vice admiral

paragraph: BULLET::::- 1947 – Admiral

paragraph: Section::::Awards and decorations.

paragraph: Tamm's awards:

paragraph: BULLET::::- Commander Grand Cross of the Order of the Sword

paragraph: BULLET::::- Knight of the Order of the Polar Star

paragraph: BULLET::::- Knight of the Order of Vasa

paragraph: BULLET::::- Grand Cross of the Order of the Crown of Italy

paragraph: BULLET::::- Grand Cross of the Order of the Three Stars

paragraph: BULLET::::- Grand Officer of the Order of the German Eagle

paragraph: BULLET::::- Commander 1st Class of the Order of the Dannebrog

paragraph: BULLET::::- Commander 1st Class of the Order of the White Rose of Finland

paragraph: BULLET::::- Commander with Star of the Order of St. Olav

paragraph: BULLET::::- Commander 1st Class of the Order of Polonia Restituta

paragraph: BULLET::::- Commander 2nd Class of the Order of del Mérito Naval

paragraph: BULLET::::- Officer of the Order of Saints Maurice and Lazarus

paragraph: BULLET::::- Knight 1st Class of the Order of the Griffon

paragraph: BULLET::::- Knight 3rd Class of the Order of the Crown

paragraph: BULLET::::- Knight 3rd Class of the Order of St. Anna

paragraph: BULLET::::- King Gustaf V's Olympic commemorative medal ("Konung Gustaf V:s olympiska minnesmedalj")

paragraph: BULLET::::- Swedish Voluntary Motorboat Corps' Gold Medal ("Sveriges frivilliga motorbåtskårs guldmedalj")

paragraph: BULLET::::- Finnish Defense Corps' cross of merit ("Finska skyddskårernas förtjänstkors")

wikidata_label: Fabian Tamm

wikipedia_title: Fabian Tamm


text: Cuba

text: baseball

text: first baseman

text: Cuban National Baseball Team

text: Cuban National Baseball Team

text: 2010 World Junior Baseball Championship

text: International Baseball Federation

text: Isla de la Juventud

text: Barquisimeto

text: Venezuela

text: Major League Baseball

text: Dominican Republic

text: first base

text: Baseball-Reference

categories: Cuban baseball players,Living people,People from Isla de la Juventud,1992 births,Cuban defectors,Isla de la Juventud players,Mexican League baseball first basemen

paragraph: Victor Rivas

paragraph: Víctor Rivas Goire (born April 30, 1992), also known as Victor Rivas, is a Cuban professional baseball first baseman. Rivas played for the Cuban National Baseball Team in two international competitions. At age 17 he debuted on the Cuban National Team adult roster, where he played two seasons. At age 19 he attempted to defect from Cuba in 2011, seeking a career in MLB, was unsuccessful in that attempt and was banned by the Cuban government and from participating in baseball for two years. Rivas attempted a second time and was banned from playing baseball one more year. He then leaves the island legally a third time to Haiti where he established residency.

paragraph: Section::::Cuban career and defection.

paragraph: Rivas played for the Cuban National Baseball Team in the 2010 World Junior Baseball Championship, during which he stole home on a wild pitch. The International Baseball Federation acknowledged Rivas as the premier player for the Cuban National Team. Cuba won the bronze medal. Rivas also played briefly in the Cuban National Series for Isla de la Juventud in addition to the 2009 World Junior Championship in Barquisimeto, Venezuela.

paragraph: He played on the Cuban roster with Jorge Soler, Raisel Iglesias, Yandy Dias, Jesus Balager, Omar Luis and Yander La Oss; all of whom signed professional contracts with Major League Baseball Organizations and are currently playing in the Major Leagues, AA and AAA in the minor leagues.

paragraph: Rivas defected from Cuba in 2013 to pursue his career in Major League Baseball (MLB). During his training in the Dominican Republic, many teams visited and watched Rivas practice. Numerous MLB teams had strong interest in signing him, but he did not have his free agent clearance with MLB, with the primary reason do to lack of guidance, improper management and negligence with the process of his paperwork. Rivas is living in the United States and under new agent representation. He is an eligible international free agent with clearance to sign immediately sign with an MLB organization and currently possesses a valid work permit which he recently received from the offices of the USCIS, United States Citizenship and Immigration Services.

paragraph: Section::::Scouting profile.

paragraph: Rivas is and weighs . He is described as a heavy-hitting infielder who would play first base. Steve Fiorindo, of The Prospect Pipeline, described Rivas in 2015 as a "strong kid. Pretty loud off the bat." According to the IBAF he is acknowledged as the premier player for the Cuban National Team, there were a lot of good players to watch, but beware of Victor Rivas. The IBAF went on describing Rivas as having proved himself very productive with the bat. Rivas is a power asset on any AA or AAA minor league roster, for any MLB team in need of an aggressive international player with exceptional offensive skills. Current bat velocity 108 miles per hour.

paragraph: Section::::See also.

paragraph: BULLET::::- List of baseball players who defected from Cuba

paragraph: Section::::External links.

paragraph: BULLET::::- Career statistics and player information from Baseball-Reference

paragraph: BULLET::::- Homepage of Victor Rivas, Cuban baseball player

description: Cuban baseball player (1992-)

wikidata_label: Victor Rivas

wikipedia_title: Victor Rivas


text: Sultan

text: Sultanate of Darfur

text: Keira dynasty

text: Mahdists

text: Ottoman Empire

text: First World War

text: punitive expedition

text: Anglo-Egyptian Darfur Expedition

text: Anglo-Egyptian Condominium

text: Entry in the Encyclopædia Britannica

categories: Keira dynasty,1916 deaths,Sultans of Darfur,History of Sudan,Ottoman Empire in World War I,1856 births,World War I,Darfur,Egypt in World War I

paragraph: Ali Dinar

paragraph: Ali Dinar () (1856 – November 6, 1916) was a Sultan of the Sultanate of Darfur and ruler from the Keira dynasty.

paragraph: In 1898, with the decline of the Mahdists, He managed to regain Darfurs independence.

paragraph: A rebellion led by him in 1915—in the context of his giving his support to the Ottoman Empire during the First World War—provoked the British to launch a punitive expedition, the Anglo-Egyptian Darfur Expedition, in which he was killed, After which his Sultanate was incorporated into the Anglo-Egyptian Condominium.

paragraph: Section::::References.

paragraph: BULLET::::- Entry in the Encyclopædia Britannica

paragraph: BULLET::::- Jay Spaulding,Lidwien Kapteijns: "An Islamic alliance: ʻAlī Dīnār and the Sānūsiyya, 1906-1916" at Google Books

description: Sultan of Darfur

wikidata_label: Ali Dinar

wikipedia_title: Ali Dinar


text: Riez

text: Marseille

text: Jean-Jacques Caffieri

text: Prix de Rome

text: École royale des élèves protégés

text: Paris Salon

text: Comédie-Française

text: Jean-Baptiste d'Huez

text: Simon-Louis Boizot

text: Augustin Pajou

text: Pierre-François Berruer

text: Pierre Julien

text: Château de Rambouillet

text: Panthéon

text: Place Vendôme Column

text: victory at Austerlitz

text: Joseph Espercieux

text: Pierre Petitot

text: Pierre Cartellier

text: Paris

categories: 1821 deaths,People from Alpes-de-Haute-Provence,19th-century French sculptors,1739 births,French male sculptors,18th-century French sculptors

paragraph: Jean-Joseph Foucou

paragraph: Jean-Joseph Foucou (1739 – 16 February 1821) was a French sculptor.

paragraph: Foucou was born at Riez, Alpes-de-Haute-Provence. A student at the École de peinture et de sculpture of Marseille, he went to Paris, where he entered the workshop of Jean-Jacques Caffieri. In 1769 he won the Prix de Rome in sculpture, and entered the École royale des élèves protégés in preparation for his residence in Rome, 1771-75. On his return to Paris he was accepted ("agrée") in 1777 at the Académie royale de peinture et de sculpture, where he was made a full member in 1785, with a marble of a "River" for his "morceau de reception". He was a regular contributor to the Paris Salons from 1779 to 1812.

paragraph: Foucou was one of the main artists whose work was included in the collection of the Comédie-Française at the end of the 18th century. Others were Jean-Baptiste d'Huez, Simon-Louis Boizot, Augustin Pajou and Pierre-François Berruer.

paragraph: He collaborated with Pierre Julien in the marble sculpture for the dairy for Marie Antoinette at Château de Rambouillet, and worked among other sculptors on grand Parisian projects, such as the Panthéon.

paragraph: He was one of the numerous sculptors called upon to provide bronze bas-relief panels for the Place Vendôme Column celebrating Napoleon's victory at Austerlitz.

paragraph: Foucou worked in collaboration with sculptors Joseph Espercieux, Pierre Petitot and Pierre Cartellier. He died in Paris.

alias:
Jean Joseph Foucou
M. Foucou
Foucou
Charles-Joseph-Louis Foucou
M. Foucon

description: sculptor from France

wikidata_label: Jean-Joseph Foucou

wikipedia_title: Jean-Joseph Foucou