text:
Bologna
Lorenzo Sabbatini
San Stefano
Marcantonio Raimondi
etching
Raphael
Michelangelo
Giulio Romano
Parmigianino
Primaticcio
Jacopino del Conte
Perino del Vaga
Poliodoro da Caravaggio
Titian
Marcantonio Raimondi
Giovanni Battista Scultori
Polidoro da Caravaggio
gradation
sfumato
Giovanni Jacopo Caraglio
Cornelius Cort
Agostino Carracci
Sistine Chapel
Giorgio Vasari
Carlo Cesare Malvasia
Lorenzo Sabbatini
Adam von Bartsch

categories: Renaissance painters,Italian male painters,Italian engravers,16th-century Italian painters,1490s births,Artists from Bologna,Bolognese painters

paragraph: Giulio Bonasone

paragraph: Giulio Bonasone (c. 1498 – after 1574) (or "Giulio de Antonio Buonasone" or "Julio Bonoso") was an Italian painter and engraver born in Bologna. He possibly studied painting under Lorenzo Sabbatini, and painted a "Purgatory" for the church of San Stefano, but all his paintings have been lost. He is better known as an engraver and is believed to have trained with Marcantonio Raimondi. He worked mainly in Mantua, Rome and Venice and with great success, producing etchings and engravings after the old masters and his own designs. He signed his plates "B., I.B., Julio Bonaso, Julio Bonasone, Juli Bonasonis, Julio Bolognese Bonahso".

paragraph: He has been regarded an engraver with extraordinary skills in reproducing, as he could accurately convey the sources' compositions, colours, and essence. Moreover, he expressed his understanding about the controversies about religion and culture in his time through his prints. He is considered among the most important and productive engravers of the sixteenth century.

paragraph: Section::::Life.

paragraph: There are debates about the birth date of Giulio Bonasone due to the lack of documentation. Since he was active during 1431 to 1471, his birthday could be placed around 1513 or earlier if engraving was a part of his formal education. One reason to believe that he was still a student in 1431 is that the work dated to 1431 lacks craftsmanship and familiarity with anatomy.

paragraph: Giulio Bonasone's work does not appear in published collections of documents nor in the state archives of Bologna. In one document, Bonasone is related to Compagnia dello Quattro Arte and is mentioned to be an auditor of the Guild. Nonetheless, no first name was given and his name was not found in the very few extant name lists of the Compagnia.

paragraph: Section::::Art.

paragraph: Giulio Bonasone produced both engravings and etchings, and frequently a combination of both in a single work. His works include religious, secular as well as erotic content. A total of 357 prints are attributed to Bonasone, approximately 200 of which can be dated with some certainty. Bonasone's prints include 9 Old Testament Scenes, 35 New Testament Scenes, 25 about the Virgin, 8 concerning the Saints, 5 regarding historical events, 150 about parables, 85 dealing with mythology, 5 fantasies, 6 portraits and 6 about architecture. His prints usually come as series. For instance, he dedicated 22 to Loves of the Gods, 26 recounting the Life of Juno and a series of 22 prints about the Passion of Christ.

paragraph: Section::::Art.:Originality.

paragraph: According to Giulio Bonasone's own claim, more than 114 prints, not counting the ones he produced for Bocchi, are his original works. In fact, many of the 150 illustrative prints for Bocchi are his own designs as well. His own creations are usually labelled with "Giulio Bonasone Inventore" or something similar. His engravings after other artists' designs can be categorized into two groups: those that closely replicate the original work, such as the "Creation of Eve" after Michelangelo, and those incorporating changes at Bonasone's will, such as "Clelia Crossing the Tiber" after Polidoro. The latter were often labelled by him as "imitations".

paragraph: Section::::Art.:Selectivity.

paragraph: Bonasone was quite selective in choosing the artists after whom to work. He favoured the great masters of the sixteenth century. He made eighteen prints for the works of Raphael and his school, eleven prints for Michelangelo, fourteen for Giulio Romano and ten for Parmigianino. Primaticcio and Jacopino del Conte inspired one engraving work, Perino del Vaga inspired five, Poliodoro da Caravaggio was the source of two and Titian was the source for more than five. Antique sculpture, especially reliefs, was also a great source of inspiration for him. He modelled sixteen prints after classical sources and specific models can be found for at least five.

paragraph: Section::::Artistic development.

paragraph: Section::::Artistic development.:Early period (1530s ).

paragraph: It seems that Bonasone started his career during the 1530s, when the earliest of his engravings can be dated. Among them is the "St Cecilia" (1531), which is a rough attempt in reproducing Raphael's work.

paragraph: The pervasive use of straight hatching lines, an indication of his awkward technique, is the evidence for it being an early work. Another work of Bonasone, "Adam and Eve Toiling", also demonstrates a clumsiness.

paragraph: The "Triumph of Bacchus" was executed at a slightly later time. This etching presents more advanced skills and clearer lines, but the presence of straight hatching lines is still a major problem in Bonasone's technique. This absence of contouring lines leads to a lack of depth in figures and makes the figures less real. In the "Triumph of Bacchus", contrasting tones resemble the use of light and shade in painting. This later became an identifying feature of Bonasone's prints.

paragraph: At about the same time of the "Triumph of Bucchus", Bonasone produced seven prints after Giulio Romano, which are: "The Birth and Apotheosis of Caesar", "The Wreath", "Saturn and His Three Sons", "The Division of the Universe", "Neptune Takes Possession of the Sea", "Pluto Takes Possession of Hell", and "Jupiter and Juno Take Possession of Heaven". The last four were probably created as a series of works of similar subjects and themes. These seven prints show a greater consistency in the artist's skills and his recognition of what engraving, as a medium, could and could not achieve. In fact, Bonasone's technique of tight systems of lines precisely captured both the forms and the contrast in light in Romano's work. While Bonasone's early technique fitted Romano's work particularly well, he stopped using Romano's work after he developed more gentle ways of building up tonal contrast.

paragraph: These paintings display uniform, short, curved, hatching marks employed to delineate human bodies. The lines are closely arranged and connected to short flicks and dots. However, the muscles are not carefully depicted and muscles at different body parts or under different motion are treated indistinguishably. A similar technique is observed in Marcantonio Raimondi's prints. It is possible that Bonasone was influenced by Raimondi.

paragraph: At the same time, this technique may also imply a connection between Bonasone and Giovanni Battista Scultori. Similar skills and forms are found in Bonasone's and Scultori's engravings after Giulio Romano. Since Scultori was engraving in Mantua in the early 1540s and most of his prints date from around 1543, it is likely that Bonasone paid a trip to Mantua and learnt from Scultori. The short distance between Bologna and Mantua, one of the most important art centers in Italy, added to the likelihood of this trip. Another important evidence is that seven prints done during this period were done after designs by Ramano, who was in Mantua at that time. Nonetheless, no documentation about such a trip has been found. It is possible that Bonasone learnt of designs of Romano through prints and drawings instead of going to Mantua. The particular technique shared by Bonasone and Scultori could also be developed by each of the two artists independently, since this technique is obtained by formalizing the innovations in Marcantonio Raimondi's prints.

paragraph: Section::::Artistic development.:Roman period (1540s).

paragraph: Many of Bonasone's works during the 1540s are reproductive works of Roman frescos. Those works could not be possibly created without Bonasone's close observation to the originals. Given the accuracy of his works in translating the paintings, one could reasonably guess that Bonasone moved to Rome for an extended period of time instead of paying short visits occasionally. This was the period that witnessed great increase in Bonasone's display of draftsmanship.

paragraph: Many of his prints from the 1540s are dated and the techniques were somewhat similar. Bonasone started to create longer curved hatching lines and arrange the curved hatching lines so closely that, with the vertical cross-hatchings, the lines look like patches of black. Such dark patches form a contrast with areas of white and display a painting-like quality of great strength. Prints that illustrate this technique mostly clearly are those done after Michelangelo, such as the "Creation of Eve", "Judith and Holofernes", and "Clelia Crossing the Tiber" after Polidoro da Caravaggio.

paragraph: When Bonasone produced prints after Roman frescos, he demonstrated astonishing capabilities to understand and represent the colour and the taste of masterpieces. As a result, Cumberland suggested that Bonasone used different skills for different artworks. In fact, Bonasone's technique was consistent during the 1540s; what changed was not technique, but the way in which Bonasone dealt with light and form. His engravings, viewed from a distance, are like black-and-white paintings. By executing his engravings in such a painterly manner, Bonasone excelled as a reproductive engraver. His engravings resembled the masterpieces to a superb degree without the common problem of triteness.

paragraph: The prints during this period may lead viewers to conclude that the draftsmanship of Bonasone was limited by that of the art pieces he was referring to. He seems to inherit the excellences of Michelangelo, Raphael or Parmigianio but also the defects of the archaic works. When he was making original designs, his forms became distinguishably awkward with rare exceptions. The "Elysium of Lovers", created in 1545, was marked as his own invention. The ungainly draftsmanship displayed in this work should not be relegated as the effect to be achieved by a mannerist. Instead, it is a prime example of a mannerist attempting come up with some original ideas after being trained to model after other people's works. In contrast, the forms in the "Couple Embracing by the Seashore" are significantly more elegant. To produce this painting, Bonasone probably drew inspiration from different models.

paragraph: In summary, the 1540s was a particularly productive period for Bonasone. The prints were too many to be chronologically catalogued. Nonetheless, his technique did not undergo rapid growth and there is fluctuation in the quality of his engravings.

paragraph: Section::::Artistic development.:The Bologna period and the new technique (1550s–1560s).

paragraph: In 1555, Achiliuls Bocchi first published a book of symbols in Bologna. Bonasone made small engravings to 150 of the verses in this book. Although the engravings vary in quality, it is likely that composing and executing these engravings required a few years' work in the 1550s. Moreover, there was no work dated to the 1550s that had Roman styles. This further reinforces the theory that Bonasone spent at least part of the decade working in Bologna to produce the illustrations for Bocchi and a couple of other works at the same time.

paragraph: The small size of these engravings constrains the amount of detail and the room for innovation. The lines and hatchings are usually systemized and cursory. It appears that Bonasone believed the nature of his project to be illustrative and prioritized the clarity of iconography over the style.

paragraph: Bonasone's "The Passion of Christ" has been dated by some art historians at the fledging stage of Bonasone's career. Nevertheless, the crudeness in skill might be explained by the limitations imposed by the small size of the print. In fact, the brightness and colour scheme are more similar to Bonasone's works of the 1560s than those of the 1530s or 1540s, and the composition is more advanced than what the artist was capable of during his early stage. Moreover, Bonasone did not attempt original prints such as this during the 1530s. Hence, the "Passion of Christ" was probably conceived and executed when Bonasone resided in Bologna during the 1560s.

paragraph: This decade also witnessed changes in Bonasone's technique, which was to become more tactual and more unusual in atmosphere. The "Judgement of Paris" produced during this decade is probably Bonasone's magum opus that marks the apex of his technical development. What is special about this work, and other works at that time, is Bonasone's use of a mixed intaglio medium. Initially, Bonasone did not mix the media. He developed his engraving technique to an extraordinarily fine and revealing standard. He used small flicks achieve tonal gradation, the technique of transiting one colour hue to another, and a tangible sense of form. Contour shading lines were lengthened and became softened. The contrast between brightness and darkness became less obvious but still possessed a painting-like quality. In fact, the lighting and texture became closer to venetian painting than Roman painting. Human faces became more vivid after Bonasone reduced the use of linear burin. For instance, in his print after Raphael's "The Pietà Near the Cave", Bonasone successfully portrayed the Madonna's sorrow with his new technique, a great breakthrough since the 1540s.

paragraph: Engravings done with this technique started in the late 1550s but concentrated in the early 1560s. After that, this tonal engraving skill was combined with etching to achieve great beauty and depth. The first dated print that contains both media is the "Resurrection" produced in 1561.

paragraph: Bonasone's choice of different media to achieve varied effects is the most noteworthy aspect of his technique. Though human body was still engraved with burin, landscapes and backgrounds started to be rendered with etching. This forms the effect of having human forms of engraved tonality glowing on a deep and rich etched background. Meanwhile, "The Judgement of Paris" stands out from other prints for its draftsmanship.

paragraph: This technique highlighted the merits of Bonasone's skills in each medium and achieved good effects. While Bonasone's earlier engravings reflected his weakness in representing landscapes in that medium, his pure etchings revealed his lack of confidence in dealing with figures. Using etching for background and engraving for human forms worked to circumvent this problem.

paragraph: Viewing the "Judgement of Paris" at a short distance, one would find it reflective of light. In fact, the tonal gradations of the nude forms, the body of Mercury in particular, are extremely delicate and minimal lines are employed without obscuring the outlines of human bodies. Since tones, not lines, are the primary way of defining figures, this print looks like a monochromatic painting. Bonasone then used etching to show the details of flora and fauna surrounding the nudes. The artist made no particular attempt to integrate the two media and he meant to juxtapose them to achieve the unique visual effects.

paragraph: Bonasone's blending of two media, featuring the subtleness of etching and the atmospheric use of engraving, is a perfect match of Titian's paintings, especially Titian's "The Rest on the Flight to Egypt". He is probably the artist who best capture the essence, sfumato, colour and quality that belong uniquely to Venetian paintings.

paragraph: Evidence shows that Bonasone developed another technique later in his life but it was unclear whether he continued engraving by mixing the media. Around 1572–1574, the engraving lines in Bonasone's work started to become broader. The contour lines also became longer, swelling, and more sinuous as the lines moved around the forms. Lines became less densely spaced, less deeply cut and more consistent in their depth. Overall, this style bore similarities with some works by Giovanni Jacopo Caraglio and the usual technique of the Dutch artist Cornelius Cort. In turn, this technique was also observed in later works by Agostino Carracci, implying the influences from Cort to Bonasone to Carracci. In Bonasone's original design, the "Incarnarion", one would find the composition properly conceived but the technique distinct from that of the "Judgement of Paris". The tiny flicks and subtle lines are replaced by broad contours of non-constant thickness. Although Bonasone did not adopt the method of varying a single line's depth to create the effect for shadows, he connected the deeper lines to the shallower ones to attain the same goal. Several other prints such as "The Holy Family with Saints Elizabeth and John", and the "Holy family with St John", could also be included in this category. However, Bonasone did not apply this technique uniformly across all his engravings. He made variation to his technique to achieve different effects, sometimes imitating the style of Giulio Romano and sometimes approximating the style of Parmigiano.

paragraph: It is difficult to determine whether Bonasone returned to Rome after working for Bocchi since his work after this period of time was based more on designs or panel paintings instead of Roman frescos. However, he probably returned to Rome to work on prints such Raphael's as "Qua Vadis", the "Virgin and Child with a Bird", and Michelangelo's "Nude Carrying the Cross".

paragraph: Section::::Artistic achievements.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Creation of Eve" after Michelangelo.

paragraph: Many of Bonasone's work attained an astounding fidelity to the original work. One could analyze his work after Michelangelo, such as the "Creation of Eve".

paragraph: It is difficult to find a more accurate production of this fresco. Bonasone successfully achieved the painterly effect by underscoring the contrast between the bright and dark. Even the awkwardness of the right leg of Adam is translated to the engraving without being modified. The only visible difference in the figures is that Bonasone depicts God the Father to be shorter and more sturdy. Moreover, more space is left at the bottom and top of Bonasone's engraving.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"Judith with the Head of Holofernes".

paragraph: Bonasone's "Judith with the Head of Holofernes", though containing many different details compared to Michelangelo's fresco in the Sistine Chapel, is still similar to the original work in its form. Bonasone 'translated almost line-by-line the central part of the fresco, which shows the action of the three figures. The artist employed the trick of highlighting the contrast between light and dark, as he did for the "Creation of Eve", to achieve the visual impact of coloured painting.

paragraph: "I. BONASO IMITADO" is found on this print to show changes are made by Bonasone on the original composition. In this particular work, changes are insignificant: Bonasone enlarged the background, landscape and surroundings to accommodate the change in shape from triangle to rectangle. These changes are executed with such care that they match the original design.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Last Judgement".

paragraph: Bonasone sometimes failed to accurately reproduce the original design when the model was especially complicated, and "The Last Judgement" illustrates this. Though Bonasone's rendition surpasses all the other contemporary prints of this giant fresco, it is far from being as good as the previously mentioned prints. Even with the large scale that engraving could possibly achieve, each individual figure in the painting had to be shrunk to a tiny size. As a result, most of the winding contour lines had to be removed. Similar problems are observed in Bonasone's other small-scaled prints such as the Juno series, "The Passion of Christ", and the Bocchi illustrations.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:The "Pietà" after Michelangelo.

paragraph: When trying to produce the print for Michelangelo's sculpture "Pietà", Bonasone faced a different problem. While the Virgin is quite well handled, the form of Christ—especially his head and upper body—is far from being accurate. Since the work is dated 1547, such problems could hardly be explained by the lack of advancement in the artist's skills. An explanation to this mystery offered by Cumberland is that Bonasone could not see the statue at eye level, since it was placed high above the ground in Cumberland's time. However, Tolnay contends that the statue was not in such a position when Bonasone made his engraving of it. The foreshortening of the upper body of the dead Christ's body must have posed a great challenge to Bonasone to copy accurately. Despite this problem, Tolnay still thinks Bonasone's print is better than that of all other engravers.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Mystical Marriage of St. Catherine" after Parmigianino.

paragraph: When reproducing Parmigianino's work, Bonasone used longer contour lines and greater spacing between the lines in order to best capture the style of the artist. When he engraved after Parmigianino's "The Mystical Marriage of St. Catherine", he produced a composition that was very similar to the source except that he took away the window and elongated the entire work in order to lengthen the man in the lower right corner. By using big patches of white and dark, Bonasone highlights the linear beauty of the Virgin's hair and reflects the tonal beauty of Parmigianino's painting.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Disembarkation from the Ark" after Raphael.

paragraph: It is challenging to evaluate the prints of Bonasone after Raphael's paintings due to the loss of many original paintings. Nonetheless, in general, many more modifications in composition are made compared to Bonasone's reproductive work after Michelangelo or Parmigianino. One possible explanation is that the alterations to made by Marcantonio Raimondi when he was engraving after Raphael's paintings inspired later engravers to do the same. For instance, in his engraving the "Disembarkation from the Ark" after Raphale's fresco in the Vatican Loggie, he tried to make the composition more compact.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Holy Family with St. John" after Titian.

paragraph: When Bonasone was working after Titian, the liberty he took in reproducing Raphael's paintings was hardly observable. In fact, most of his works after Titian was produced in the 1560s, when his main technique was combining etching and engraving to represent the background and foreground respectively. One representative work was his "Holy Family with St. John". Bonasone preserved the soft quality in Venetian painting by using etching for the background.

paragraph: Section::::Artistic achievements.:As a reproductive engraver.:"The Judgement of Paris".

paragraph: As one of the best reproductive engravings of Giulio Bonasone, this print is believed to be taken directly from an original sarcophagus relief in the Villa Medici in Rome. The composition is closer to the original than to other drawings or engravings after the relief available to Giulio to study. When the original relief was broken on the left and upper part, Bonasone has attempted to complete the design by changing the spatial relationship. Moreover, in this engraving, Bonasone endowed the nudes with a sense of majesty. Edgar Wind noticed a "touch of archaeological flatness in incidental parts of the engraving", commented that "Mars is designed with extraordinary power as the figure dominating the composition. Indeed the character is so well conceived, in his insidious readiness to release disaster, looking back at Venus while going off to war, that one wonders whether Bonasone did not have some sketch by Raphael to work on."

paragraph: Since no evidence suggests the possession by Bonasone of any sketch by Raphael, this engraving actually seems to be the best representation of Giulio's use of mixed media to demonstrate the co-existence of power and beauty. The adaptation from a relief to a painterly format is what makes this engraving the most successful among Bonasone's reproductive engravings.

paragraph: While one could see that Giulio Bonasone employed different technique for the works of different artists, it is more likely that he changed his source as his technique developed. As his technique continuously advanced, he must have recognized the new areas of production opened and he would select paintings that best matched his skills. Bonasone made great endeavour to stay faithful to his sources and made few changes to the composition. He enjoyed greater liberty when he worked after the antique, since he often had to translate the sculptural medium into engraving.

paragraph: Section::::Art historian's perspectives.

paragraph: Despite the lack of documentation about Bonasone's life, historians have recognized and commented upon his art. Together with Rota, Ghisi, the Scultori and Caraglio, he was among the leading sixteenth-century engravers, and is mentioned in even the most general histories of engravings.

paragraph: Section::::Art historian's perspectives.:Giorgio Vasari.

paragraph: Giorgio Vasari mentioned Bonasone only in connection with his prints after Raphael, Giulio Romano, Parmigiaino and other artists from whom Bonasone could possibly get his inspirations. It might be explained by the theory that Vasari had believed that Bonasone worked out of Venice, since he discussed Venetian woodcuts after talking about Giulio's prints. Apparently, Vasari did not have a detailed understanding of Giulio Bonasone's work.

paragraph: Section::::Art historian's perspectives.:Carlo Cesare Malvasia.

paragraph: In the seventeenth century, Carlo Cesare Malvasia analyzed Bonasone's work in his writings. No additional documented information was provided after Malvasia's writings. His early summary of Bonasone's style was also definitive in many aspects. Though he considered Bonasone inferior to Raimondi, or even to Martino Rota and Agostino Veneziano, he still recommended him to his audience "for his knowledge of all the best manners; also the best works of the best masters; for his universal erudition; for the vast invention that we find in a;; his prints." He mentioned the letter of one of the members of Marini family to his agent Ciotti in which Marini asked the latter to get hime some "good old prints of Giulio Bonasone, Marc Antonion or other great masters..." He also quoted a letter from Count Fortunato which says "Use a little diligence to find some of the good prints of the able masters, such as Marc Antonio, Martino Rota, Giulio Bonasone, etc." These letters are evidence indicting the popularity of Bonasone's prints among collectors in the seventeenth century.

paragraph: Malvasia also pointed out Bonasone's weaknesses: "Although often great in execution of the principal parts of a composition," he wrote, Bonasone showed his lesser aptitude in the landscapes and the trees "which it is impossible to see worse executed." The comments by other art historians of Malvasia's time also showed the same opinion.

paragraph: Malvasia also analyzed Bonasone as a painter. He mentioned him with Lorenzo Sabbatini, who he considered to be Malvasia's teacher. Nonetheless, this relationship could not be backed up by analyzing the styles of Bonasone's paintings, which have all been lost. At the same time, Lorenzo Sabbatini was believed to live from 1530 to 1576 by most historians and therefore was not experienced enough to teach Bonasone. It is possible that Malvasia made a mistake about the relationship between the two artists but he still established the fact that Bonasone was a painter on top of his career as an engraver.

paragraph: Section::::Art historian's perspectives.:Adam von Bartsch.

paragraph: Bonasone was covered in Adam von Bartsch's comprehensive study of sixteenth-century Italian engraving. Cumberland, in a second edition, accused Bartsch of copying his earlier catalogue. However, a careful analysis of the two works would reveal enough differences to demonstrate that the two art historians probably compiled their catalogues independently. Bartsch was able to analyze dated work to show chronological progression in Bonasone's techniques. He also pointed out the weaknesses of Bonasone's skills which had been previously mentioned in Malvasia's and Cumberland's comments. Bartsch tried to find reasons for these shortcomings, and suggested that Bonasone's interest was in content and composition, not in technique. He wanted to be regarded more as an artist than a technician. Bartsch appeared to suggest than the influence of Bonasone on other artists was more significant than the value of Bonasone's prints themselves. Since Bonasone created many original prints and paintings, Bartsch regarded him as a "peintre-graveur".

paragraph: Section::::Art historian's perspectives.:Mary Pittaluga.

paragraph: Mary Pittaluga was the first twentieth-century art historian who conducted a valuable study of sixteenth-century Italian printmaking. She isolated the elements related to painting in Bonasone's works, for example, the contrast of light and shade. She thought Bonasone was a mediocre artist and gave credit to his original works.

paragraph: Section::::References.

paragraph: BULLET::::- Mercedes Ceron, 'Collecting Prints by Giulio Bonasone in Early Nineteenth-Century Britain,' Print Quarterly, XXXI, June 2014, pp. 155–67.

alias:
Giulio Di Antonio Buonasona
Giulio di Antonio Bonasoni
Giulio Bonasoni
Giulio di Antonio Bonasone
Giulio di Antonio Buonasona
Giulio Di Antonio Bonasoni
Giulio Buonasona
Giulio Di Antonio Bonasone
Giulio Buonasone
Bonasone
Bonasoni
Julio Bonasone
Jiulio Bonasone
Julius Bonasone
Giolio Buonasona

description: Italian painter

wikidata_label: Giulio Bonasone

wikipedia_title: Giulio Bonasone


text: Italian

text: rower

text: 1932 Summer Olympics

text: 1936 Summer Olympics

text: 1928 Summer Olympics

text: coxless four competition

text: coxless four event

categories: 1992 deaths,1898 births,Olympic medalists in rowing,Rowers at the 1936 Summer Olympics,Olympic rowers of Italy,Italian male rowers,Year of death unknown,Rowers at the 1932 Summer Olympics,Olympic bronze medalists for Italy,Medalists at the 1932 Summer Olympics

paragraph: Antonio Ghiardello

paragraph: Antonio Ghiardello (21 March 1898 – 5 January 1992) was an Italian rower who competed in the 1932 Summer Olympics and in the 1936 Summer Olympics.

paragraph: Ghiardello missed the Italian trials in 1928 due to appendicitis and could therefore not qualify for the 1928 Summer Olympics. In 1932 he won the bronze medal as member of the Italian boat in the coxless four competition. Four years later he finished fourth as part of the Italian boat in the coxless four event.

paragraph: Section::::External links.

paragraph: BULLET::::- Antonio Ghiardello's profile at databaseOlympics

description: Italian rower

wikidata_label: Antonio Ghiardello

wikipedia_title: Antonio Ghiardello


text: rower

text: 1932 Summer Olympics

text: coxless four competition

categories: Olympic medalists in rowing,Olympic rowers of Italy,Year of death missing,Italian male rowers,1907 births,Rowers at the 1932 Summer Olympics,Olympic bronze medalists for Italy,Medalists at the 1932 Summer Olympics

paragraph: Francesco Cossu

paragraph: Francesco Cossu (born 11 January 1907, date of death unknown) was an Italian rower who competed in the 1932 Summer Olympics. In 1932 he won the bronze medal as member of the Italian boat in the coxless four competition.

paragraph: Section::::External links.

paragraph: BULLET::::- Francesco Cossu's profile at databaseOlympics.com

description: Italian rower

wikidata_label: Francesco Cossu

wikipedia_title: Francesco Cossu


text:
Rome
Italian
rower
1932 Summer Olympics
coxless four competition
profile

categories: Olympic medalists in rowing,Olympic rowers of Italy,Italian male rowers,Sportspeople from Rome,1906 births,Rowers at the 1932 Summer Olympics,Olympic bronze medalists for Italy,Medalists at the 1932 Summer Olympics,1989 deaths

paragraph: Antonio Garzoni Provenzani

paragraph: Antonio Garzoni Provenzani (2 December 1906 in Rome – 15 February 1989) was an Italian rower who competed in the 1932 Summer Olympics.

paragraph: In 1932 he won the bronze medal as member of the Italian boat in the coxless four competition.

paragraph: Section::::External links.

paragraph: BULLET::::- profile

description: Italian rower

wikidata_label: Antonio Garzoni Provenzani

wikipedia_title: Antonio Garzoni Provenzani


text:
World Cup
alpine ski racer
France
Annecy
Haute-Savoie
giant slalom
St. Moritz
Switzerland
Winter Olympics
World Championships
2018-19 season
slalom
2007
Bad Kleinkirchheim
2009
Beaver Creek
2010 Winter Olympics
2016-17 season
GS
GS
giant slalom
2007
Åre
Sweden
2009
Val-d'Isère
Garmisch-Partenkirchen
2011
2013
Schladming
team event
giant slalom in 2006
2010
Thomas Fanara
French Ski Team
Fischer Skis

categories: Olympic alpine skiers of France,Sportspeople from Annecy,Alpine skiers at the 2014 Winter Olympics,1981 births,French male alpine skiers,Alpine skiers at the 2006 Winter Olympics,Alpine skiers at the 2018 Winter Olympics,Living people

paragraph: Thomas Fanara

paragraph: Thomas Fanara (born 24 April 1981) is a former World Cup alpine ski racer from France.

paragraph: Born in Annecy, Haute-Savoie, Fanara specialised in giant slalom; his one and only win came in March 2016 at the giant slalom finals in St. Moritz, Switzerland. He is the oldest racer to reach a World Cup podium in giant slalom, and competed for France at three Winter Olympics and six World Championships. He retired from competition at the end of the 2018-19 season.

paragraph: Section::::World Cup.

paragraph: Fanara has started over 70 World cup races, mostly in giant slalom but also in slalom, and has been on the podium fourteen times. For some time he held the record for most World Cup podium finishes without a win until his victory at the World Cup finals in St. Moritz in 2016. In December 2007, he fell and hurt himself in the second run after winning the first run of a race in Bad Kleinkirchheim, but finished. Two years later in December 2009, Fanara incurred a season-ending injury to his left knee after a spectacular fall during a race in Beaver Creek, two months before the 2010 Winter Olympics.

paragraph: Following his World Cup win in St. Moritz, Fanara suffered an injury which kept him out of competition for the 2016-17 season. However, he subsequently made a successful return, taking a number of podium finished in his final season.

paragraph: Section::::World Cup.:Race podiums.

paragraph: BULLET::::- 1 win – (1 GS)

paragraph: BULLET::::- 14 podiums – (14 GS)

paragraph: Section::::World championships.

paragraph: Fanara has competed in four World Championships in the giant slalom discipline. In 2007 in Åre, Sweden, he finished 16th, but on home country snow in 2009 in Val-d'Isère, France, he did not finish the first run. At Garmisch-Partenkirchen, Germany, he finished sixth in 2011 but failed to finish the first run in 2013 at Schladming, Austria. Fanara participated in the team event in 2011 at Garmisch and earned a gold medal.

paragraph: Section::::Olympics.

paragraph: At the Winter Olympics, Fanara did not finish the first run of the giant slalom in 2006 and was injured two months prior the 2010 Games and did not compete.

paragraph: Section::::National championships.

paragraph: Fanara reached the podium of French national championships four times, all in giant slalom. In 2005 he was third; in 2006 he was second; and he won in 2007 and 2009.

paragraph: Section::::External links.

paragraph: BULLET::::- Thomas Fanara World Cup standings at the International Ski Federation

paragraph: BULLET::::- French Ski Team – 2019 men's A team – ""

paragraph: BULLET::::- Fischer Skis – alpine racing – Thomas Fanara

wikipedia_title: Thomas Fanara


text:
Peugeot 207 S2000
WRC Results (eWRC)

categories: Italian rally drivers,Living people,1979 births

paragraph: Matteo Gamba

paragraph: Matteo Gamba (born 19 October 1979) is an Italian rally driver from Bergamo.

paragraph: Section::::Career.

paragraph: In his WRC debut, he achieved a personal best ninth place as a privateer entry and his first-ever points. He drove a Peugeot 207 S2000.

paragraph: Section::::External links.

paragraph: WRC Results (eWRC)

description: rally driver

wikidata_label: Matteo Gamba

wikipedia_title: Matteo Gamba


text: WRC Results (eWRC)

text: Website

categories: South African rally drivers,World Rally Championship drivers,Living people,Year of birth missing (living people)

paragraph: Jannie Habig

paragraph: Jannie "Jan" Habig is a South African rally driver and six-time champion in the South African National Rally Championship. He competed in the 2012 WRC season at Rally GB, having scored points there in 1994, as well as being ranked the first of the ARC-registered drivers in Rally South Africa 2013. He is South Africa's third most successful rally driver.

paragraph: His co-driver is now Richard Paisley since 2011. Before then, it was Douglas Judd who navigated him to six South African titles.

paragraph: Section::::External links.

paragraph: BULLET::::- WRC Results (eWRC)

paragraph: BULLET::::- Website

description: Rally driver

wikidata_label: Jannie Habig

wikipedia_title: Jannie Habig


text:
Harukawa Eizan
Lane, Richard
OCLC 5246796
OCLC 61666175

categories: Ukiyo-e artists,1787 births,Japanese printmakers

paragraph: Kikukawa Eizan

paragraph: This artist should not be confused with Harukawa Eizan, an ukiyo-e print designer who was active in the 1790s.

paragraph: Section::::Gallery.

paragraph: Eizan was the most prolific, longest-lived and ultimately the best of the late followers of Utamaro, who attempted to carry on the master's bijin style after his death in 1806.

paragraph: Along with Kikumaro, Tsukimaro and Utamaro II, Eizan has generally been dismissed by connoisseurs as a plagiarist of Utamaro's late style, but his work in fact develops, like that of most ukiyo-e artists, from a close identification with a leading master to a studied independence, and contains pieces of remarkable beauty and interest.

paragraph: ukiyo-e artists with whom he is often associated, Eizan was not an actual pupil of Kitagawa Utamaro, but studied originally with his father, Kikugawa Eiji, a Kano style painter and fan maker, and later with the Shijo artist Suzuki Nanrei and the Hokusai pupil Hokkei. Few traces of this eclectic training can be seen in Eizan's early work, produced shortly after the death of Utamaro and for the most part in that master's style.

paragraph: In the following decade, however, as Eizan reached artistic maturity, he began to develop his own figural style, still focused for the most part on prints of beautiful women (bijin-ga). Eizan's work retains the sensitivities and lyricism that marks the Utamaro style, however, not following the earthier realism and more overt sensuality of Kunisada and Ikeda Eisen in their .

paragraph: Eizan, like Toyokuni I in actor prints, is the last manifestation of the classical ukiyo-e style in bijin work, with harmonious colors and graceful lines and subjects. After him, one senses the introduction of a different aesthetic, with harsher colors, angular lines and less ethereal material, more of an emphasis, in sum, on the material weight of earthly life, rather than its transformation into something of elegance.

paragraph: With Eizan, the alchemy of elegance is still alive, and in his best work, properly produced, he can cast a magic glow over the forms of the world and create lightness and grace.

paragraph: He is also left-handed, which was strange at such a time in Japan.

paragraph: Section::::References.

paragraph: BULLET::::- Lane, Richard. (1978). "Images from the Floating World, The Japanese Print." Oxford: Oxford University Press. ; OCLC 5246796.

paragraph: BULLET::::- Newland, Amy Reigle. (2005). "Hotei Encyclopedia of Japanese Woodblock Prints." Amsterdam: Hotei. ; OCLC 61666175

alias:
Eizan
Eizan Kikukawa
Toshinobu Kikukawa
Eizan Kikugawa
Eizan Kodamaya
菊川英山
Kikugawa Eizan

description: Japanese artist

wikidata_label: Kikukawa Eizan

wikipedia_title: Kikukawa Eizan


text:
Dutch
marine painter
Flemish
Bruges
Antwerp
Rotterdam
Guild of Saint Luke
guild
Lucas Smout the Younger
Antwerp
Willem van de Velde the Younger
Wilhelm Schubert van Ehrenberg
Jacob Balthasar Peeters

categories: 1632 births,Dutch male painters,Dutch marine artists,Flemish Baroque painters,Dutch Golden Age painters,Artists from Rotterdam,1696 deaths

paragraph: Hendrik van Minderhout

paragraph: Hendrik van Minderhout (1632 – 22 July 1696) was a Dutch-born marine painter who was primarily active in the Flemish cities Bruges and Antwerp. He also collaborated as a staffage painter with Flemish landscape and perspective painters.

paragraph: Section::::Life.

paragraph: Minderhout was born in Rotterdam. For unknown reasons, he was known as the ‘Green Knight of Rotterdam’. He arrived in Bruges in 1652. He may have spent time in Italy in 1653. In 1663, he joined Bruges' Guild of Saint Luke. Subsequently, from 1672 until his death in 1696, van Minderhout lived in Antwerp where he became a member of the local Guild of Saint Luke. He gifted a large canvas of an oriental port to Antwerp's guild to be exempted from any Guild duties. In 1673, he married his second wife, Anna-Victoria Claus. The couple had five children, of whom two, Antoon van Minderhout (26 Sept 1675 - 22 Dec 1705) and Willem August van Minderhout (28 Aug 1680 - 31 June 1752), became painters.

paragraph: He was the master of Lucas Smout the Younger.

paragraph: He died in Antwerp.

paragraph: Section::::Work.

paragraph: Hendrik van Minderhout mainly painted large views of seas and harbours and marine battles. His subjects included realist views such as of the ports of Antwerp and Bruges, as well as imaginary views of Mediterranean and oriental ports. It has been suggested that the wide variety of works bearing the signature Hendrik van Minderhout points to the existence of two artists of the same name who were active at the same time.

paragraph: His later marine works are comparable to that of the Dutch seascape painter Willem van de Velde the Younger.

paragraph: Van Minderhout was appreciated as a staffage painter by his Antwerp colleagues and it is known that he contributed the figures to works by local landscape and perspective painters including Wilhelm Schubert van Ehrenberg and Jacob Balthasar Peeters.

alias:
Hendrik Van Minderhout
Hendrik van Minderhoot
Minderhoudt
Minderhaudt
Minderhaut
H. van Minderhout
Minderhous
Mainder-Hout
Mender Hout
Mynderhoot
Van Minderhout
Minderhout
Miderhout
Menderhout
J. Minderhout
H. Minderhoudt
Menderoute
Minderhoot
H. Minderhout
Minderhoud

description: painter

wikidata_label: Hendrik van Minderhout

wikipedia_title: Hendrik van Minderhout


text:
Bishop of Nitra
Slovakia
Nitra
Phd
Gorazd
Comenius University
Bratislava
Christian
medieval
Slovak
church history
ordained
Pope Benedict XVI
Basilica of St. Emeráma

categories: Slovak Roman Catholic bishops,Living people,Slovak academics,1959 births

paragraph: Viliam Judák

paragraph: Viliam Judák (9 November 1959) is the Diocesan Bishop of Nitra, Slovakia. He was a priest in Nitra, where he gained a Phd in 1991, and was then was seminary rector of St. Gorazd in Nitra (1996–2001) and then Dean of Comenius University in Bratislava (2001–2004). He is an academic with specialties in Christian antiquity and the medieval Slovak church history and is the author of several monographs in the field of church history, and many books, articles and publications. He speaks German and Italian.

paragraph: He was ordained on 16 June 1985 in Nitra, and made Bishop by Pope Benedict XVI on 9 June 2005. Since 2006, he has been the Vice-President of the Slovak Bishops' Conference. Within the KBS he also acts as chairman of the Commission for the Clergy, Subcommittee for the permanent diaconate, music Subcommittee liturgical Commission and the Council to history.

paragraph: He was awarded the Matica Slovakia

paragraph: Section::::Literary works.

paragraph: BULLET::::- Judák, Viliam. Archbishop holy life. (Bratislava Luc Episcopal Office in Nitra, 1992)

paragraph: BULLET::::- Judák, Viliam. Calvary national saints. Illustrations Bebjak, Louis. (Nitra: Kňazský seminar St. Gorazd, 1996).

paragraph: BULLET::::- Judák, Viliam; Hank, Igor. By Gorazd to gorazdovcom. Obál. Norbert Pšenčík. (Nitra: Kňazský seminar St. Gorazd, 1994).

paragraph: BULLET::::- Judák, Viliam. Jubilee years in history. Translation Kostal, Anton. (Nitra: Kňazský seminar St. Gorazd, 1997.)

paragraph: BULLET::::- Judák, Viliam. The Bishopric of Nitra in history. Novotna, Marta (FOT). (Bratislava: Institute for State-Church Relations, 1999).

paragraph: BULLET::::- Judák, Viliam. Sv. Svorad – patron of the city of Nitra. (Nitra: Kňazský seminar St. Gorazd, 1999).

paragraph: BULLET::::- Judák, Viliam; Poláčik, Stefan. List patrocínií in Slovakia. Ed. Viliam Judák: Stefan Poláčik; Eva Benčíková resume translation. (Bratislava: Roman Catholic Theology Faculty, 2009).

paragraph: BULLET::::- Judák, William, et al., Nitra Castle and Cathedral – Basilica of St. Emeráma. Illustration photo: Matej Plekanec, Vladimir Plekanec, Joseph Medvecký. (Nitra Bishop's Office, 2012).

alias:
Viliam Erb Judák
Viliam Judak
Viliam Erb Judak

description: Slovak historian and educator

wikidata_label: Viliam Judák

wikipedia_title: Viliam Judák


text:
World Rally Championship
Toyota Corolla WRC
Tommi Mäkinen
Colin McRae
European Rally Championship
Intercontinental Rally Challenge
ELPA Rally
WRC Results (eWRC)
Volkicar

categories: Turkish rally drivers,World Rally Championship drivers,1967 births,Intercontinental Rally Challenge drivers,Living people

paragraph: Volkan Işık

paragraph: Volkan Işık (born 11 September 1967) is a Turkish rally driver.

paragraph: He drove in the World Rally Championship in the late 1990s and early 2000s. In a Toyota Corolla WRC, Işık and his co-driver, Erkan Bodur, were sixth and thus scored their first WRC point at the 1999 China Rally, helped by most big names dropping out of the rally including Tommi Mäkinen and Colin McRae. He became the first Turkish driver to score WRC points. Işık has also competed in the European Rally Championship and Intercontinental Rally Challenge. In 2007, he won the ELPA Rally.

paragraph: Section::::External links.

paragraph: BULLET::::- WRC Results (eWRC)

paragraph: BULLET::::- Volkicar

description: Turkish racing driver

wikidata_label: Volkan Işık

wikipedia_title: Volkan Işık


text: German

text: Lutheran

text: theologian

text: reformer

text: Nuremberg

text: University of Wittenberg

text: Philipp Melanchthon

text: Martin Luther

text: Marburg Colloquy

text: Diet of Augsburg

text: Coburg

text: Master's degree

text: Table Talk

text: Dietrich Veit, Christian Cyclopedia

categories: People from Nuremberg,University of Wittenberg faculty,1549 deaths,German Protestant Reformers,1506 births

paragraph: Veit Dietrich

paragraph: Veit Dietrich, also "Vitus Theodorus" or "Vitus Diterichus", (8 December 1506 – 25 March 1549) was a German Lutheran theologian, writer and a reformer.

paragraph: Section::::Life and work.

paragraph: Veit Dietrich was born on 8 December 1506 in Nuremberg; his father was a shoemaker. The talent of the boy was soon recognized and patronage of a wealthy benefactor enabled him to attend high school at the University of Wittenberg. He enrolled in March 1522. In University Philipp Melanchthon recognized his talent and encouraged him.

paragraph: Later, he was Martin Luther's housemate and a close confidant. As such he accompanied Luther to the Marburg Colloquy and stayed with him during the Diet of Augsburg in 1530 at the Fortress of Coburg. He earned a Master's degree in 1529 and taught in the art department. Later on he was offered a professorship in Wittenberg but he rejected it.

paragraph: Section::::Works.

paragraph: BULLET::::- Luther's Piety

paragraph: BULLET::::- "Summaria", on the Old Testament

paragraph: BULLET::::- "Summaria", on the New Testament

paragraph: BULLET::::- He was also one of the editors of Luther's "Lectures on Genesis" and recorded parts of Luther's "Table Talk"

paragraph: Section::::Literature.

paragraph: BULLET::::- P. Meinhold: "Die Genesis – Vorlesung Luthers und ihre Herausgeber." In: "Forschungen zur Kirchen- u. Geistesgeschichte." Jahrgang 8, Stuttgart 1936.

paragraph: BULLET::::- Bernhard Klaus: "Veit Dietrich Leben und Werk." Nürnberg 1958

paragraph: BULLET::::- Bernhard Klaus: "Veit Dietrich." In: "Fränkische Lebensbilder." Jahrgang 3, 1969, S. 141

paragraph: BULLET::::- Marinus A. van den Broek: "Sprichwort und Redensart in Veit Dietrichs 'Etliche Schriften für den gemeinen man'." Leuvense Bijdragen 75, 1986

paragraph: Section::::External links.

paragraph: BULLET::::- Dietrich Veit, Christian Cyclopedia

paragraph: BULLET::::- Texte von Veit Dietrich in der Glaubensstimme

description: German theologian, writer and reformer

wikidata_label: Veit Dietrich

wikipedia_title: Veit Dietrich


text:
badminton
Bangalore
Czech International
1. BC Bischmisheim

categories: University Visvesvaraya College of Engineering alumni,Racket sportspeople from Bangalore,1979 births,Indian national badminton champions,Indian male badminton players,Badminton players at the 2010 Asian Games,Living people

paragraph: Arvind Bhat

paragraph: Arvind Bhat () (born 7 June 1979) is a male badminton player from Bangalore, India.

paragraph: Section::::Career.

paragraph: Arvind started his career in Youth centre at the age of 11 in 1991. He proved his mettle at a young age by winning many age group level events at the state. Trained at Sadashivanagar club from 1994-1997. He trained at Karnataka Badminton association from 1997-2015.

paragraph: He went on to win Sr. State Championships in 2001. His performance at State and National level in the year 2001-2002 got the nod of selectors and was selected in the Indian team in the year 2002.

paragraph: He also got a call from German clubs to play at the leagues matches there and made a base in Europe for the next 12 years living there for 3–5 months in a year every year.

paragraph: Arvind represented India for 13 years playing in all major events in the world being on tour for almost 8–9 months in a year.

paragraph: Arvind Bhat won the national championships in India in the year 2008. This was his first National Championships title. This he attained after reaching the finals 4 times in the previous 7 years. Then again he won the title in 2011 defeating Kashyap P in what would be called one of the best Championship finals.

paragraph: On the international level he has won 7 International title including the Scottish Open 2004, the Czech International 2007 and the 2014 German Open. With the 1. BC Bischmisheim he reached gold in the German team championships 2008. He has represented India in more than 100 International events. More recently he participated in Asian games 2010 in Guanzhou, China and was in the Indian team for Sudirman Cup 2011.

paragraph: Winning the German Open 2014 is the high light of his career. He made his best result at the age of 35. This is probably a very rare event in the field of Badminton.

paragraph: Section::::Personal life.

paragraph: Married to Pallavi Sengupta, a former Bengal player who has played up to the National level for her state West Bengal.

paragraph: Pallavi is a manager at Titan company limited. They have a son named Paarth.

paragraph: Arvind's parents are BP Saraswathi and B Prabhakar. His brother Avinash Bhat was a former National level player and sister Dr. Anupama Bhat also was involved in sports. She was a president guide.

paragraph: Both his siblings are settled in the US.

paragraph: Section::::Retirement life.

paragraph: Since retirement Arvind was chief coach at White peacock Badminton Academy in Bangalore, he was also the head coach for Bengaluru Blasters, Premier Badminton League team. After resigning from WPBA he is Currently the Co-founder and chief coach of Level Up Badminton Academy, Bangalore which he co-founded along with his childhood friend Prashanth. He currently a co-owner for the Bengaluru Raptors team at the premier badminton league. He is national selector for junior India team and also one of the coaches for the Indian senior team.

paragraph: Section::::Education.

paragraph: Schooling at St. Joseph's Indian high school until 10th Standard.

paragraph: PUC at MES College of science.

paragraph: Engineering at UVCE, Bangalore in Mechanical branch.

paragraph: Section::::References.

paragraph: BULLET::::- http://bwfcontent.tournamentsoftware.com/profile/default.aspx?id=F97BD4D2-F120-44D0-9847-4FF52D17FCA6

description: badminton player

wikidata_label: Arvind Bhat

wikipedia_title: Arvind Bhat


text:
Qamishli
Kurdish
Syria
Qamishli
Damascus
Arabic literature
Beirut
Cyprus
Palestinian
Al-Karmel
Mahmoud Darwish
Kurdish culture
Arab
Assyrian
Armenian
Circassian
Yazidi
Arabic language
Latin American
magical realism
neoclassicist
Syrian literature

categories: Kurdish poets,Living people,1951 births,Syrian poets,People from Qamishli,Syrian novelists,Syrian Kurdish people

paragraph: Salim Barakat

paragraph: Salim Barakat (, ) (born 1 September 1951 in Qamishli) is a Kurdish-Syrian novelist and poet. He was brought up in Qamishli in northern Syria and spent most of his youth there. In 1970 he moved to Damascus to study Arabic literature but after one year he moved to Beirut where he stayed until 1982. While in Beirut he published five volumes of poetry, a diary and two volumes of autobiography. He moved to Cyprus and worked as a managing editor of the prestigious Palestinian journal "Al-Karmel", whose editor was Mahmoud Darwish. In 1999 he moved to Sweden, where he still resides.

paragraph: His works explore his own Kurdish culture and chronicle their plight and history, as well as Arab, Assyrian, Armenian, Circassian and Yazidi culture. His earliest major prose work, "Al-Jundub al-Hadidi" ("The Iron Grasshopper"), is an autobiographical narration of his childhood in Qamishli. The book explores the violent and raw conditions of his early adolescent life, suffused with nostalgic feelings for the Kurdish land and culture. The first part of the book's lengthy subtitle translates to, "The unfinished memoir of a child who never saw anything but a fugitive land."

paragraph: Barakat is considered one of the most innovative poets and novelists writing in the Arabic language. Stefan G. Meyer has described his style as "the closest by any Arab writer's to that of Latin American magical realism" and has called Barakat "perhaps the master prose stylist writing in Arabic today". Due to his complex style and application of techniques taken from classical Arabic literature, his influence has been almost one of a "neoclassicist."

paragraph: Section::::Published works (in Arabic).

paragraph: Section::::Published works (in Arabic).:Novels.

paragraph: BULLET::::- (1985) "The Sages of Darkness" ()

paragraph: BULLET::::- (1987) "Geometric Spirits" ()

paragraph: BULLET::::- (1990) "The Feathers" ()

paragraph: BULLET::::- (1993) "The Camps of Infinity" ()

paragraph: BULLET::::- (1994) "The Astrologers on the Tuesday of Death: Crossing of the Flamingo" ()

paragraph: BULLET::::- (1996) "The Astrologers on the Tuesday of Death: Cosmos" ()

paragraph: BULLET::::- (1997) "The Astrologers on the Tuesday of Death: The Liver of Milaeus" ()

paragraph: BULLET::::- (1999) "Debris of the Second Eternity" ()

paragraph: BULLET::::- (2001) "Seals and Nebula" ()

paragraph: BULLET::::- (2003) "Delshad" ()

paragraph: BULLET::::- (2004) "The Caves of Haydrahodahose" ()

paragraph: BULLET::::- (2005) "Thadrimis" ()

paragraph: BULLET::::- (2006) "Novice Dead" ()

paragraph: BULLET::::- (2007) "The Sand Ladders" ()

paragraph: BULLET::::- (2008) "The Anguish of Indescribable Perplexing Intimacy in the Voice of Sarmak" ()

paragraph: BULLET::::- (2010) "The Agitation of Geese" ()

paragraph: BULLET::::- (2010) "Crushed Hoofs in Haydrahodahose" ()

paragraph: BULLET::::- (2011) "Vacant Sky Over Jerusalem" ()

paragraph: BULLET::::- (2012) "Vacant Sky Over Jerusalem, Part II" ()

paragraph: BULLET::::- (2013) "The Mermaid and her Daughters" ()

paragraph: BULLET::::- (2014) "Prisoners of Mount Ayayanu East" ()

paragraph: BULLET::::- (2016) "Regions of the Djinn" ()

paragraph: BULLET::::- (2016) "The Captives of Sinjar" ()

paragraph: BULLET::::- (2017) "The Roaring of Shadows in Zenobia's Gardens" ()

paragraph: BULLET::::- (2018) "A Biography of Existence and a Brief History of Resurrection" ()

paragraph: Section::::Published works (in Arabic).:Poetry.

paragraph: BULLET::::- (1973) "Each Newcomer Shall Hail Me, So Shall Each Outgoer" ()

paragraph: BULLET::::- (1975) "Thus Do I Disperse Moussissana" ()

paragraph: BULLET::::- (1977) "For the Dust, for Shamdin, for Cycles of Prey and Cycles of Kingdoms" ()

paragraph: BULLET::::- (1979) "The Throngs" ()

paragraph: BULLET::::- (1981) "The Cranes" ()

paragraph: BULLET::::- (1983) "By the Very Traps, by the Very Foxes Leading the Wind" ()

paragraph: BULLET::::- (1991) "The Falconer" ()

paragraph: BULLET::::- (1996) "Recklessness of the Ruby" ()

paragraph: BULLET::::- (1997) "Confrontations, Covenants, Threshing Floors, Adversities, etc." ()

paragraph: BULLET::::- (2000) "Hefts" ()

paragraph: BULLET::::- (2005) "Lexicon" ()

paragraph: BULLET::::- (2008) "The People of Three O'clock at Dawn on the Third Thursday" ()

paragraph: BULLET::::- (2009) "Translating Basalt" ()

paragraph: BULLET::::- (2011) "The Flood" ()

paragraph: BULLET::::- (2012) "The Haughtiness of Homogeneity" ()

paragraph: BULLET::::- (2012) "Gods" ()

paragraph: BULLET::::- (2014) "The North of Hearts or their West" ()

paragraph: BULLET::::- (2015) "Syria" ()

paragraph: BULLET::::- (2016) "The Great Poem of Love" ()

paragraph: BULLET::::- (2016) "All the doors" ()

paragraph: Section::::Published works (in Arabic).:Autobiographies.

paragraph: BULLET::::- (1976) "Church of the Warrior" ()

paragraph: BULLET::::- (1980) "The Iron Grasshopper" ()

paragraph: BULLET::::- (1982) "Play High the Trumpet, Play It the Highest" ()

paragraph: Section::::Published works (in Arabic).:Collections.

paragraph: BULLET::::- (1992) "Diwan" ()

paragraph: BULLET::::- (1999) "Pharmacopoeia" () (Collected essays)

paragraph: BULLET::::- (2007) "Poetical Works" () (Collected poems 1973–2005)

paragraph: BULLET::::- (2017) "Poetical Works 2" () (Collected poems 2008–2016)

paragraph: Section::::Published works (in Arabic).:Children's books.

paragraph: BULLET::::- (1975) "Narjis" ()

paragraph: BULLET::::- (1980) "Who Guards the Earth?" ()

paragraph: BULLET::::- (1980) "Sleep" ()

paragraph: Section::::See also.

paragraph: BULLET::::- Syrian literature

description: Syrian writer

wikidata_label: Salim Barakat

wikipedia_title: Salim Barakat


text:
Norwegian
ski jumper
Drammen
Sandaker
Skeid
Lyn
1928 Winter Olympics
St. Moritz
1935 FIS Nordic World Ski Championships
Vysoké Tatry
Frogn

categories: Olympic medalists in ski jumping,Olympic gold medalists for Norway,Medalists at the 1928 Winter Olympics,Ski jumpers at the 1928 Winter Olympics,1975 deaths,Olympic ski jumpers of Norway,FIS Nordic World Ski Championships medalists in ski jumping,1906 births

paragraph: Alf Andersen

paragraph: Alf Steen Andersen (15 May 1906 – 12 April 1975) was a Norwegian ski jumper.

paragraph: He was born in Drammen, but represented the Oslo clubs Sandaker, Skeid and Lyn. He won the gold medal in the individual large hill at the 1928 Winter Olympics in St. Moritz. He also won a bronze medal in the individual large hill at the 1935 FIS Nordic World Ski Championships in Vysoké Tatry.

paragraph: He died in 1975 in Frogn.

description: Norwegian ski jumper

wikidata_label: Alf Andersen

wikipedia_title: Alf Andersen


text:
British
Conservative
Major Lawrence Kimball
Marylebone
London
Eton College
Trinity College, Cambridge
Lloyd's
Rutland
County Council
Leicestershire Yeomanry
Derby South
1955
Member of Parliament
Gainsborough
a 1956 by-election
1983
Margaret Thatcher
Argentina
invasion of the Falkland Islands
Market Harborough
Altnaharra
Knighted
life peerage
Easton
Leicestershire
huntsman
Fitzwilliam Hunt
Cottesmore Hunt
British Field Sports Society
Countryside Alliance
greyhound racing
show jumping
Royal College of Veterinary Surgeons
Industrial Tribunal

categories: Politicians awarded knighthoods,UK MPs 1974,Masters of foxhounds,People educated at Eton College,UK MPs 1959–1964,1928 births,Knights Bachelor,UK MPs 1970–1974,UK MPs 1964–1966,Councillors in Rutland,2014 deaths,British hunters,Conservative Party (UK) life peers,People from Marylebone,UK MPs 1966–1970,UK MPs 1974–1979,Leicestershire Yeomanry officers,Alumni of Trinity College, Cambridge,UK MPs 1979–1983,Conservative Party (UK) MPs for English constituencies,UK MPs 1955–1959

paragraph: Marcus Kimball

paragraph: Marcus Richard Kimball, Baron Kimball (18 October 1928 – 26 March 2014) was a British Conservative politician.

paragraph: Section::::Early life.

paragraph: The son of Major Lawrence Kimball, he was born in Marylebone, London and educated at Eton College and Trinity College, Cambridge. He became a farmer and a Lloyd's underwriter. He was a councillor on Rutland County Council and commanded a squadron of the Leicestershire Yeomanry.

paragraph: Section::::Political career.

paragraph: Kimball contested Derby South in 1955.

paragraph: He was Member of Parliament for Gainsborough from a 1956 by-election until 1983. While representing this constituency, he wrote to Margaret Thatcher, after Argentina's invasion of the Falkland Islands, that he felt the British government should "let the Argentinians have the Falklands with as little fuss as possible." This letter, apparently written without the knowledge of his constituency party, remained secret until revealed by the release of part of the Thatcher archive in 2013.

paragraph: According to his obituary he treated his constituents in much the same way as he treated the tenants of his Market Harborough and Altnaharra estates advising potential MPs not to promise to hold surgeries and not to live in the constituency unless sure there was a good local hunt.

paragraph: Kimball opposed separate taxation for women in 1978, saying women just gave the bill to their husbands.

paragraph: Knighted in 1981, Kimball was subsequently given a life peerage as Baron Kimball, of Easton in the County of Leicestershire on 9 May 1985.

paragraph: Section::::Hunting interests.

paragraph: A keen huntsman, Kimball was joint master of the Fitzwilliam Hunt 1952 and 1953, and the Cottesmore Hunt 1953–58. He was chairman of the British Field Sports Society 1966–82, and its President 1996–98. He was vice-president of its successor organisation, the Countryside Alliance from 1998. He also held senior positions in greyhound racing, show jumping and light horse breeding organisations and in the Royal College of Veterinary Surgeons.

paragraph: Lord Kimball indirectly gave money to an anti-field sports organisation after an Industrial Tribunal ruled that he sacked his housekeeper unfairly and she donated part of her compensation.

paragraph: He died at the age of 85 on 26 March 2014.

paragraph: Section::::References.

paragraph: BULLET::::- "Times Guide to the House of Commons", 1966 & 1979

description: British politician

wikidata_label: Marcus Kimball, Baron Kimball

wikipedia_title: Marcus Kimball


text: Spanish

text: La Aldehuela

text: province of Ávila

text: Félix Lope de Vega

text: Sovereign Military Order of Malta

text: Flanders

text: Portugal

text: Viceroy of Catalonia

text: Diego Hurtado de Mendoza y de la Cerda

categories: Álvarez de Toledo family,House of Alba,1591 deaths,Viceroys of Catalonia,1528 births,Knights Hospitaller,Spanish untitled nobility,16th-century Spanish people

paragraph: Fernando de Toledo

paragraph: Fernando de Toledo, ("ca." 1528–1591) was a Spanish nobleman.

paragraph: He was the illegitimate and first son of Don Fernando Álvarez de Toledo, 3rd Duke of Alba, "The Iron Duke", who fathered Fernando de Toledo upon the daughter of a miller of La Aldehuela, in the province of Ávila, Spain.

paragraph: Not until 1546, when Fernando was nineteen years old, did the duke recognize Fernando as his son. This later became the subject of a comedy written by the great Spanish playwright Félix Lope de Vega y Carpio; the title of the play, "Más mal hay en La Aldegüela de lo que sueña" means approximately, "There are worse things in Aldehuela than you have dreamt of".

paragraph: Fernando Toledo was a prior of the Sovereign Military Order of Malta in Castile and León. He was Captain General of the cavalry of Flanders and Portugal, member of the Council of State, and (from 1571 to 1580) Viceroy of Catalonia, succeeding Diego Hurtado de Mendoza y de la Cerda (also known as Diego de Mendoza y de la Cerda, 2nd Count of Mélito, 1st Duke of Francavilla), who had been viceroy from 1564 to 1571.

description: Spanish noble

wikidata_label: Fernando de Toledo

wikipedia_title: Fernando de Toledo


text:
pair skater
1991 World
Todd Sand
Burbank, California
Ice Capades
Disney On Ice
U.S. Championships
Todd Sand
Rocky Marval
1994 U.S. Championships
Ice Capades
Disney On Ice
Spanish Web
aerial acrobatics
FELD Entertainment
Houston

categories: American female pair skaters,Olympic figure skaters of the United States,Figure skaters at the 1992 Winter Olympics,World Figure Skating Championships medalists,Living people

paragraph: Natasha Kuchiki

paragraph: Natasha Maria Hanako Kuchiki (born October 28, 1976) is an American pair skater. She is the 1991 World bronze medalist with Todd Sand.

paragraph: Section::::Personal life.

paragraph: Kuchiki was born in Burbank, California. Her parents, Denise and Sashi, were competitive figure skaters who met in the Ice Capades. She grew up with her parents traveling with Ice Capades until the age of five. Her parents retired from the ice shows in 1981 and settled in Los Angeles, California. Her sister, Tamara, was also a competitive figure skater.

paragraph: In 2010, Kuchiki married Jamie Loper, an American figure skater who later performed in Disney On Ice shows.

paragraph: Section::::Career.

paragraph: Kuchiki's parents taught her figure skating until the age of 8 and then asked Wendy Halber Olson to coach her in singles. Her parents initially opposed her wish to skate pairs, preferring that she stay in singles, but changed their minds after seeing potential.

paragraph: In 1986, Kuchiki teamed up with Richard Alexander. Training only two days a week, one session a day, the pair reached the 1987 U.S. Championships in Tacoma, Washington. Competing in junior pairs, they placed 11th in 1987, won the bronze medal in 1988 and silver in 1989. In March 1989, Kuchiki and Alexander ended their partnership. Kuchiki also finished 4th in novice ladies' at the 1988 U.S. Championships and competed in the junior ladies' event at the 1989 U.S. Championships.

paragraph: In spring 1989, Kuchiki teamed up with Todd Sand. They won three senior pairs medals at the U.S. Championships, including gold in 1991, and competed at three World Championships, winning bronze in 1991. They also competed at the 1992 Winter Olympics, where they placed 6th. Kuchiki and Sand announced the end of their partnership in April 1992.

paragraph: Kuchiki returned the following year to compete in the ladies' singles event at the 1993 U.S. Nationals, finishing 12th. In late 1993, she teamed up with Rocky Marval, with whom she finished fourth at the 1994 U.S. Championships, missing the 1994 Olympic team. Kuchiki retired from competitive skating in 1994.

paragraph: Section::::Professional career.

paragraph: In 1994, Kuchiki joined Dorothy Hamill's Ice Capades "Hansel & Gretel" production. She continued on with Ice Capades until it closed in 1997. After joining "Gershwin On Ice" for a few cities she went on to work for FELD Entertainment, Inc. in 1998 "Grease On Ice" as Frenchie till 2000. In 2000 through 2004 she played "Jane" in "Tarzan" in the Disney On Ice "Jungle Adventures". She learned the acrobatics aerial act called the Spanish Web, learning the aerial acrobatics with her "Tarzan" professional ice skater Jamie Loper. With partner Jamie Loper, Kuchiki performed tandem aerial acrobatics with skates on.

paragraph: In 2004, Kuchiki joined Disney on Ice's "Beauty & the Beast" where she portrayed the role of "Belle". Still with the company FELD Entertainment- Disney On Ice, she toured with Disney on Ice as a principal skater, Mulan and Jasmine in the "100 Years of Magic" show (from 2005). She retired from touring in 2015 and turned to coaching in Houston.

paragraph: Section::::Professional ice shows.

paragraph: BULLET::::- 1994–1995: Dorothy Hamills Ice Capades "Hansel & Gretel"

paragraph: BULLET::::- 1995–1996: Ice Capades "Cinderella"

paragraph: BULLET::::- 1996–1997: Ice Capades "The Magic of MGM"

paragraph: BULLET::::- 1997 On Ice "Gershwin On Ice"

paragraph: BULLET::::- 1998–2000: Feld Entertainments "Grease On Ice" portrayed the role of "Frenchie"

paragraph: BULLET::::- 2000–2004: Disney On Ice "Jungle Adventures" portrayed the role of "Jane" in Tarzan

paragraph: BULLET::::- 2004–2005: Disney On Ice "Beauty and the Beast" portrayed the role of "Belle"

paragraph: BULLET::::- 2007 Disney's "High School Musical" portrayed the role of "Gabriella"

paragraph: BULLET::::- 2005–2015: Disney On Ice "100 Years of Magic" portrays the role of "Mulan" and "Jasmine"

description: figure skater

wikidata_label: Natasha Kuchiki

wikipedia_title: Natasha Kuchiki


text:
Leeuwarden
Leiden
Leiden
Tiberius Hemsterhuis
Leeuwarden
Johan Valckenaer
Hippolytus

categories: University of Franeker alumni,Classical scholars of Leiden University,1715 births,1785 deaths,Dutch classical scholars,University of Franeker faculty,People from Leeuwarden,Leiden University faculty,Leiden University alumni

paragraph: Lodewijk Caspar Valckenaer

paragraph: Lodewijk Caspar Valckenaer (Leeuwarden, 7 June 1715 – Leiden, 15 March 1785) was a Dutch classical scholar, at Leiden. He was a follower of Tiberius Hemsterhuis, and his successor in 1766 in the chair of Greek at Leiden. He was born in Leeuwarden.

paragraph: The jurist and politician Johan Valckenaer (1759–1821) was his son.

paragraph: Section::::Works.

paragraph: BULLET::::- "Ammonius. De adfinium vocabulorum differentia" (Leiden 1739)

paragraph: BULLET::::- "Dictata in antiquitates Graecas" (1751)

paragraph: BULLET::::- "Observationes philologicae in Evangelium Lucae" (1751)

paragraph: BULLET::::- "Observationes philologicae in Actus Apostolicos" (1752)

paragraph: BULLET::::- "Observationes philologicae in primam Pauli epistolam ad Corinthios" (1752)

paragraph: BULLET::::- "Phoenissae" (1755)

paragraph: BULLET::::- "Diatribe in Euripidis deperditorum dramatum reliquias" (1767)

paragraph: BULLET::::- "Euripidis Tragoedia Hippolytus" (Commentary, 1768)

alias:
Ludovicus Casparus Valckenarius
Ludwig Caspar Valckenaer
L.C. Valckenaer

description: Dutch classical scholar

wikidata_label: Lodewijk Caspar Valckenaer

wikipedia_title: Lodewijk Caspar Valckenaer


text: United States Army

text: Korean War

text: posthumously

text: Medal of Honor

text: Battle of Heartbreak Ridge

text: battlefield commission

text: 27th Infantry Regiment

text: 25th Infantry Division

text: Wausau, Wisconsin

text: List of Medal of Honor recipients

categories: 1951 deaths,Korean War recipients of the Medal of Honor,1930 births,United States Army Medal of Honor recipients,American military personnel killed in the Korean War

paragraph: Jerome A. Sudut

paragraph: Jerome Aubrey Sudut (October 20, 1930 – September 12, 1951) was a soldier in the United States Army during the Korean War. He posthumously received the Medal of Honor for his actions on September 12, 1951 during the Battle of Heartbreak Ridge.

paragraph: Sudut joined the Army in 1946, at age 16. He received a battlefield commission in July 1951.

paragraph: Section::::Medal of Honor citation.

paragraph: Rank and organization: Second Lieutenant, U.S. Army, Company B, 27th Infantry Regiment, 25th Infantry Division

paragraph: Place and date: Near Kumhwa, Korea, September 12, 1951

paragraph: Entered service at: Wisconsin. Birth: Wausau, Wisconsin

paragraph: G.O. No.: 31, March 21, 1952

paragraph: Citation:

paragraph: 2d Lt. Sudut distinguished himself by conspicuous gallantry above and beyond the call of duty in action against the enemy. His platoon, attacking heavily fortified and strategically located hostile emplacements, had been stopped by intense fire from a large bunker containing several firing posts. Armed with submachinegun, pistol, and grenades, 2d Lt. Sudut charged the emplacement alone through vicious hostile fire, killing 3 of the occupants and dispersing the remainder. Painfully wounded, he returned to reorganize his platoon, refused evacuation and led his men in a renewed attack. The enemy had returned to the bunker by means of connecting trenches from other emplacements and the platoon was again halted by devastating fire. Accompanied by an automatic-rifleman 2d Lt. Sudut again charged into close-range fire to eliminate the position. When the rifleman was wounded, 2d Lt. Sudut seized his weapon and continued alone, killing 3 of the 4 remaining occupants. Though mortally wounded and his ammunition exhausted, he jumped into the emplacement and killed the remaining enemy soldier with his trench knife. His single-handed assaults so inspired his comrades that they continued the attack and drove the enemy from the hill, securing the objective. 2d Lt. Sudut's consummate fighting spirit, outstanding leadership, and gallant self-sacrifice are in keeping with the finest traditions of the infantry and the U.S. Army.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients

paragraph: BULLET::::- List of Korean War Medal of Honor recipients

wikidata_label: Jerome A. Sudut

wikipedia_title: Jerome A. Sudut


text: United States Army

text: Medal of Honor

text: Battle of Yongsan

text: Korean War

text: posthumously

text: Massachusetts National Guard

text: World War II

text: Italy

text: prisoner of war

text: 2nd Infantry Division

text: Yeongsan

text: Korea

text: Boston, Massachusetts

text: mortar

text: List of Medal of Honor recipients

text: List of Korean War Medal of Honor recipients

categories: United States Army Medal of Honor recipients,1921 births,People from Boston,United States Army soldiers,1950 deaths,American military personnel killed in the Korean War

paragraph: Charles W. Turner (Medal of Honor)

paragraph: Charles William Turner (May 28, 1921 – September 2, 1950) was a United States Army soldier and a recipient of the United States military's highest decoration, the Medal of Honor, for his actions during the Battle of Yongsan in the Korean War. He was posthumously awarded the Medal of Honor for his actions on September 1, 1950.

paragraph: Turner initially joined the Massachusetts National Guard, and was called to active duty in 1941 to serve in World War II. He was captured while serving in Italy in November 1943, and spent the remainder of the conflict as a prisoner of war.

paragraph: Section::::Medal of Honor citation.

paragraph: Rank and organization: Sergeant First Class, U.S. Army, 2nd Reconnaissance Company, 2nd Infantry Division

paragraph: Place and date: Near Yeongsan, Korea, September 1, 1950

paragraph: Entered service at: Massachusetts. Birth: Boston, Massachusetts

paragraph: G.O. No.: 10, February 16, 1951

paragraph: Citation:

paragraph: Sfc. Turner distinguished himself by conspicuous gallantry and intrepidity above and beyond the call of duty in action against the enemy. A large enemy force launched a mortar and automatic weapon supported assault against his platoon. Sfc. Turner, a section leader, quickly organized his unit for defense and then observed that the attack was directed at the tank section 100 yards away. Leaving his secured section he dashed through a hail of fire to the threatened position and, mounting a tank, manned the exposed turret machine gun. Disregarding the intense enemy fire he calmly held this position delivering deadly accurate fire and pointing out targets for the tank's 75mm. gun. His action resulted in the destruction of 7 enemy machine gun nests. Although severely wounded he remained at the gun shouting encouragement to his comrades. During the action the tank received over 50 direct hits; the periscopes and antenna were shot away and 3 rounds hit the machine gun mount. Despite this fire he remained at his post until a burst of enemy fire cost him his life. This intrepid and heroic performance enabled the platoon to withdraw and later launch an attack which routed the enemy. Sfc. Turner's valor and example reflect the highest credit upon himself and are in keeping with the esteemed traditions of the U.S. Army.

paragraph: Section::::See also.

wikidata_label: Charles W. Turner

wikipedia_title: Charles W. Turner (Medal of Honor)


text: United States Army

text: Korean War

text: Medal of Honor

text: UN May–June 1951 counteroffensive

text: Vashon, Washington

text: Schofield Barracks

text: Hawaii

text: OCS

text: Hwachon Reservoir

text: Distinguished Service Cross

text: 31st Infantry Regiment

text: 7th Infantry Division

text: Korea

text: Vashon, Washington

text: grenade

text: submachineguns

text: platoon

text: bayonet

text: entrenching tool

text: List of Medal of Honor recipients

text: Picture of Benjamin Wilson on Pinterest.com

categories: American army personnel of World War II,1922 births,Korean War recipients of the Medal of Honor,United States Army officers,United States Army Medal of Honor recipients,American army personnel of the Korean War,1988 deaths,Recipients of the Distinguished Service Cross (United States)

paragraph: Benjamin F. Wilson

paragraph: Benjamin F. Wilson (June 2, 1921 – 1988) was a soldier in the United States Army during the Korean War. He received the Medal of Honor for his actions on June 5, 1951 during the UN May–June 1951 counteroffensive.

paragraph: Section::::Biography.

paragraph: Born at Vashon, Washington on June 2, 1921, he enlisted in the Army in the summer of 1940 and was stationed at Schofield Barracks, Hawaii, when the Japanese attacked Pearl Harbor. He went to OCS at Fort Sill, Oklahoma in 1943 and was commissioned in the Field Artillery, but when the war was over, he resigned his commission and went home. His departure was only temporary. The Army suited him much better than Washington’s lumber mills, and he was back in uniform nine months later. Because the Army was thinning its officer ranks and had no room for an inexperienced lieutenant, he enlisted as a private. He rose quickly through the ranks to become I Company’s first sergeant by the summer of 1951.

paragraph: First Sergeant Wilson's company was ordered to take the largest hill (later dubbed "Hell Hill") overlooking the Hwachon Reservoir on June 4, 1951. Wounded in action, Wilson was being carried down the hill on a stretcher as the battle neared its climax. When his stretcher-bearers set him down to rest, Wilson, in obvious pain, arose from the stretcher and trudged back up the hill without a word. The very next day, he distinguished himself in an I Company attack on a well-fortified position, earning himself the Medal of Honor. On June 6, just one day after that exploit, First Sergeant Ben Wilson killed 33 more Chinese soldiers with his rifle, bayonet, and hand grenades in another one-man assault. In the process, he reopened the wounds he suffered the day before and was finally evacuated to a hospital. He was again recommended for the Medal of Honor, but Army policy prohibited any man from being awarded more than one. Wilson received the Distinguished Service Cross instead and was commissioned when he returned to the States. He retired from the Army as a major in 1960 and died in Hawaii in 1988.

paragraph: Section::::Medal of Honor citation.

paragraph: Rank and organization: First Lieutenant (then M/Sgt.), U.S. Army Company I, 31st Infantry Regiment, 7th Infantry Division

paragraph: Place and date: Near Hwach'on-Myon, Korea, June 5, 1951

paragraph: Entered service at: Vashon, Wash. Birth: Vashon, Washington

paragraph: G.O. No.: 69, September 23, 1954

paragraph: Citation:

paragraph: 1st Lt. Wilson distinguished himself by conspicuous gallantry and indomitable courage above and beyond the call of duty in action against the enemy. Company I was committed to attack and secure commanding terrain stubbornly defended by a numerically superior hostile force emplaced in well-fortified positions. When the spearheading element was pinned down by withering hostile fire, he dashed forward and, firing his rifle and throwing grenades, neutralized the position denying the advance and killed 4 enemy soldiers manning submachineguns. After the assault platoon moved up, occupied the position, and a base of fire was established, he led a bayonet attack which reduced the objective and killed approximately 27 hostile soldiers. While friendly forces were consolidating the newly won gain, the enemy launched a counterattack and 1st Lt. Wilson, realizing the imminent threat of being overrun, made a determined lone-man charge, killing 7 and wounding 2 of the enemy, and routing the remainder in disorder. After the position was organized, he led an assault carrying to approximately 15 yards of the final objective, when enemy fire halted the advance. He ordered the platoon to withdraw and, although painfully wounded in this action, remained to provide covering fire. During an ensuing counterattack, the commanding officer and 1st Platoon leader became casualties. Unhesitatingly, 1st Lt. Wilson charged the enemy ranks and fought valiantly, killing 3 enemy soldiers with his rifle before it was wrested from his hands, and annihilating 4 others with his entrenching tool. His courageous delaying action enabled his comrades to reorganize and effect an orderly withdrawal. While directing evacuation of the wounded, he suffered a second wound, but elected to remain on the position until assured that all of the men had reached safety. 1st Lt. Wilson's sustained valor and intrepid actions reflect utmost credit upon himself and uphold the honored traditions of the military service.

paragraph: Section::::See also.

paragraph: Section::::References.

wikidata_label: Benjamin F. Wilson

wikipedia_title: Benjamin F. Wilson


text: United States Army

text: Korean War

text: posthumously

text: Medal of Honor

text: UN offensive into North Korea

text: Golden Gate National Cemetery

text: San Bruno, California

text: 8th Cavalry Regiment

text: 1st Cavalry Division

text: Kaesong

text: Korea

text: Oroville, California

text: company

text: battalion

text: mortar

text: automatic weapons

text: tank

text: List of Medal of Honor recipients

categories: Korean War recipients of the Medal of Honor,1929 births,United States Army Medal of Honor recipients,People from Oroville, California,United States Army soldiers,1950 deaths,American military personnel killed in the Korean War

paragraph: Robert H. Young

paragraph: Robert Harley Young (March 4, 1929 – November 5, 1950) was a soldier in the United States Army during the Korean War. He posthumously received the Medal of Honor for his actions on October 9, 1950 during the UN offensive into North Korea, and was promoted to the rank of Corporal. Young is buried at Golden Gate National Cemetery in San Bruno, California.

paragraph: Section::::Medal of Honor citation.

paragraph: Rank and organization: Private First Class, U.S. Army, Company E, 8th Cavalry Regiment, 1st Cavalry Division

paragraph: Place and date: North of Kaesong, Korea, October 9, 1950

paragraph: Entered service at: Vallejo, Calif. Born: March 4, 1929, Oroville, California

paragraph: G.O. No.: 65, August 2, 1951

paragraph: Citation:

paragraph: Pfc. Young distinguished himself by conspicuous gallantry and intrepidity above and beyond the call of duty in action. His company, spearheading a battalion drive deep in enemy territory, suddenly came under a devastating barrage of enemy mortar and automatic weapons crossfire which inflicted heavy casualties among his comrades and wounded him in the face and shoulder. Refusing to be evacuated, Pfc. Young remained in position and continued to fire at the enemy until wounded a second time. As he awaited first aid near the company command post the enemy attempted an enveloping movement. Disregarding medical treatment he took an exposed position and firing with deadly accuracy killed 5 of the enemy. During this action he was again hit by hostile fire which knocked him to the ground and destroyed his helmet. Later when supporting tanks moved forward, Pfc. Young, his wounds still unattended, directed tank fire which destroyed 3 enemy gun positions and enabled the company to advance. Wounded again by an enemy mortar burst, and while aiding several of his injured comrades, he demanded that all others be evacuated first. Throughout the course of this action the leadership and combative instinct displayed by Pfc. Young exerted a profound influence on the conduct of the company. His aggressive example affected the whole course of the action and was responsible for its success. Pfc. Young's dauntless courage and intrepidity reflect the highest credit upon himself and uphold the esteemed traditions of the U.S. Army.

paragraph: Section::::See also.

wikidata_label: Robert H. Young

wikipedia_title: Robert H. Young


text: contemporary music

text: Microtonal music

text: electroacoustic

text: Conservatoire de Paris

text: Simone Plé-Caussade

text: Olivier Messiaen

text: Darius Milhaud

text: Julián Carrillo

text: CIRM

text: MANCA

text: Julian Carrillo

text: serialism

text: rows

categories: 20th-century classical composers,French male classical composers,Microtonal composers,Conservatoire de Paris alumni,1917 births,French classical composers,1989 deaths

paragraph: Jean-Étienne Marie

paragraph: Jean-Étienne Marie (22 November 1917 – 25 December 1989) was a French composer of contemporary music. He is an important figure in the history and exploration of Microtonal music and electroacoustic.

paragraph: Section::::Biography.

paragraph: Marie studied at the Conservatoire de Paris with Simone Plé-Caussade. After WWII he dedicated his life to music. He worked at the Radiodiffusion Française where he was specialist in broadcasting contemporary music festival.

paragraph: Marie was the disciple of Olivier Messiaen and of Darius Milhaud, but this is his meeting with microtonality pioneer Julián Carrillo that was crucial in his musical work. He created le CIRM in 1968 in Paris and set it to Nice in 1978. In 1979 He created the MANCA Festival (Musiques actuelles Nice Côte-d'Azur).

paragraph: Section::::Music.

paragraph: He dedicated most of his work to microtonal and to mixed music. His works and his theorisation in microtonal music were significant in the modern knowledge of European microtonal music.

paragraph: Like Julian Carrillo, he explored the potential of a lot microtonal scales either widespread (1/4 tone, 1/3rd tone, 1/6tone) or less known (1/7th tone, 1/5th tone). One of his techniques was to use polytempered music, that is to say music exploiting the simultaneous use of several different microtonal scales. This concept suggested by Carillo. In "Tombeau de Carillo" he exploited 1/2, 1/3rd, 1/5th and 1/6 tone scales simultaneously.

paragraph: He also tried to apply serialism to these scales. In 1972 he wrote a serial and polytempered piece "Ecce Ancilla Domini", where he uses rows in 1/4, 1/5th and 1/6th tone.

paragraph: Section::::References.

paragraph: BULLET::::- Source : Jean-Étienne Marie, biographie (site du CIRM)

paragraph: BULLET::::- "MUSIQUES La mort de Jean-Étienne Marie Le compositeur Jean-Étienne Marie est décédé à Nice, le lundi 25 décembre. Il était âgé de soixante-douze ans", Le Monde. Samedi 30 décembre 1989, p. 15. accédé le 7 octobre 2006.

paragraph: BULLET::::- Jean Étienne-Marie, "L'homme musical", Paris arthaud, 1976

description: French composer

wikidata_label: Jean-Etienne Marie

wikipedia_title: Jean-Étienne Marie


text:
Soviet
paleography
Moscow
Archaeographic Commission
Academy of Sciences of the USSR
corresponding member
Full Collection of Russian Chronicles
Russkaya Pravda
Sobornoye Ulozhenie
Great Soviet Encyclopedia

categories: Russian palaeographers,People from Moscow Governorate,Moscow State University alumni,Full Members of the USSR Academy of Sciences,1965 deaths,Members of the Polish Academy of Sciences,1893 births,Writers from Moscow,Russian historians,Soviet historians

image: 512px-Могила_академика_Михаила_Тихомирова.JPG

paragraph: Mikhail Tikhomirov

paragraph: Mikhail Nikolayevich Tikhomirov (31 May 1893 — 2 September 1965) was a leading Soviet specialist in medieval Russian paleography.

paragraph: Tikhomirov was born and spent his whole life in Moscow, where he was in charge of the Archaeographic Commission of the Academy of Sciences of the USSR (to which he was elected a corresponding member in 1946 and full member in 1953). He was responsible for the Soviet edition of the Full Collection of Russian Chronicles and edited collections of many other medieval documents, including the "Russkaya Pravda" and "Sobornoye Ulozhenie".

paragraph: His major works include "A Study of Russkaya Pravda" (1941), "Old Russian Cities" (1956, 2nd ed.), "Medieval Moscow" (1957), "Russia in the Sixteenth Century" (1962), "Russian Culture from the Tenth to the Eighteenth Century" (1968), "The Russian State from the Fourteenth to the Seventeenth Century" (1973), and "Ancient Rus" (1975).

paragraph: Section::::References.

paragraph: BULLET::::- "Content of this page in part derives from the Great Soviet Encyclopedia article on the same subject."

description: Russian paleographer

wikidata_label: Mikhail Tikhomirov

wikipedia_title: Mikhail Tikhomirov


text:
Norwegian
Christiania
Dramatic Society
Bernhard Dunker
Vilhelmine Ullmann
Christopher Hansteen
Aasta Hansteen

categories: 18th-century Norwegian people,1866 deaths,19th-century Norwegian people,1780 births,Norwegian writers,19th-century Norwegian women,Norwegian women writers,19th-century women writers,Writers from Oslo,Norwegian salon-holders

paragraph: Conradine Birgitte Dunker

paragraph: Conradine Birgitte Dunker (née Hansteen) (25 August 1780 – 11 September 1866) was a Norwegian socialite and writer.

paragraph: Born in Christiania, she held a "prominent spot in the social life of the capital city", according to one encyclopedia. She was also involved in the Dramatic Society. Her memoirs "Gamle Dage : Erindringer og Tidsbilleder" were published posthumously in 1871, and are seen as valuable sources on the 19th century cultural life. It has been re-published several times, and Conradine Birgitte Dunker was also biographed in 1996.

paragraph: She was the mother of Bernhard Dunker and Vilhelmine Ullmann. Her younger brother was astronomer Christopher Hansteen; as such she was the aunt of feminist and painter Aasta Hansteen.

description: Norwegian writer

wikidata_label: Conradine Birgitte Dunker

wikipedia_title: Conradine Birgitte Dunker