text: racing driver

text: England

text: Formula One

text: 1956 season

text: Horley

text: World War II

text: Alvis 12/50

text: trials

text: hill climb

text: Brooklands

text: Tank Corps

text: sports car racing

text: Bristol

text: Jaguar

text: Ecurie Ecosse

text: Aston Martin

text: Stirling Moss

text: Nürburgring

text: Tourist Trophy

text: Goodwood

text: Formula One

text: 1953 British Grand Prix

text: HWM 53

text: Connaught's

text: Formula Two

text: British

text: Italian Grands Prix

text: Connaught Type B

text: 1956 Formula One season

text: Bernie Ecclestone

text: front engined

text: four-wheel drive

text: 1961 British Grand Prix

text: Ferguson P99

text: Ferguson Research Ltd.

text: Rob Walker Racing Team

text: Lotus 18

text: Imola Grand Prix

text: Porsche

text: Ecurie Maarsbergen

text: Rugby, Warwickshire

text: Wetherspoons

text: Kwik Fit

text: Career synopsis at gpracing.net

categories: Rob Walker Racing Team Formula One drivers,English racing drivers,Connaught Formula One drivers,BRM Formula One drivers,2002 deaths,24 Hours of Le Mans drivers,World Sportscar Championship drivers,English Formula One drivers,1913 births,Hersham and Walton Motors Formula One drivers,British Army personnel of World War II,Cooper Formula One drivers

paragraph: Jack Fairman

paragraph: Jack Fairman (15 March 1913 – 7 February 2002) was a British racing driver from England. He participated in 13 Formula One Grands Prix, making his debut on 18 July 1953. He scored a total of five championship points, all of which came in the 1956 season.

paragraph: Section::::Career summary.

paragraph: Fairman was born in Horley, and was only an occasional racing driver, his main source of income coming from running the family precision tool manufacturing company. He got his first taste of motorsport before World War II, driving an Alvis 12/50 in trials and hill climb events from 1934. He quickly moved on to races at the Brooklands circuit, but the war intervened and he spent the duration on active service in the Tank Corps.

paragraph: Postwar, Fairman's reliable and dogged driving attributes saw him achieve many successes in sports car racing, particularly in endurance events. He drove for a number of top-rank teams during this time, including Bristol, Jaguar, Ecurie Ecosse, and Aston Martin. It was with Aston that Fairman won his most significant events, partnering Stirling Moss in the 1959 Nürburgring 1000 km, and Tourist Trophy at Goodwood. He also made a brief Formula One debut at the 1953 British Grand Prix, driving and retiring an HWM 53.

paragraph: His engineering experience and dependable driving made him an obvious choice for constructors to contact when they needed a test driver. His most significant contribution in this role was during the development of Connaught's Formula Two and later Formula One cars. Between sports car commitments and his own factory, Fairman managed to fit in occasional Formula One starts, usually at the British or Italian Grands Prix. He took a Connaught Type B to two points finishes during the 1956 Formula One season, his only points in a very long Formula One career, finishing tenth in the World Championship that year.

paragraph: Following Bernie Ecclestone's purchase of the remains of Connaught in 1958, Fairman continued with his sporadic Formula One career in a wide variety of machines. His only notable entry in the years that followed was when he became simultaneously the last man ever to start a Grand Prix with a front engined car "and" the first to drive a four-wheel drive car, at the 1961 British Grand Prix. The car in question was the experimental Ferguson P99, designed by Ferguson Research Ltd. and run by the Rob Walker Racing Team. Unfortunately for Fairman, his RWR team mate Stirling Moss suffered brake failure in his Lotus 18 and took over the 4WD machine in Fairman's stead. Moss was then later disqualified for receiving a push start, which also ended Fairman's race. Fairman's last Formula One race was in the 1963 non-Championship Imola Grand Prix event, driving a Porsche for Ecurie Maarsbergen.

paragraph: Fairman died, aged 88, in Rugby, Warwickshire. The pub chain Wetherspoons has opened a pub named The Jack Fairman in his birthplace of Horley. Opened on 12 February 2007, it occupies the buildings in Victoria Road which originally housed Fairman's garage and has pictures of him around the walls and details can be located on their website. Prior to the pub opening, it was the local Kwik Fit for many years.

paragraph: Section::::External links.

paragraph: BULLET::::- Career synopsis at Autocourse Grand Prix Archive

paragraph: BULLET::::- Career synopsis at gpracing.net

description: British racing driver

wikidata_label: Jack Fairman

wikipedia_title: Jack Fairman


text:
Woolwich
Formula One
Tyrrell
Lotus
Menorca
Formula Ford
Brands Hatch
Formula 3000
Lola
Ken Tyrrell
Jonathan Palmer
Nissan
Lotus
San Marino Grand Prix
Toyota
BTCC
Will Hoy
Knockhill
Lister
British GT Championship
FIA GT Championship
Lister Storm
Jack Clarke
FIA Formula Two Championship
British Touring Car Championship
ESPN STAR Sports
Top Gear
The Stig

categories: Formula Ford drivers,English racing drivers,British GT Championship drivers,Living people,1961 births,British Touring Car Championship drivers,24 Hours of Le Mans drivers,International Formula 3000 drivers,Team Lotus Formula One drivers,English Formula One drivers,Tyrrell Formula One drivers,24 Hours of Daytona drivers,People from Woolwich

paragraph: Julian Bailey

paragraph: Julian Bailey (born 9 October 1961 in Woolwich, London) is a former Formula One driver who raced for the Tyrrell and Lotus teams.

paragraph: Section::::Racing career.

paragraph: Although born in the United Kingdom, he was raised in Menorca, Spain. He became an accomplished Formula Ford 1600 racer in Britain, winning the important Formula Ford Festival at Brands Hatch. In 1987 he got his chance to race in Formula 3000, in a GA Motorsport Lola, in which he won in only his third Formula 3000 race, becoming the first British driver to win a race in the formula. This attracted the attention of Ken Tyrrell, and Bailey was recruited to drive for the Formula One team the following year. The car was very uncompetitive and he did not score a single point, while his teammate Jonathan Palmer scored five. In 1989 he joined the Nissan sports car factory team, and tried to get back into Formula One in 1991 with Lotus. He finished sixth in the San Marino Grand Prix but didn't retain his drive after Monaco. During his Formula One career he was entered in 20 Grands Prix, qualifying for seven at a time when the grids were over-subscribed, and scored a total of one championship point.

paragraph: In 1992 he joined the Toyota BTCC team, and the following season, he finished fifth in the championship, although his season is best remembered for his collision with teammate Will Hoy, which flipped Hoy's car onto its roof. In the following round at Knockhill, he took his one and only BTCC win. The next two seasons were less successful, although he outscored 1991 champion Hoy in both their seasons as teammates. Toyota withdrew from the BTCC as a works team at the end if 1995, but Bailey was still contracted to them. For 1996, Bailey competed in the South African Touring Car Championship (SATCC) for Minolta Toyota. He has raced primarily in sports cars since. For 1997, Bailey joined Lister, eventually winning the British GT Championship in 1999 and the FIA GT Championship in 2000 in a Lister Storm.

paragraph: Section::::Personal life.

paragraph: Bailey's stepson, Jack Clarke, is also a racing driver with experience in Formula BMW and Formula Palmer Audi. In 2009 he graduated to the FIA Formula Two Championship, and in 2014 moved to the British Touring Car Championship.

paragraph: Section::::Personal life.:Post-racing career.

paragraph: In 2008, he joined with ESPN STAR Sports as a guest commentator for a number of Formula One races.

paragraph: Section::::Personal life.:"Top Gear".

paragraph: On the show "Top Gear", he was one of several drivers to appear as The Stig.

description: racecar driver

wikidata_label: Julian Bailey

wikipedia_title: Julian Bailey


text:
racing driver
Argentina
Formula One
Turismo Carretera
Juan
Buenos Aires circuit
Profile from GrandPrix.com

categories: Argentine racing drivers,Argentine Formula One drivers,World Sportscar Championship drivers,Maserati Formula One drivers,People from San Martín, Buenos Aires,Burials at La Chacarita Cemetery,1913 births,Turismo Carretera drivers,1989 deaths

paragraph: Oscar Alfredo Gálvez

paragraph: Oscar Alfredo Gálvez (17 August 1913 – 16 December 1989) was a racing driver from Argentina. He participated in one Formula One World Championship Grand Prix, on 18 January 1953, in which he scored two championship points.

paragraph: He was a very popular driver, a regular entrant and champion in the Turismo Carretera series, like his brother Juan.

paragraph: He died from pancreatic cancer at the age of 76. The Buenos Aires circuit was renamed with his name.

paragraph: Section::::References.

paragraph: BULLET::::- Profile from GrandPrix.com

description: Argentine racecar driver

wikidata_label: Oscar Alfredo Gálvez

wikipedia_title: Oscar Alfredo Gálvez


text:
Alhambra, California
Formula One
1964 German Grand Prix
USAC
Championship Car
Indianapolis 500
Jeff Bucknum
Indy Racing League
American Le Mans Series
San Luis Obispo, California

categories: 1992 deaths,Honda Formula One drivers,Racing drivers from California,Sportspeople from Alhambra, California,24 Hours of Le Mans drivers,World Sportscar Championship drivers,20th-century American racing drivers,American Formula One drivers,1936 births,Trans-Am Series drivers,24 Hours of Daytona drivers,Indianapolis 500 drivers

paragraph: Ronnie Bucknum

paragraph: Ronnie Bucknum (April 5, 1936 – April 23, 1992) was an American racecar driver, born in Alhambra, California.

paragraph: Bucknum participated in 11 Formula One World Championship Grands Prix, debuting on August 2, 1964. He scored a total of two championship points. At the 1964 German Grand Prix, he became the first person to drive a Honda-engined car in Formula One.

paragraph: After Formula One, Bucknum drove in the USAC Championship Car series, racing in the 1967–1970 seasons with 23 starts, including the Indianapolis 500 in 1968–1970. He finished in the top ten 10 times, with his one victory coming at Michigan International Speedway in 1968.

paragraph: He was the father of Jeff Bucknum, an Indy Racing League and American Le Mans Series driver. Ronnie Bucknum died in San Luis Obispo, California following complications from diabetes.

description: racecar driver

wikidata_label: Ronnie Bucknum

wikipedia_title: Ronnie Bucknum


text:
Mexican
racing driver
1961
1962 Formula One season
Pedro
sports car racing
1961 Italian Grand Prix
Ferrari
Mexico City
cycling
motorcycles
née
née
Jo Ramírez
Europe
saloon car
Fiat Topolino
Riverside
Porsche
Porsche Spyder
Nassau
North American Racing Team
Le Mans
1958
1959
OSCA
24 Hours of Le Mans in 1960
André Pilette
Ferrari
1961 Italian Grand Prix
2016 Belgian Grand Prix
Max Verstappen
Phil Hill
Richie Ginther
Pau Grand Prix
Belgian Grand Prix
German Grand Prix
Targa Florio
Olivier Gendebien
Willy Mairesse
Ferrari Dino 246 SP
1962 Mexican Grand Prix
Magdalena Mixiuhca Circuit
Rob Walker's
Lotus 24
Carlos Jalife
1958 24 Hours of Le Mans
Automobile Club de l'Ouest
José Behra
Pedro Rodríguez
Brothers Rodríguez

categories: 1942 births,Mexican people of Spanish descent,Sport deaths in Mexico,Ferrari Formula One drivers,Racing drivers killed while racing,1962 deaths,24 Hours of Le Mans drivers,Mexican racing drivers,Racing drivers from Mexico City,Mexican Formula One drivers

paragraph: Ricardo Rodríguez (racing driver)

paragraph: Ricardo Valentín Rodríguez de la Vega (14 February 1942 – 1 November 1962) was a Mexican racing driver who competed in the 1961 and 1962 Formula One seasons. His elder brother, Pedro, was also a noted racing driver who had much success in sports car racing and Formula One. Also, at 19 years and 208 days old when first racing for them at the 1961 Italian Grand Prix, he became the youngest Formula One driver ever to race for Ferrari, a title he still holds today.

paragraph: Section::::Personal.

paragraph: Rodríguez was born in Mexico City and was a child cycling champion who switched to motorcycles in domestic competition from the age of 11. He was the third son from the marriage of Pedro Natalio Rodríguez and Concepción "Conchita" ("née" de la Vega), he had four brothers and sisters, Pedro, Federico, Conchita and Alejandro.

paragraph: He was married to Sara ("née" Cardoso) in July 1961 but left no children. In the summer of 1962 his close friend, Jo Ramírez, would accompany Ricardo to his adventure in Europe.

paragraph: Section::::Career.

paragraph: He won several national motorcycle titles, before taking up saloon car racing in his own Fiat Topolino. In 1957 he made his international debut at Riverside, beating all comers in the under 1.5 litre class in a Porsche RS. He then won his class in a Porsche Spyder in the Nassau Tourist Trophy. He often raced for the North American Racing Team (NART) with his brother Pedro, although he would also enter cars under his own team's name, Scuderia Rodríguez.

paragraph: He was refused an entry at Le Mans in 1958 because he was too young (16 years and 106 days), but went back in 1959 to race an OSCA in the 750cc. class. In the edition of 24 Hours of Le Mans in 1960 he partnered André Pilette to second place. At 18 years and 133 days of age, he is the youngest driver ever to stand on the podium at Le Mans.

paragraph: Rodríguez was given a guest drive by Ferrari for the 1961 Italian Grand Prix, qualifying a surprise second and becoming the youngest driver in history to start from front row (19 years and 208 days), a record that wouldn't be beaten until the 2016 Belgian Grand Prix by Max Verstappen. In the race he exchanged the lead with Phil Hill and Richie Ginther many times, until a fuel pump failure ended his race. 1962 saw a full works drive with Ferrari, who used him sparingly considering his age and rough edges. Whenever used, Rodríguez shone, taking second at the Pau Grand Prix, fourth at the Belgian Grand Prix and sixth at the German Grand Prix in a tough year in Formula One for Ferrari. He also won the Targa Florio 1962 edition with Olivier Gendebien and Willy Mairesse in a Ferrari Dino 246 SP.

paragraph: Rodríguez was considered a potential future champion already, but was left without a drive when Ferrari opted not to enter the non-Championship 1962 Mexican Grand Prix at the Magdalena Mixiuhca Circuit, Mexico City. He signed to drive Rob Walker's Lotus 24, but died during the first day of unofficial practice, when the Lotus' rear right suspension failed at the fearsome Peraltada turn, and it hit the barriers, killing him instantaneously. He was 20 years old and his death provoked national mourning in Mexico.

paragraph: The Scuderia Rodríguez A.C. (a friends and family foundation) keeps his memory and that of his brother alive. It serves as register for Rodríguez memorabilia and cars, certifying them, and its Secretary General Carlos Jalife published their biography in 2006, and a second edition came in 2015. He did an English translation that was published in 2009 and won the Motor Press Guild Book of the Year.

paragraph: Section::::Racing record.

paragraph: Section::::Racing record.:Ricardo Rodríguez in the 24 Hours of Le Mans.

paragraph: BULLET::::- On 1958 24 Hours of Le Mans judged to be too young, 16-year-old Ricardo Rodríguez was not allowed to start by the organisers, Automobile Club de l'Ouest, so was replaced by José Behra, brother of Jean, to accompany his older brother, Pedro Rodríguez.

paragraph: Section::::References.

paragraph: BULLET::::- Brothers Rodríguez book by Carlos Eduardo Jalife-Villalón, March 2009

alias:
Ricardo Valentín Rodríguez
Ricardo Valentín Rodríguez de la Vega
Ricardo Rodriguez de la Vega
Ricardo Valentin Rodriguez
Ricardo Valentin Rodriguez de la Vega

description: Mexican racecar driver

wikidata_label: Ricardo Rodríguez de la Vega

wikipedia_title: Ricardo Rodríguez (racing driver)


text:
Swedish
Formula One
ATS
Tyrrell
Borgholm
Kalmar County
Lea Riders Group
Made In Sweden
Björn Ulvaeus
Hootenanny Singers
ABBA
Lotus
Formula Ford
sports car racing
Hillman Imp
Volvo 122
Swedish Touring Car Championship
Formula 3
Ralt
Toyota
Formula 2
San Marino Grand Prix
British Grand Prix
Ken Tyrrell
Michele Alboreto
Macau Grand Prix
1987 24 Hours of Le Mans
Willhire 24 Hour
Ford Sierra
truck racing
European Truck Racing Cup
Mazda
Mazda Xedos 6
British Touring Car Championship
Nordic Touring Car Championship
Steve Parrish
Markus Oestreich
Mercedes-Benz
Coventry
Slim Borgudd's biography at F1 Rejects
Profile at Slim Racing

categories: Swedish male musicians,Swedish racing drivers,British Touring Car Championship drivers,Swedish Formula One drivers,Swedish Formula Three Championship drivers,1946 births,Tyrrell Formula One drivers,Living people,ATS Wheels Formula One drivers

paragraph: Slim Borgudd

paragraph: Karl Edward Tommy Borgudd, better known as Slim Borgudd (born 25 November 1946) is a Swedish former Formula One driver who raced for the ATS and Tyrrell teams.

paragraph: Section::::Biography.

paragraph: Borgudd was born in Borgholm, Kalmar County.

paragraph: His first career was as a drummer, mainly in jazz-rock, most notably for short-lived groups Lea Riders Group, Made In Sweden and Solar Plexus. He has also worked with Björn Ulvaeus's group the Hootenanny Singers and ABBA, being sponsored as a Formula One driver by the latter.

paragraph: Borgudd began racing on and off in the mid 1960s with a Lotus Formula Ford car, but his racing career only became more serious in 1972, after taking five wins in five sports car racing club events. Borgudd raced a Hillman Imp and a Volvo 122 in the Swedish Touring Car Championship from 1972 to 1975, finishing runner-up in 1972, as well as racing in the Scandinavian Formula Ford series, which he won in 1973.

paragraph: In 1976, Borgudd moved up Formula 3, racing sporadically until the end of the 1977 season. In 1978, he formed his own team and raced full-time in the Swedish and European series, in an old Ralt-Toyota, which he took to the Swedish championship title in 1979, also finishing third in the European series. Failing to move to Formula 2 in 1980, he raced only in the F3 Monaco Grand Prix, where he reached third place before the bodywork became loose, forcing Borgudd to finish the race holding the body together with one hand.

paragraph: In 1981, Borgudd, now 34, finally entered Formula 1 in ATS, making his debut in the San Marino Grand Prix, placing ABBA logos (but no sponsorship money) in the car's sidepods, a hopeful move to attract other investors. In spite of a run of non-qualifications, Borgudd managed to finish 6th in the British Grand Prix, scoring his first world championship point. In spite of the added morale boost, Borgudd failed to score any more points.

paragraph: In 1982 Ken Tyrrell hired Borgudd to partner Michele Alboreto, as the Swede had out-qualified the Italian on several occasions in 1981. However, Borgudd did not adapt to his new team, and was unceremoniously dumped when his sponsorship money ran out early in the season.

paragraph: From 1983 to 1985, Borgudd raced only on occasion, including his taking part in the 1984 and 1985 Macau Grand Prix. In 1985 he returned to race a Formula 1 car, an Arrows A6, in the new Formula 3000/F1 combined championship finishing 10th in the Vallelunga race. He entered 5 races that season, but the rebuilt F1 cars were not competitive compared to the specified F3000 cars. Although he took part in the 1987 24 Hours of Le Mans, and in 1989 had an outright win in the Willhire 24 Hour, a minor touring car race where he drove a Ford Sierra, the Swede made his mark in truck racing the following years. In 1986 and 1987, Borgudd was champion in Divisions 2 and 3 of the European Truck Racing Cup, respectively. The following years, success was more fleeting, although the Scandinavian driver managed to finish the 1992 Class B championship in third place.

paragraph: It wouldn't be until 1993 that Borgudd made his full-time return to automobiles, joining the works Mazda team and driving a Mazda Xedos 6 in the British Touring Car Championship (BTCC) with sparse results. However, a switch to the Nordic Touring Car Championship in 1994 saw him take the championship title. The Mazda team made plans to return to the BTCC the following year, but the plan was scrapped.

paragraph: Also in 1994, Borgudd went back to top form in the Truck Racing Cup, where the Swede lost the race to the championship title to British driver Steve Parrish, after a dogfight that lasted the entire season. Borgudd responded in kind in 1995, beating Parrish and Markus Oestreich by a large margin. In 1996 and 1997, Borgudd finished 5th and 4th only, and announced his retirement after accusing Mercedes-Benz of favoring other drivers. Since then, he has made occasional returns to racing at amateur level, having settled down in Coventry.

paragraph: Section::::References.

paragraph: BULLET::::- Slim Borgudd's biography at F1 Rejects

paragraph: BULLET::::- Profile at Slim Racing

description: racecar driver

wikidata_label: Slim Borgudd

wikipedia_title: Slim Borgudd


text:
Lord of Beirut
"Old Lord" John of Ibelin
Melisende of Arsuf
War of the Lombards
Emperor Frederick II
Battle of Agridi
King of Cyprus
Hugh of Ibelin
Anceau of Brie
battles
Lombards
Gestes des Chiprois
Tyre
Philip of Novara
Philip of Montfort
Walter of Montbéliard
John II of Beirut

categories: House of Ibelin,Christians of the Barons' Crusade,13th-century rulers,Year of birth unknown,Christians of the Crusades,1247 deaths,History of Beirut

paragraph: Balian of Beirut

paragraph: Balian of Beirut (died 1247) was the Lord of Beirut, the second of his family, from 1236, and a son of the famous "Old Lord" John of Ibelin, by his second wife Melisende of Arsuf. From his father he assumed the leadership of the nobility in the War of the Lombards, fought against the agents of the Emperor Frederick II.

paragraph: He was a warrior from an early age. At the Battle of Agridi in 1232, though he was supposed to be in the rearguard with his father and the King of Cyprus, he instead went to the front, beside either Hugh of Ibelin and Anceau of Brie, commanders of the first and second battles. At the battle, Balian won fame defending a pass from the Lombards. A story is told in the "Gestes des Chiprois" that Balian once struck a Lombard knight so hard that he himself was dismounted.

paragraph: Balian led his family in besieging Tyre in 1242. He also had the support of Philip of Novara and Philip of Montfort and he employed mercenaries and galleys in the endeavour.

paragraph: Balian of Ibelin, lord of Beirut married Eschiva de Montfaucon, daughter of Walter of Montbéliard and Bourgogne de Lusignan of Cyprus and they had a son:

paragraph: BULLET::::- John II of Beirut.

paragraph: Section::::References.

paragraph: BULLET::::- Marshall, Christopher. "Warfare in the Latin East, 1192–1291". Cambridge University Press, 1992.

description: Christian crusader

wikidata_label: Balian of Beirut

wikipedia_title: Balian of Beirut


text:
Lord of Arsuf
Knights Hospitaller
John of Arsuf
Constable of Jerusalem
servise de cors
Plaisance of Antioch
Antioch
Tripoli
Constable of Jerusalem
Hugh III of Cyprus and Jerusalem
bailiff
Cyprus
Charles I of Naples
Roger of Sanseverino
Acre
Mary of Antioch
Pope John XXI
John of Versailles
Patriarch of Jerusalem

paragraph: Balian of Arsuf

paragraph: Balian of Ibelin (1239 – 29 September 1277) was the Lord of Arsuf from 1258 until the early 1260s (probably 1261), when he leased/rented it to the Knights Hospitaller. He was the son and successor of John of Arsuf, Constable of Jerusalem. At the time when he leased/rented it to the Hospital, his fief of Arsuf was worth six knights' fees and twenty sergeants'; the Hospital took up his obligations with the exception of the "servise de cors".

paragraph: He was married to Plaisance of Antioch from 1254 until their divorce in 1258, after which he moved from Antioch to Tripoli. He was created Constable of Jerusalem like his father had been in 1268 and held that post until his death. Hugh III of Cyprus and Jerusalem appointed Balian bailiff, effectively regent, of the kingdom upon returning to Cyprus in October 1276. Hugh's claim to the royal title, however, was disputed by Charles I of Naples, who sent Roger of Sanseverino to Acre as his bailiff in 1277.

paragraph: Balian initially refused to admit Roger into the citadel until papers signed by Charles, Mary of Antioch, and Pope John XXI were produced and the Knights Hospitallers and John of Versailles, Patriarch of Jerusalem, had refused to intervene. To avoid war, he allowed Roger in and Charles was proclaimed king.

paragraph: Section::::References.

description: Christian Crusader

wikidata_label: Balian of Arsuf

wikipedia_title: Balian of Arsuf


text: Romania

text: Symbolist

text: left-wing

text: modern art

text: Romanian Symbolist movement

text: Post-Impressionist

text: avant-garde

text: Joris-Karl Huysmans

text: Alexandru Macedonski

text: Tudor Arghezi

text: Mateiu Caragiale

text: Ștefan Luchian

text: Constantin Artachino

text: Nicolae Vermont

text: anarchism

text: occult

text: Joséphin "Sâr" Péladan

text: Bucharest

text: sedition

text: 1899 election

text: blackmail

text: Aristide Blank

text: Seara

text: Germanophile

text: World War I

text: Entente Powers

text: Pitești

text: Olt

text: Epirote

text: Ioannina

text: Aromanian

text: Albanian

text: Conservative Party

text: boyar

text: Krikor Zambaccian

text: Wallachia

text: ruling house

text: Basarab Princes

text: Geneva

text: Catholic

text: Romanian Orthodox

text: University of Montpellier

text: bohemian

text: University of Paris

text: École des Beaux-Arts

text: Switzerland

text: Tudor Vianu

text: French anarchist

text: Symbolist movement

text: Theodor Enescu

text: decadent poetry

text: Auguste Vaillant

text: Élisée Reclus

text: Laurent Tailhade

text: Félix Fénéon

text: Judaism

text: atheism

text: communism

text: Catholic anarchist

text: craniometry

text: scientific racism

text: General Boulanger

text: Orléanist

text: Bonapartist

text: socialist

text: Romantic nationalist

text: Maurice Barrès

text: Joris-Karl Huysmans

text: Maurice Maeterlinck

text: Octave Mirbeau

text: Jean Moréas

text: Paul Verlaine

text: occult

text: Joséphin Péladan

text: Rosicrucian salon

text: Le Figaro

text: Le Gaulois

text: Gil Blas

text: L'Intransigeant

text: La Libre Parole

text: Switzerland

text: Richard Wagner

text: Die Walküre

text: Romanian art

text: Kübler

text: Post-Impressionist

text: Constantin Artachino

text: Ștefan Luchian

text: Nicolae Vermont

text: Société des Artistes Indépendants

text: Nicolae Grant

text: Nicolae Petrescu-Găină

text: French-language

text: avant-garde

text: academic art

text: Romanian Athenaeum

text: Neoclassicism

text: C. I. Stăncescu

text: red flag

text: Romanian Police

text: Adevărul

text: Nicolae Grigorescu

text: Barbizon school

text: Romanian Symbolist movement

text: Odilon Redon

text: Gustave Moreau

text: Alexandre Séon

text: Literatorul

text: Alexandru Macedonski

text: Mihai Eminescu

text: Francophile

text: German culture

text: Mercure de France

text: Pierre Quillard

text: Ioan Bacalbașa

text: Ștefan Ciocâlteu

text: Constantin Rădulescu-Motru

text: Nicolae Xenopol

text: Nicolae Filipescu

text: Jean Alexandru Steriadi

text: Ileana

text: Romanian folklore

text: fairy tale

text: Ileana Cosânzeana

text: Romanian Social Democratic Workers' Party

text: agent provocateur

text: antisemitic

text: Joséphin Péladan

text: Chamber of Deputies

text: Metropolitan

text: Domnița Bălașa

text: Roman Catholic

text: Saint Joseph Cathedral

text: Constantin Dissescu

text: Take Ionescu

text: Ioan Lahovary

text: Constantin C. Arion

text: Barbu Ștefănescu Delavrancea

text: Latin Race

text: French culture

text: Paul Cernat

text: art for art's sake

text: Angelo Mitchievici

text: Arthur Verona

text: George Demetrescu Mirea

text: Literatorul

text: Cubism

text: Fauvism

text: Theodor Cornel

text: Impressionism

text: Paul Gauguin

text: Paul Cézanne

text: land reform

text: general election of 1899

text: Olt

text: Ilfov

text: two-party system

text: National Liberal Party

text: Domnitor

text: Alexandru Ioan Cuza

text: Slatina

text: Romanian Land Forces

text: Gheorghe Grigore Cantacuzino

text: Minister of Agriculture

text: Nicolae Fleva

text: Minister of Justice

text: sedition

text: political crime

text: misdemeanor

text: Văcărești prison

text: Colonești

text: en plein air

text: Nicolae Dărăscu

text: Ștefan Dimitrescu

text: Iosif Iser

text: M. H. Maxy

text: Theodor Pallady

text: Camil Ressu

text: Victor Eftimiu

text: Cișmigiu Gardens

text: Tudor Arghezi

text: Mateiu Caragiale

text: Benjamin Fondane

text: Gala Galaction

text: George Bacovia

text: Ion Minulescu

text: Claudia Millian

text: N. D. Cocea

text: Ion Vinea

text: F. Brunea-Fox

text: Eugeniu Ștefănescu-Est

text: A. de Herz

text: Ion Călugăru

text: Adrian Maniu

text: Nina Arbore

text: Constantin Brâncuși

text: Constantin Medrea

text: Dimitrie Paciurea

text: Maria Ciurdea Steurer

text: Oscar Han

text: Nicolae Tonitza

text: Ion Theodorescu-Sion

text: Friedrich Storck

text: Cecilia Cuțescu-Storck

text: Abgar Baltazar

text: Alexandru Brătășanu

text: Alexandru Poitevin-Skeletti

text: George Demetrescu Mirea

text: Rodica Maniu

text: Marcel Janco

text: Demetrios Galanis

text: Jean-Louis Forain

text: André Derain

text: Șerban Cioculescu

text: Ștefan Petică

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text: Paul Cernat

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text: Grigore Gheorghe Cantacuzino

text: Mayor of Bucharest

text: Seara

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text: Nicolae Titulescu

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text: proletarian internationalism

text: pacifists

text: agent of influence

text: propaganda

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text: Nicolae Fleva

text: Berlin

text: Siguranța Statului

text: counter-intelligence

text: Matthias Erzberger

text: Raymund Netzhammer

text: Catholic Archbishop of Bucharest

text: Steaua Română

text: Lucian Boia

text: 1914 build-up to the war

text: Serbian nationalism

text: Felix Aderca

text: progressive

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text: Russian Empire

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text: Alexis Nour

text: Poporanist

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text: Dumitru Karnabatt

text: Entente Powers

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text: British imperialism

text: Ion Gorun

text: Habsburg loyalist

text: Jacques G. Costin

text: Demostene Botez

text: I. Dragoslav

text: Adrian Maniu

text: I. C. Vissarion

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text: Aristide Blank

text: blackmail

text: Take Ionescu

text: Barbu Ștefănescu-Delavrancea

text: Constantin Dissescu

text: Romanian theater of war

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text: Félix Fénéon

text: modernism

text: Theodor Enescu

text: Junimea

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text: Constantin Bacalbașa

text: Ionel Jianu

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text: Alcibiades

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text: Pietro Aretino

text: Hinduism

text: orality

text: Nae Ionescu

text: far right

text: interwar period

text: lei

text: Ion Iancovescu

text: Radu D. Rosetti

text: Sinaia

text: multiple sclerosis

text: Ioan Slavici

text: Alexandru Rosetti

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text: Octavian Goga

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text: confession

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text: Nina Arbore

text: Constantin Brâncuși

text: Oscar Han

text: Aurel Jiquidi

text: Maria Ciurdea Steurer

text: Constantin Medrea

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text: Nicolae Petrescu-Găină

text: Alexandru Satmari

text: Francisc Șirato

text: Cecilia Cuțescu-Storck

text: Jean Alexandru Steriadi

text: Friedrich Storck

text: Ion Theodorescu-Sion

text: Nicolae Tonitza

text: Georges Rochegrosse

text: Frank Brangwyn

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text: Seara

text: Adevărul

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text: Alexandru G. Florescu

text: Iosif Dona

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text: Humanitas

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text: Cartea Românească

text: Șerban Cioculescu

text: Editura Eminescu

text: "Ștefan Luchian în evocările contemporane lui. Relația artistului cu Virgil Cioflec"

text: Babeș-Bolyai University

text: Adrian-Silvan Ionescu

text: Ionel Jianu

text: Petru Comarnescu

text: Editura de stat pentru literatură și artă

text: Jacques Lassaigne

text: Theodor Enescu

text: Editura Meridiane

text: Angelo Mitchievici

text: Editura Curtea Veche

text: "Relații româno-germane în anul 1914"

text: Ion Rusu Abrudeanu

text: Editura Socec

text: ""Fin de siècle" Biographies: Alexandru Bogdan-Pitești"

text: Tudor Vianu

text: Editura Minerva

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paragraph: Alexandru Bogdan-Pitești

paragraph: Alexandru Bogdan-Pitești (; born Alexandru Bogdan, also known as Ion Doican, Ion Duican and Al. Dodan; June 13, 1870 – May 12, 1922) was a Romanian Symbolist poet, essayist, and art and literary critic, who was also known as a journalist and left-wing political agitator. A wealthy landowner, he invested his fortune in patronage and art collecting, becoming one of the main local promoters of modern art, and a sponsor of the Romanian Symbolist movement. Together with other Post-Impressionist and Symbolist cultural figures, Bogdan-Pitești established "Societatea Ileana", which was one of the first Romanian associations dedicated to promoting the avant-garde and independent art. He was also noted for his friendship with the writers Joris-Karl Huysmans, Alexandru Macedonski, Tudor Arghezi and Mateiu Caragiale, as well as for sponsoring, among others, the painters Ștefan Luchian, Constantin Artachino and Nicolae Vermont. In addition to his literary and political activities, Alexandru Bogdan-Pitești was himself a painter and graphic artist.

paragraph: Much of Bogdan-Pitești's controversial political career, inaugurated by his support for anarchism, was dedicated to activism and support for revolution. He also had an interest in the occult, and maintained close contacts with Joséphin "Sâr" Péladan—sponsoring Péladan's journey to Bucharest (1898). He was detained by the authorities at various intervals, including an arrest for sedition during the 1899 election, and was later found guilty of having blackmailed the banker Aristide Blank. Late in his life, he led "Seara", a Germanophile daily, as well as a literary and political circle which came to oppose Romania's entry into World War I on the Entente Powers' side. He was arrested one final time upon the end of the war, by which time he had become the object of public hatred. The enduring mysteries and contradictions of Bogdan-Pitești's career have since drawn interest from several generations of art and literary historians.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and anarchism.

paragraph: A native of Pitești, Alexandru Bogdan-Pitești was the son of a landowner from Olt, and, on his father's side, the descendant of immigrants from the Epirote area of Ioannina, whose ethnicity was either Aromanian or Albanian. His father became a local leader of the Conservative Party. His mother was a boyaress, and, as art collector and memoirist Krikor Zambaccian recounted, may have been a descendant of the Balotescu boyar clan. Bogdan-Pitești also had a sister, Elena Constanța Bogdan; both she and her mother reportedly survived his death. As one of his eccentricities, Bogdan-Pitești encouraged the—unsustainable—rumor that he was a direct descendant of an ancient Wallachian ruling house, the Basarab Princes.

paragraph: According to at least one account, Bogdan-Pitești was educated in Geneva, at a local Catholic institution. Raised in the Romanian Orthodox faith, he converted to Catholicism in his twenties, but was no longer a practicing Catholic by the time of his death. He supposedly attended medical school at the University of Montpellier, without ever graduating, and afterwards left to join the bohemian milieu of Paris. He may have enrolled at the University of Paris, studying Law and Letters, but probably withdrew after a short while. Art historian Sanda Miller recounts that Bogdan-Pitești attended the "École des Beaux-Arts" in the French capital, but that he was ultimately expelled. Other sources express doubt that the Romanian aristocrat was ever affiliated with any university or college, in either France or Switzerland.

paragraph: According to literary historian Tudor Vianu, at that stage, the young man began associating with the criminal underworld. He soon established a connection with the French anarchist circles, while also associating with a branch of the growing Symbolist movement. Like others in his generation, he may have been driven by a desire for shocking and morbid experiences. According to art historian Theodor Enescu, these ranged from erotic experimentation to the "boisterous shivers of anarchism", and from criminal enterprise to decadent poetry. Bogdan-Pitești was a presence in the anarchist group of Auguste Vaillant (later guillotined for plotting a terrorist coup), and was possibly acquainted with some of the more prestigious anarchist intellectuals: Élisée Reclus, Laurent Tailhade and (especially influential on him) Félix Fénéon.

paragraph: Reports exist that Bogdan-Pitești's politics were already a merger of opposite or hardly compatible doctrines. He respected Catholicism and Judaism as the most elevated religious cultures, rejected Orthodoxy, atheism and communism as ideologies for the mediocre, and depicted himself as a Catholic anarchist. He believed in craniometry, and took scientific racism at face value. At some stage during the late 1880s, Bogdan-Pitești became a supporter of General Boulanger, who attempted to gain power in France with support from the Orléanist, Bonapartist and socialist camps; he reputedly befriended the prominent Boulangist and Romantic nationalist thinker Maurice Barrès.

paragraph: In parallel, he himself became a representative of literary and artistic Symbolism, and supposedly maintained contacts with authors such as Joris-Karl Huysmans, Maurice Maeterlinck, Octave Mirbeau, Jean Moréas, and Paul Verlaine. Another influence on him was the occultist and novelist Joséphin Péladan, whose Rosicrucian salon he attended several times.

paragraph: Bogdan-Pitești debuted as a writer and political essayist. It was later reported, but not confirmed, that he published his pieces in newspapers and magazines of diverse backgrounds—"Le Figaro", "Le Gaulois", "Gil Blas", "L'Intransigeant" and "La Libre Parole" among them. A lover and protector of actresses in both France and Switzerland, he also claimed to have played a part in staging the first Genevan showing of Richard Wagner's "Die Walküre".

paragraph: Section::::Biography.:"Salonul Independenților".

paragraph: Placed under surveillance due to his involvement in revolutionary politics by 1894, Alexandru Bogdan-Pitești was eventually expelled from France, despite Huysmans' intervention in his favor. Reputedly, the deportation document identified him as a "threat to public order". One urban legend recounts that Bogdan-Pitești was present at Vaillant's public execution and leaned over to kiss Vaillant's mangled body, which both disgusted and alarmed the judicial establishment. Zambaccian suggests that the decision to deport the Romanian provocateur was not politically motivated. He writes that Bogdan-Pitești had exhausted the patience of French authorities by trafficking in stolen bicycles.

paragraph: From France, Bogdan-Pitești had contemplated the idea of revolutionizing Romanian art, and, upon his arrival to Bucharest, began organizing artists' reunions at the Kübler and Fialkowski coffeehouses. In 1896, with Post-Impressionist artists Constantin Artachino, Ștefan Luchian and Nicolae Vermont, he founded "Salonul Independenților", the Romanian replica of the French "Société des Artistes Indépendants". They were soon joined by painter Nicolae Grant and caricaturist Nicolae Petrescu-Găină.

paragraph: The exhibits featured some of Alexandru Bogdan-Pitești's own drawings, which he intended to use as illustrations for his book of French-language poems, "Sensations internes" ("Internal Sensations"). He planned for his art movement to reach outside Romania, and, also in 1896, financed an international exhibition of independent and avant-garde artists. "Salonul" was known for its public protest against academic art: located just outside the Romanian Athenaeum building (a main venue for local Neoclassicism), it put up Petrescu Găină's huge caricature of academic artist C. I. Stăncescu, and flew a red flag next to it. This call to socialist rebellion attracted public attention, and the flag was urgently taken down by agents of the Romanian Police. The subsequent exhibitions were viewed with sympathy by a section of the press, including the leftist newspaper "Adevărul". It republished pieces ridiculing Stăncescu in his role of official curator, and made favorable comments on all of the "Salonul Independenților" artists. Noting the leader's own anarchist past, "Adevărul" art columnist Gal wrote: "Bogdan has all the qualities and flaws of a sincere French revolutionary, but one who is not entirely clear and scientific. He has an extraordinary love for all things independent and hates to the point of excess all sectarian people, and all schools." In June 1896, the group of "secessionists" was commissioned to decorate Bragadiru Garden, where Romania's press held its annual fair. The show, attended by Bogdan-Pitești, prominently featured Stăncescu's caricature at the entrance.

paragraph: Despite rhetoric, the new art club was not entirely opposed to tradition, and occasionally appealed to it as a basis for cultural reconstruction. "Salonul" boasted among its honorary members the lionized oil painter Nicolae Grigorescu, who had trained with the Barbizon school. Bogdan-Pitești was especially fond of Luchian's work, and, in an 1896 article for the cultural magazine "Revista Orientală", spoke of him as "an admirable colorist", a "free spirit", and a purveyor of "revolutionary ideas". He boosted Luchian's self-confidence, urging him to apply his talents to illustrating "an idea", and was entirely adverse to Grigorescu's traditionalist manner. Luchian still used Grigorescu as a source of inspiration in his own work, prompting scholars to argue that Grigorescu's "Salonul Independenților" reception was Bogdan-Pitești's unwilling concession to his star protégé.

paragraph: Section::::Biography.:"Literatorul", "Bronzes", "Ileana".

paragraph: Bogdan-Pitești was by then an inspiration for the blooming Romanian Symbolist movement. In effect, he was the first Romanian expert on the work of Symbolist celebrities like Odilon Redon, Gustave Moreau, and (his favorite) Alexandre Séon. He soon became a contributor to "Literatorul", a Symbolist magazine, and was close friends with its founder, Alexandru Macedonski. In 1897, he was chosen by the latter to edit and promote his book of French-language poems, "Bronzes". In the end, Bogdan-Pitești provided the funds needed for "Bronzes" to be published in Paris. It came out with an introductory note, in which Bogdan-Pitești favorably compared Macedonski with arch-rival Mihai Eminescu. In more general terms, the preface showed Bogdan-Pitești as an unyielding Francophile, who reported with alarm that Romania risked being seduced and then engulfed by German culture. Himself a disciple of Macedonski, T. Vianu comments that Bogdan-Pitești was probably unsuited for the task of introducing "Bronzes", and that, despite expectations, the volume failed to impress the French public. He notes the virtually complete lack of press reviews—with the notable exception of a May 1898 article in "Mercure de France", written by the Symbolist-anarchist Pierre Quillard.

paragraph: Later in 1898, back in Romania, Bogdan-Pitești and the other "Salonul Independenților" initiators joined up with author Ioan Bacalbașa and architect Ștefan Ciocâlteu. This diverse group established "Societatea Ileana", an association dedicated to supporting innovative artists. Its steering committee was later joined by the intellectual and political figures Constantin Rădulescu-Motru, Nicolae Xenopol, and Nicolae Filipescu, as well as by the painter Jean Alexandru Steriadi. The society took up the effort to uproot against academic salons, organizing a large and provocative exhibit in 1898, and, at the height of its popularity, enlisted in its ranks some 300 people. Despite such consolidation, various "Ileana" affiliates were not entirely committed to the cause, and never severed their links with Stănescu's official section.

paragraph: The new circle held meetings in a Brezoianu Street studio which was also its patron's home. Its feminine name "Ileana" was probably a borrowing from Romanian folklore, and may reference the fairy tale character Ileana Cosânzeana. The group's press organ, also known as "Ileana", was edited by Bacalbașa and illustrated by Luchian. Described by Vianu as a "refined art magazine", it is also considered the first one of its kind in Romania.

paragraph: In parallel, Bogdan-Pitești began frequenting the country's first socialist pressure group, the Romanian Social Democratic Workers' Party (PSDMR), and attending meetings between Bucharest workers. The PSDMR denounced him as an "agent provocateur" of the Conservative Party, and he stood accused of breaking the party into tolerant and antisemitic halves.

paragraph: Section::::Biography.:Péladan's visit.

paragraph: As head of "Ileana", Bogdan-Pitești organized Joséphin Péladan's 1898 visit to Bucharest. It was a much-publicized event, which attracted the attention of high society and received ample coverage in the press; Bogdan-Pitești accompanied Péladan on visits to various Bucharest landmarks, including the Athenaeum, the Chamber of Deputies, the Orthodox Metropolitan and Domnița Bălașa churches, as well as the Roman Catholic Saint Joseph Cathedral. Among the politicians who attended the ceremonies were Nicolae Filipescu, Constantin Dissescu, Take Ionescu, Ioan Lahovary, and Constantin C. Arion; prominent intellectuals (Barbu Ștefănescu Delavrancea, Rădulescu-Motru etc.) were in the audience.

paragraph: Péladan agreed to lecture in front of "Societatea Ileana" at the Atheneum, and his subject of choice was "The Genius of the Latin Race". His mystical doctrine was received with much skepticism and amusement by the Romanian literary chroniclers. The visit then turned to scandal: Péladan issued a call for all Romanians to embrace Catholicism, and left the country on pain of being deported.

paragraph: Various commentators are entirely dismissive of the visit and its importance. Th. Enescu describes its impact as "amazing", since Péladan was merely an "unusual ["funambulesc" in the original] representative of French culture". He also proposes that the reception, with its "noisy" and "exacerbated" fanfare, shows the "complexes of a provincial culture, confronted with the promiscuous exorbitance of a great culture". This assessment is quoted by literary historian Paul Cernat, who also notes Péladan's "rather modest value" should not have allowed such reactions. Cernat concedes that the Péladan visit was important for promoting new cultural trends, specifically the notions of art for art's sake and decadence, even though this was done "through the means "of politics" [italics in the original]".

paragraph: Cultural historian Angelo Mitchievici proposes that, modelling himself on Péladan, Bogdan-Pitești was becoming the "" of oriental Symbolism. As "Ion Doican" (or "Duican"), he contributed to "Ileana" essays praising various contemporary painters: Arthur Verona, George Demetrescu Mirea, and, most of all, Luchian. "Ileana" only published a few issues before closing down in 1901. Bogdan-Pitești's collaborator Bacalbașa, known by then as a dramatist, also attended, but drifted away from the group in 1900, giving up his position as editor of "Ileana". A similar split occurred between Luchian and his patron, sparked when Bogdan-Pitești made some favorable comments on Stăncescu's work, and probably took several years to mend. Over that decade, Bogdan-Pitești had also become one of "Literatorul"s main financial backers.

paragraph: Writing in 1910, at a time when Romanian art came to be me more familiar with new artistic trends (including Cubism and Fauvism, both advocated locally by art critic Theodor Cornel), Alexandru Bogdan-Pitești adapted his discourse to the new trends. The art patron, who probably exercised considerable influence over Cornel, publicly complained that, instead of keeping up with the times, his fellow Romanian intellectuals still regarded Impressionism as the ultimate novelty. On the occasion, he hailed the Post-Impressionist French artists Paul Gauguin and Paul Cézanne as the models to follow. He was actively seeking to mend his split with Luchian, and, although he called the painter "inconsistent", again stated that he found him to be Romania's best young artist.

paragraph: Section::::Biography.:Slatina revolt and Vlaici colony.

paragraph: After his return to Romania, Alexandru Bogdan-Pitești was still noted for his political activities, although these shifted to the background during his "Ileana" years. According to some reports, he spent some of his free time touring the countryside, rallying up peasants, inciting them to rebel, and mapping out a radical land reform. During the general election of 1899, he ran for a deputy seat in both Olt and Ilfov, without registering success. There was confusion as to Bogdan-Pitești's political affiliation. He was known as "the peasants' candidate", but both sides of the Romanian two-party system, the National Liberal Party and the Conservative group, accused the other of secretly supporting his bid.

paragraph: During such campaigns, he is said to have misled his voters into believing that he was a son of the deposed "Domnitor" Alexandru Ioan Cuza, and therefore a natural champion of land reform. His activity in Olt is credited with having sparked some violent incidents: in at least one account, he instigated the peasants of Slatina area to riot, and their revolt was only suppressed with use of force. Others however claim that the Romanian Land Forces randomly shot at, then charged upon, the peaceful mass of demonstrators, killing at least 35 of them.

paragraph: The Slatina crisis reverberated in the capital and posed problems for the Conservative cabinet of Gheorghe Grigore Cantacuzino. Reportedly, both the Minister of Agriculture Nicolae Fleva and the Minister of Justice Dissescu were ready to hand in their resignations. Bogdan-Pitești himself was arrested for sedition, but soon after checked himself into Filantropia Hospital. He averted sentencing when the prosecutors were unable to conclusively prove this involvement.

paragraph: Overall, Bogdan-Pitești claimed to have been held in judicial custody for some forty separate incidents, stressing that all these convictions were owed to political crimes—while reporting this statement, T. Vianu noted that at least some should in fact be considered punishments for various misdemeanors. In time, the anarchist boyar had also come to be known as an inveterate criminal and jailbird, which attracted him the disparaging moniker "Bogdan-Văcărești" (after Văcărești prison in Bucharest). Others twisted his birth name into the parodic "Bogdan-Ciupești" (from "a ciupi", "to gyp").

paragraph: Bogdan-Pitești consolidated his own estate when he inherited a manor in Vlaici village (part of Colonești). It was, beginning in 1908, the center of his activities and home to his sizable art collection, as well as one of the first locations in Romania acting as a summer camp for painters and sculptors. The events he planned were attended by the "Ileana" regulars, and, in time, attracted virtually all other major "en plein air" painters of the day: Nicolae Dărăscu, Ștefan Dimitrescu, Iosif Iser, M. H. Maxy, Theodor Pallady, Camil Ressu.

paragraph: In his recollections from that period, writer Victor Eftimiu suggested that the relationship was not entirely harmonious: "Camil Ressu, like other young unknown painters, found a lot of support and encouragement with Bogdan-Pitești. Truth be told, the maecenate was rather thrifty, it profited from the needs of the debuting and impoverished artist. But without it things would've been much worse, since others did not even offer as much". He also argued that, contrary to speculation about his wealth, Bogdan-Pitești "maybe paid up so little because that is all he had to spare". Reputedly, the "Ileana" boss was losing a fortune on maintaining the Vlaici manor, surrounded as it was by barren land.

paragraph: Section::::Biography.:Știrbey-Vodă circle.

paragraph: Circa 1908, the Bogdan-Pitești villa on Bucharest's Știrbey-Vodă Street (near the Cișmigiu Gardens) began hosting regular gatherings of intellectuals. Among those who attended in successive stages were the writers Macedonski, Eftimiu, Tudor Arghezi, Mateiu Caragiale, Benjamin Fondane, Gala Galaction, George Bacovia, Ion Minulescu, Claudia Millian, N. D. Cocea, Ion Vinea, F. Brunea-Fox, Eugeniu Ștefănescu-Est, A. de Herz, Ion Călugăru, and Adrian Maniu. It also hosted the artists Luchian, Artachino, Verona, Maxy, Iser, Steriadi, Dimitrescu, Pallady, Ressu, Dărăscu, Nina Arbore, Constantin Brâncuși, Constantin Medrea, Dimitrie Paciurea, Maria Ciurdea Steurer, Oscar Han, Nicolae Tonitza, Ion Theodorescu-Sion, Friedrich Storck and Cecilia Cuțescu-Storck, as well as Abgar Baltazar, Alexandru Brătășanu, Alexandru Poitevin-Skeletti, George Demetrescu Mirea, Rodica Maniu, and Marcel Janco. Also in 1908, following Iser's proposal, Bogdan-Pitești sponsored a Bucharest exhibit showcasing works by the renowned European painters Demetrios Galanis, Jean-Louis Forain and André Derain.

paragraph: After 1910, his patronage took on new forms. Literary critic Șerban Cioculescu notes that, at least initially, his relationship with Mateiu Caragiale included a financial aspect, since Bogdan-Pitești inviting the destitute poet to dinner and provided him with funds. He was also granting lodging and material to various disadvantaged painters, as reported by his close friend Arghezi, and took a special interest in promoting the poetry of Ștefan Petică (as well as that of Arghezi himself). Arghezi claimed that such influence and moral support were also "decisive" in at least one other case, that of Luchian. In his memoir of the period, linguist Alexandru Rosetti mentioned that, on a daily basis, Bogdan-Pitești invited "over a dozen artists" for supper at his home.

paragraph: Bogdan-Pitești's renewed his attacks on the Orthodox Church. Paul Cernat sees them as efforts to fabricate a religious alternative to the Orthodox mainstream, included in the larger phenomenon that was Symbolist cosmopolitanism. However, Galaction, who was to end his life as an Orthodox priest, recorded that the Știrbey-Vodă circle accommodated people of very diverse backgrounds. At one time, they included, alongside Galaction himself, the Roman Catholic priest Carol Auner, the Protestant sculptor Storck, and the anarchist activist Panait Mușoiu. According to Cernat, Bogdan-Pitești's bohemian society also grouped people believed associated with the illegal activities, and was noted for its "libertine" atmosphere. Galaction backed such interpretations, writing that the salon was also home to "a dozen con artists and prostitutes." The atmosphere was colloquial and free-spirited, to the point of being demeaning: story goes that the artists and writers were sometimes told licentious jokes, or had to endure grotesque farces.

paragraph: A dandy, Alexandru Bogdan-Pitești himself led a life of luxury, marked by excess, and had by then become a drug addict. He was a proud homosexual (or bisexual), which did not prevent him from keeping as his concubine a younger woman, commonly referred to as "Domnica" ("Little Lady") or "Mica" ("Little One"). Born Alexandra Colanoski, she was born in 1894 to Romanian Poles from Bessarabia, and, according to memoirist Constantin Beldie, had previously been a prostitute at a nightclub.

paragraph: Herself a libertine, Domnica was described by researchers as an androgynous or cross-dressing presence. To other members of the Știrbey-Vodă circle, painter-designer Alexandru Brătășanu was introduced as Bogdan-Pitești's male lover. Theirs was a "degenerate" affair, according to Oscar Han; Han also quotes Bogdan-Pitești's admiration for the male body, including male genitalia, as the only physical beauties which could withstand time.

paragraph: Section::::Biography.:Cantacuzino Conservative and "Seara".

paragraph: Around 1912, Alexandru Bogdan-Pitești's political influence was on the rise. He had begun associating with an inner faction of the Conservative Party, which had as its leader Grigore Gheorghe Cantacuzino, the Mayor of Bucharest. Afterward, Bogdan-Pitești became the publisher of "Seara", but was reportedly a front for Cantacuzino, who used him to test the impact of his agenda on the Romanian public. "Seara"s main negative campaign at the time focused on Take Ionescu and his Conservative-Democrats, who, to Cantacuzino's displeasure, had been co-opted in government by the other mainstream Conservatives. The paper published gossip columns and lampoons having Ionescu, Alexandru Bădărău and Nicolae Titulescu for their main targets.

paragraph: By then, like many "Germanophile" Conservatives, Bogdan-Pitești had come to support the Romanian Kingdom's alliance with the German Empire and Austria-Hungary. This view was popularized by means of his literary club, and support for the Central Powers was also voiced by Arghezi at "Seara". In September 1914, a German consortium purchased the paper (together with Cantacuzino's other gazette, "Minerva"), and Bogdan-Pitești was kept on as a simple columnist. Throughout the interval, Bogdan-Pitești was himself an outspoken Germanophile. His circle, which was already hostile to the National Liberal cabinet of Ion I. C. Brătianu, welcomed the diverse groups who were alarmed by Romania's probable entry into the war: the pro-German Conservatives, the supporters of proletarian internationalism, and the committed pacifists. The artistic clientele was also represented in the Germanophile group at large, but, Cernat's writes, did so for sheer dependency rather than actual convictions.

paragraph: Suspicions soon arose that Bogdan-Pitești had become a veritable agent of influence. According to Zambaccian, it was Bogdan-Pitești who actually dropped a hint that his support for Germany was a lucrative employment. Through various notes in scattered diaries, most of which have been lost, Caragiale reputedly accused Bogdan-Pitești taking Germany's money to promote her interests in Romania, and to assist her foreign propaganda effort. Such assessments, like Caragiale's allegation that Bogdan-Pitești was not knowledgeable in art, reflected conflicts between the two figures, and their overall reliability remains doubtful. It is however possible that Caragiale himself borrowed, and never returned, some 10,000 lei, siphoned out of the German propaganda funds by Bogdan-Pitești.

paragraph: Section::::Biography.:"Libertatea" and propaganda wars.

paragraph: Between October 1915 and June 1916, Bogdan-Pitești managed another press venue, "Libertatea" ("Freedom"). Its political director was retired statesman Nicolae Fleva, later replaced by Arghezi. In February 1916, Galaction and Arghezi launched "Cronica", another review with a pro-German agenda, and which may itself have been published with discreet assistance from Bogdan-Pitești. Although Bogdan-Pitești, Domnica and Caragiale paid a mysterious visit to Berlin in early 1916, they were never listed as foreign spies by Siguranța Statului counter-intelligence. Bogdan-Pitești's name then surfaced in a February 1916 conversation between German statesman Matthias Erzberger and Raymund Netzhammer, the Catholic Archbishop of Bucharest. Erzberger asked if the Vlaici landowner could ever help advance the Germanophile cause; the Archbishop, a loyal German subject, replied that Bogdan-Pitești was unreliable. Allegations later surfaced that Bogdan-Pitești was one of the men receiving payoffs from the German spy Albert E. Günther, manager of "Steaua Română" company. The dossier attesting this was lost, but secondary sources have it that Bogdan-Pitești alone received 840,000 lei from Günther's hands.

paragraph: The contributors to "Seara" and "Libertatea" were, in general, outspoken social and cultural critics, with diverse grievances against the establishment. Historian Lucian Boia argues that, even though Bogdan-Pitești was on the German payroll, his switch from the Francophiles could have been a genuine form of conservatism. Boia thus notes that "Seara" was supportive of the Central Powers from the 1914 build-up to the war, that is even before Cantacuzino had come to decide which side he liked best. The core group of "Seara" men included socialists of various hues: Arghezi, who claimed that Serbian nationalism was the spark of the war; Felix Aderca, who depicted the German Empire as the more progressive belligerent; and Rodion, who rendered the complains of Germanophile intellectuals from Moldavia. Others were left-wing refugees from the Russian Empire, who wanted Romania to join the Central Powers and help liberate Bessarabia: Alexis Nour, from the Poporanist faction, and the old anarchist Zamfir Arbore. "Seara" was also a platform for some disgruntled Romanians from Transylvania region, a Romanian irredenta under Austro-Hungarian rule. They included a mainstream Conservative commentator, Ilie Bărbulescu, who advised Romanians to not to focus on Transylvania, and prioritized action against the Russians. Two distinct voices were those of poet Dumitru Karnabatt, who identified the Entente Powers with Pan-Slavism or British imperialism; and Ion Gorun, the Transylvanian writer and Habsburg loyalist. Beyond politics, "Seara" came out with news on culture, selected for publishing by Ion Vinea and poet Jacques G. Costin.

paragraph: The left-wing preoccupations were also an important feature of "Libertatea". Its opening manifesto called for a large-scale social reform, which it claimed was more important to Romanians than any National Liberal project to recover Transylvania from its Austro-Hungarian overlord. It enlisted contributions, generally less political than those at "Seara", from literary figures such as Vinea, Demostene Botez, I. Dragoslav, Adrian Maniu and I. C. Vissarion.

paragraph: Bogdan-Pitești regularly published his own articles in the two newspapers he directed, signing them with the pseudonym "Al. Dodan". The early texts express his Russophobia and commiseration over France's alliance with Tsarist autocracy, the world's "most savage, most ignorant and bloodiest oligarchy". By 1915, assessing that Romania's national interest rested with the Habsburgs and the Germans, and arguing that Romanian peasants were worse off than their counterparts in Transylvania, he was urging his countrymen to ponder the benefits of Bessarabia's annexation to Romania.

paragraph: Section::::Biography.:Wartime, disgrace and death.

paragraph: The neutrality years also rekindled controversy over Alexandru Bogdan-Pitești's daily affairs. A scandal erupted in 1913, after banker Aristide Blank brought Bogdan-Pitești to court on charges of blackmail. The plaintiff enlisted the services of lawyer Take Ionescu, and the defendant, represented by Fleva, was ultimately sentenced to a jail term. Throughout the scandal, "Seara" hosted articles by Arghezi, professing Bogdan-Pitești's innocence. In 1916, just before Romania entered the war as an Entente country, Alexandru Bogdan-Pitești was again involved in a legal dispute with the Francophiles Take Ionescu and Barbu Ștefănescu-Delavrancea, with Constantin Dissescu as his lawyer.

paragraph: The Ententist bid resulted in major initial defeats, and a Romanian theater of war was opened. The country suffered heavily, and Bucharest was taken by the Central Powers. Reputedly, the occupation forces picked up Bogdan-Pitești from his cell at Văcărești, where he was still serving time. Like Arghezi, Macedonski, Galaction and Mateiu Caragiale, he remained in German-occupied territory. Despite his apparent triumph over the Ententist lobby, he kept a low profile: according to popular but unverifiable rumors, he was even arrested once the occupation authorities angrily discovered his uselessness for the cause. He was however a free man as of April 12, 1917, the date of his marriage to Domnica Colanoski. One account has it that Bogdan-Pitești proceeded to denounce his "Ileana" colleague, Petrescu Găină, who had published a set of anti-German cartoons. As a result, the Romanian draftsman spent the war years in German captivity.

paragraph: Once Romania recovered possession over its southern areas, Alexandru Bogdan-Pitești was reportedly prosecuted for treason and was again sent to Văcărești. Others however note that this last sentence, passed in 1919, was not in fact related to his wartime dealings, but merely to his fraudulent activities, and that only by coincidence did Bogdan-Pitești share a prison with the convicted collaborationist journalists (Arghezi, Karnabatt, Ioan Slavici).

paragraph: T. Vianu notes that Bogdan-Pitești spent his last years "in ignominy", while Cernat describes his definitive fall to the status of "a pariah". The art promoter died four years after the war ended, at his house in Bucharest, having suffered a myocardial infarction. According to Cernat, his "grotesque" death was sudden, catching him in the middle of a telephone conversation. Reportedly, Bogdan-Pitești's last wish had been for his collection to pass into state property and be kept as a museum.

paragraph: Section::::Legacy.

paragraph: Section::::Legacy.:Role and influence.

paragraph: Bogdan-Pitești was the subject of fascination in the literary and artistic community. Lucian Boia writes about his seductive "legend", which fused an "imaginative and generous intellectual" with a "con artist" who "lived life as he saw fit". Art historian Corina Teacă notes that, like Félix Fénéon, Bogdan-Pitești was in fact fabricating his own myth: "every part of his public image was a removable mask." The art institutions he helped establish were, nevertheless, reputable. According to Paul Cernat, his influential circle was "an excellent medium of transmission for the modern spirit, an informal institution and one of the first coagulant factors for [Romania's] first post-symbolist modernism." Writing earlier, Theodor Enescu proposed that, like own group, the Știrbey-Vodă Street salon and Macedonski's circle were the only trend-setters active between the decline of "Junimea" society (ca. 1900) and the establishment of the modernist literature magazine "Sburătorul" (1919). Cernat additionally notes that, while the writer Alexandru Bogdan-Pitești was "neglectful and improvident" when it came to preserving his own works, those essays and prose poems that survived have a genuine value. Such judgments were also passed on his topical art essays. Art historian Petru Comarnescu writes that Bogdan-Pitești's "critical intuitions" were superior to those of fellow collectors Zambaccian and Ioan Kalinderu; critic Nicolae Oprescu also assesses that, without Bogdan-Pitești, Ștefan Luchian would be lost to Romanian art.

paragraph: The Romanian art environment cherished, then despised, its anarchist patron. In his moments of glory, he received homages from many of his writer friends, as notebooks and albums compiled especially for him. At a later date, all sides of the dispute were united in expressing criticism for at least some of Bogdan-Pitești's deeds. According to Galaction, he was a "hajduk", who "robbed away and gave away." Zambaccian portrayed him as one "created from a mold in which the evil and the good genius were present in equal measure. [...] Cynical and suave, generous on one side, a con artist on the other, Al. Bogdan-Pitești relished the abjection that he served with cynicism". As Teacă notes, both Zambaccian and sculptor Oscar Han were among those forever "seduced" by Bogdan-Pitești's duplicity. In 1970, Han wrote: "we cannot judge [him] under common law. He remains an absurdity." While nationalist journalist Pamfil Șeicaru dismissed him as "a scoundrel", Macedonski argued that Bogdan-Pitești was "a wonderful prose writer and an admirable poet". Benjamin Fondane, the modernist poet-philosopher, praised Bogdan-Pitești as a man of exquisite taste, concluding that: "He was made of the greatest of joys, in the most purulent of bodies. How many generations of ancient boyars had come to pass, like unworthy dung, for this singular earth to be generated?"

paragraph: Writer and critic Eugen Lovinescu, also a modernist, was bitterly opposed to the views of Bogdan-Pitești and most other intellectuals who sided with Germany: in 1922, he published the article "Revizuiri morale" ("Moral Revisions"), which reminded the public about the controversy surrounding the art collector and his associates (Arghezi, N. D. Cocea). A socialist acquaintance and an oral historian, Constantin Bacalbașa was convinced that Bogdan-Pitești was the prototype "inferior degenerate" and, in his political life, a manipulator of "the uncultured minds." Retrospective criticism of Bogdan-Pitești was also voiced by Comarnescu and co-author Ionel Jianu. Although they pay homage to Bogdan-Pitești's artistic qualities, the two speak of his "reproachable faults" and "con artist coups", finding in him "an exhibitionist determined to trick and scandalize", or an ""enfant terrible"".

paragraph: Commentators have been tempted to compare Bogdan-Pitești with some controversial characters in world history, most often the prototype of self-seekers, Alcibiades. Others likened Bogdan-Pitești to the Renaissance writer and notorious blackmailer Pietro Aretino (Zambaccian stresses that, unlike Aretino, Bogdan-Pitești never duped his artists). Comarnescu proposed that Bogdan-Pitești and the equally controversial Arghezi were better understood through the logic of Hinduism ("the ancient Indian ethics"): "good and evil are not opposed, but collocated, combined, in a state of confusion". Taking in view Alexandru Bogdan-Pitești's preference for orality, his shady political connections, and his mostly informal channels of influence, Cernat concluded that, "the necessary changes having been made", one could compare Bogdan-Pitești with Nae Ionescu, a philosopher and far right activist whose career spanned the interwar period, and who had also debuted as a Symbolist.

paragraph: Section::::Legacy.:Anecdotes.

paragraph: Several anecdotes concerning Bogdan-Pitești's morals and extravagant lifestyle were in circulation from his lifetime. In 1912, Macedonski published an autobiographical Christmas story. It tells how, inspired by Macedonski's desire to feed his family a traditional turkey feast, Bogdan-Pitești sent him the bird stuffed with 50 gold lei. As T. Vianu writes, such "attitudes of a grand feudal lord" made Bogdan-Pitești into an "indisputably picturesque" person. The account was partly confirmed by Constantin Beldie, who also noted that, during those years, Alexandru Macedonski was "starving" and had to provide for "a house full of children". Zambaccian however cites a contrasting story once told by actor Ion Iancovescu. It suggests that, during the wartime famine, Macedonski asked Bogdan-Pitești to pay him 1 million lei for one of the few surviving copies of "Bronzes"; Bogdan-Pitești bluntly offered him 5 lei—Macedonski gave in, commenting that "he is capable of changing his mind, that con artist!" Bogdan-Pitești's mood swings were also discussed by memoirist Radu D. Rosetti. He writes that the boyar scarcely minded when his fortune was being siphoned away by some members of his retinue, but that he publicly humiliated Galaction, and even Domnica, over random expenses.

paragraph: The relationship between Mateiu Caragiale and his one-time patron has attracted special interest from period historians. Early on, the aspiring poet wrote a special piece in honor of his senior friend—called "Dregătorul" ("The Mandarin"), it is included in one of Bogdan-Pitești's albums. That accord degenerated during the late 1910s, to the point where Caragiale, whose diary spoke of Bogdan-Pitești's homosexuality in dismissive terms (calling him "a blusterer of the anti-natural vice"), laid out a plan to loot the Știrbey-Vodă Street villa. According to the same author, Bogdan-Pitești turned to passive homosexuality because he was impotent. Caragiale's diary also sketched a portrait of Domnica Bogdan, questioning her morality in harsh terms.

paragraph: Bogdan-Pitești's other relationships with his other protégés could also fluctuate between extremes. According to an anecdote of the time, he advanced Luchian a large sum of money, which the painter used for a trip to Sinaia. Luchian then upset Bogdan-Pitești by not inviting him over, and was punished with a telegram addressed "To the ugliest tourist in Sinaia" (a pun on Luchian's proverbial bad looks). In the mid-1910s, Luchian had been incapacitated by multiple sclerosis. Bogdan-Pitești was one of the last to visit him before his death in June 1916, recording for posterity Luchian's resigned remark: "I'm going away".

paragraph: The main first-hand account of Bogdan-Pitești's 1919 imprisonment comes from Ioan Slavici's "Închisorile mele" ("My Prisons"). According to Slavici, the art patron had a luxury cell with a view over Bucharest. Alexandru Rosetti, citing Arghezi, records one of Bogdan-Pitești's witticisms on the issue of prison life. When a Gendarme wrongly attempted to push him into Arghezi's line of suspected traitors, Bogdan-Pitești snapped: "Pardon, eu sunt escroc!" ("Pardon me, [but] I'm a con artist!"). Zambaccian writes that, during the first of his legal battles with Take Ionescu, Bogdan-Pitești commented on Ionescu's deposition: "He sure is talented, that crook!" The pro-Entente nationalist Octavian Goga was especially upset by Alexandru Bogdan-Pitești's stances, and, in his record of 1916 events (including the Ionescu trial), wrote him off as a "bandit" fed with "German money".

paragraph: Section::::Legacy.:Fictional character.

paragraph: After the World War, according to Beldie, actor Iancovescu introduced impressions of Bogdan-Pitești to his cabaret routine. It showed the convicted Garmanophile and an unnamed German official, who looked into the mislanding of propaganda funds on supporting petty "henchmen". To this charge, the fictional Bogdan-Pitești replies: "I have consumed your money, this much is true, but I did not pull one on you! For how is it that you could imagine me, a traitor of my country, not also being a con artist?" According to Beldie, the account has a grain of truth: instead of using money to revive the Germanophile cause, Bogdan-Pitești directed them into his art collection. A somewhat similar version of this urban legend is included in the memoirs of a National Liberal adversary, I. G. Duca, who sees Bogdan-Pitești's retort as a paradoxical sign of injured patriotism: "Did you perhaps think that you might buy off some of Romania's honest people? You would be dead wrong, in this land one can only buy off the con artists, only con artists such as myself." Duca concludes: "this reply, with its admirable and atavistic national dignity, tempts me to forget, though not to forgive, the utter turpitude that we call Bogdan-Pitești's life."

paragraph: Despite their relationship having declined from friendship to hatred, Bogdan-Pitești's style and his mundane interests are occasionally seen as sources of inspiration for Caragiale's only novel, "Craii de Curtea-Veche" (completed in 1928). Some have noted that Bogdan-Pitești has a lot in common with at least one of the three protagonists. He and his wife were both characters in Ion Vinea's novels "Venin de mai" ("May Venom") and "Lunatecii" ("The Lunatics")—Alexandru as Adam Gună, Domnica as wife Iada Gună. Both novels portray the Bogdans' cultural circle, allude to their influence in making young people reject all conventionalism, and show them promoting vice as virtue. This lifestyle has taken its toll on Adam Gună, who is a physical ruin and slowly loses his hold on reality. Vinea's books repeat claims that Bogdan-Pitești was abusing drugs, and that Domnica was originally a prostitute.

paragraph: More fiction work dealing with the Bogdan-Pitești circle was published from a casual contributor to "Seara", Lucrezzia Karnabatt. In her 1922 novel, "Demoniaca", she portrays her employer as "Basile Dan", a sinister traitor of his country and a cynical pornographer. Ion Călugăru used Alexandru Bogdan-Pitești as the inspiration for "Alexandru Lăpușneanu", the boyar character in his novel "Don Juan Cocoșatul" ("Don Juan the Hunchback"). Literary historian George Călinescu notes that this fictional portrait shows: "The dignity in gossip, the boyar carriage, the refinement that the apparent vulgarity cannot bring to ruin, the blasé and cynical lechery [...]." In one episode in the book, Lăpușneanu simulates agony and receives a Catholic confession that (he insists) must be read in Latin instead of French; elsewhere, Lăpușneanu's eccentric and adulterous wife Fetița ("Little Girl") shows up on a battlefield, wearing nothing more than a swimsuit.

paragraph: Tudor Arghezi dedicated Bogdan-Pitești some of his first poetry writings. As art critics, Arghezi and Theodor Cornel published a comprehensive biographical study on their patron (part of their "Figuri contimporane din România" dictionary, 1909). However, according to Corina Teacă, the encomium-like and conveniently imprecise entry may have been sent in, or at least approved of, by Bogdan-Pitești. Arghezi also made his sponsor the hero of a small eponymous poem, wherein he is called "Lombard bastard cu ochi de rouă" ("bastard Lombard with the eyes of dew").

paragraph: Section::::Legacy.:Collection and estate.

paragraph: By the 1910s, Bogdan-Pitești's art interests gave birth to a collection of as few as 967 or as many as 1,500 individual works, most of them hosted by his estate in Colonești. They comprised objects created by prominent Romanian visual artists, including, alongside his early associates, Nina Arbore, Constantin Brâncuși, Oscar Han, Aurel Jiquidi, Maria Ciurdea Steurer, Constantin Medrea, Ary Murnu, Dimitrie Paciurea, Nicolae Petrescu-Găină, Alexandru Satmari, Francisc Șirato, Cecilia Cuțescu-Storck, Jean Alexandru Steriadi, Friedrich Storck, Ion Theodorescu-Sion, and Nicolae Tonitza. Of the total, around 900 works were of Romanian provenance. Among the foreign artists whose work was featured in the collection were Georges Rochegrosse and Frank Brangwyn. The section dedicated to newer works of art was designed and opened as the first the modern art museum in Romania.

paragraph: The Bogdan-Pitești trust included many samples of Luchian's art. Two of his famous paintings featured there were "Lăutul" ("Washing the Hair")—which Bogdan-Pitești is said to have likened to the luminous oil paintings of Paolo Veronese, and "Safta Florăreasa" ("Safta the Flower Girl")—originally part of the Luchian family collection. Also included was the 1907 oil portrait of Luchian's cousin, "Alecu Literatu" ("Alecu the Literary Man"). They were accompanied by the 1906 pastel "Durerea" ("Pain"), which had been reproduced in a 1914 issue of "Seara", and by the paintings "De Nămezi" ("Lunchtime") and "Lica, fetița cu portocala" ("Lica, the Girl with the Orange"). Among the works in the series were two portraits of Bogdan-Pitești: an ink drawing, copies of which were circulated with Bogdan-Pitești's election manifesto of 1899, and a since-lost oil painting.

paragraph: Bogdan-Pitești was the subject of several anonymous sketches, including two 1896 vignettes, published in "Adevărul", and a 1917 drawing signed "Correggio". He is also depicted in an affectionate cartoon published in 1914 by Petrescu Găină. Domnica Bogdan herself sat as a model for various artists, and was notably depicted in works by Camil Ressu, Pallady and the Bulgarian-born painter Pascin. In 1920, Bogdan-Pitești commissioned Paciurea to complete a portrait bust of Domnica. The same year, Dimitrescu painted her an oil-on-cardboard portrait in dominant shades of brown (with touches of red and gray). Artists who illustrated works by Bogdan-Pitești include, in addition to himself, George Demetrescu Mirea, Ion Georgescu and Satmari.

paragraph: The Colonești manor and its art fund fell victim to neglect. According to T. Vianu, the collection was "blown over by the wind of devastation" even during the interwar years. In 1924, in defiance of its owner's final request, it was subject to a hasty public auction. This drew protests from literary figures such as Cezar Petrescu, Perpessicius and Victor Eftimiu. As a result of the auction, many works passed into the collections of Zambaccian, Alexandru G. Florescu, Iosif Dona and several others. Of them, Zambaccian attributed the incident to the National Liberal government's unwillingness to accept donations from "a compromised person". He and several other commentators place responsibility for the sales on Finance Minister Ion Lapedatu, who is believed to have either hesitated in assessing the collection or to have plotted with businessmen who wanted it sold cheaply. Zambaccian was to be the eventual owner of "Lăutul". It became a feature of his own Bucharest museum, and appears with Zambaccian in an oil portrait by Pallady.

paragraph: Under the communist regime, the Vlaici building was transformed into a branch for the state-owned producer of agricultural machinery, and, in 2004, belonged to its successor, Agromec (although still largely unused). Beldie recounts that, under communism, the destitute Domnica Bogdan worked as a hygienist at Bucharest Central Hospital.

paragraph: Section::::References.

paragraph: BULLET::::- Lucian Boia, ""Germanofilii". Elita intelectuală românească în anii Primului Război Mondial", Humanitas, Bucharest, 2010.

paragraph: BULLET::::- Paul Cernat, "Avangarda românească și complexul periferiei: primul val", Cartea Românească, Bucharest, 2007.

paragraph: BULLET::::- Șerban Cioculescu, "Caragialiana", Editura Eminescu, Bucharest, 1974.

paragraph: BULLET::::- Gabriela Rus, "Ștefan Luchian în evocările contemporane lui. Relația artistului cu Virgil Cioflec", in the Babeș-Bolyai University "Historia Artium LIII", 1, 2008, p. 77–95

paragraph: BULLET::::- Adrian-Silvan Ionescu, "Mișcarea artistică oficială în România secolului al XIX-lea", Noi Media Print, Bucharest, 2008.

paragraph: BULLET::::- Ionel Jianu, Petru Comarnescu, "Ștefan Luchian", Editura de stat pentru literatură și artă, Bucharest, 1956.

paragraph: BULLET::::- Jacques Lassaigne, Theodor Enescu, "Ștefan Luchian", Editura Meridiane, Bucharest, 1972.

paragraph: BULLET::::- Angelo Mitchievici, "Decadență și decadentism în contextul modernității românești și europene", Editura Curtea Veche, Bucharest, 2011.

paragraph: BULLET::::- Carmen Patricia Reneti, "Relații româno-germane în anul 1914", in "Revista de Istorie Militară", Nr. 1-2/2010, p. 30–39

paragraph: BULLET::::- Ion Rusu Abrudeanu, "România și războiul mondial: contribuțiuni la studiul istoriei războiului nostru", Editura Socec, Bucharest, 1921

paragraph: BULLET::::- Corina Teacă, ""Fin de siècle" Biographies: Alexandru Bogdan-Pitești", in "Revue Roumaine d'Histoire de l'Art. Série Beaux-arts", Vol. XLVIII, 2011, p. 51–58

paragraph: BULLET::::- Tudor Vianu, "Scriitori români", Vol. II, Editura Minerva, Bucharest, 1970.

alias:
Ion Doican
Ion Duican
Al. Dodan

description: poet, essayist, and art and literary critic

wikidata_label: Alexandru Bogdan-Pitești

wikipedia_title: Alexandru Bogdan-Pitești


text: Rev.

text: Diddington

text: Huntingdonshire

text: Ashbourne, Derbyshire

text: Corpus Christi College

text: M.A.

text: English

text: botanist

text: vicar

text: parish

text: Shirley, Derbyshire

text: batologist

text: Diddington

text: Huntingdonshire

text: Walter Waddington Shirley

text: Shirley

text: Edward Francis Linton

text: Edmondsham

text: Flora

text: Derbyshire

text: Rubus durescens

text: Epipactis helleborine

text: A.R.Clapham

text: Derby Museum and Art Gallery

text: Flora of Derbyshire

categories: 1908 deaths,People from Diddington,People from Derbyshire Dales (district),English botanists,1850 births,Alumni of Corpus Christi College, Oxford

paragraph: William Richardson Linton

paragraph: Rev. William Richardson Linton (2 April 1850 in Diddington, Huntingdonshire – 7 April 1908 in Ashbourne, Derbyshire), Corpus Christi College, M.A., was an English botanist and vicar of the parish of Shirley, Derbyshire. He was regarded as one of the leading batologists of his day.

paragraph: Section::::Life.

paragraph: Linton was born in Diddington in Huntingdonshire in 1850.

paragraph: He married Alice Shirley (daughter of Rev. Walter Waddington Shirley and Philippa Frances Emilia Knight Shirley) on 26 January 1887, with whom he had one daughter, Viola Marion Linton. He became the vicar of St Michael's church in Shirley.

paragraph: Linton collected botanical specimens and records, often working with his elder brother who was also a cleric. (Rev. Edward Francis Linton was based mainly in Edmondsham in Dorset). In 1890 W.R.Linton published a short article in the Journal of Botany describing a new species of Hawkweed ("Hieracium holophyllum") found in Derbyshire. In 1892 he and his brother published a short eight page guide called "Some Scottish Willows" which they followed two years later with "Set of British Willows".

paragraph: Linton wrote an extensive book about the Flora of Derbyshire, published in 1903. The front cover of his Flora contained a large illustration in gold leaf of "Rubus durescens", a species of bramble unique to Derbyshire which he had earlier discovered. Linton is credited with the first description of "Rubus durescens". His Flora contained 1,030 species of flowering plant and fern. He considered around 910 (88%) of these native, 70 (7%) aliens and 50 (5%) casuals. He also included mosses and liverworts. He included two maps of the county and two illustrations of plants he considered special in the area. In addition to the one shown on the cover, he also included a line drawing of "Epipactis atroviridis", which he considered a species new to science that grew locally. The bramble is still recognised as a local species, but the orchid is no longer accepted as valid, and is probably just a form of the Broad-leaved Helleborine ("Epipactis helleborine").

paragraph: In 1905 Linton published "An account of the British Hieracia". He died in 1908 in Ashbourne in Derbyshire. He and his wife, who died in 1911, are buried in the churchyard of St Michael's church in Shirley.

paragraph: In 1969 Linton's Flora was brought up to date by a committee of local Derbyshire botanists, led by Professor A.R.Clapham as editor, and published by Derby Museum and Art Gallery.

paragraph: That work was itself further built upon and completely revised in 2015 by the publication of the fourth work to bear the name The Flora of Derbyshire, but which extensively references data collated by W.R.Linton, and contains a full biography of his botanical life and achievements.

paragraph: Section::::Books.

paragraph: BULLET::::- "Flora of Derbyshire: Flowering Plants, Higher Cryptogams, Mosses and Hepatics, Characeae". London: Bemrose & Sons Ltd., 1903.

paragraph: Section::::External links.

paragraph: BULLET::::- Herbarium specimens collected by Rev. William Richardson Linton

description: Botanist and cleric

wikidata_label: William Richardson Linton

wikipedia_title: William Richardson Linton


text:
indigenous
Bolivia
Roman Catholic
wood
Blessed Virgin Mary
Bolivia
Our Lady of Copacabana
Lake Titicaca
Copacabana
Anansaya
Quechua people
Inca
Dominican
Aymara
Cocharcas
Pucarani
Tucumán
Order of Saint Augustine
Cusco
Republic of Bolivia
Bautista Saavedra
Augusto Sieffert
High Mass
Apostolic Nuncio
Pope Pius XI
Holy See
first saint

categories: 1616 deaths,16th-century sculptors,Indigenous sculptors of the Americas,Bolivian people of Quechua descent,Bolivian sculptors,16th-century venerated Christians,1550 births,People from La Paz Department (Bolivia),Bolivian Roman Catholics

paragraph: Francisco Tito Yupanqui

paragraph: Francisco Tito Yupanqui (1550–1616) was an indigenous Bolivian sculptor. He sculptured renowned Roman Catholic wood statues such as the Blessed Virgin Mary in Bolivia, known as Our Lady of Candles (also known as Our Lady of Copacabana), one of the most celebrated Marian images located at Lake Titicaca in Bolivia.

paragraph: Section::::Background.

paragraph: Yupanqui was born in Copacabana of Tola and Francisco Tito Yupanqui Sr. His family were "Anansayas", or descendants of Quechua people who relocated to Copacabana with the Inca. He came from a family recently converted to Roman Catholicism by the Dominican priests but like many of the time, retained some of the Aymara religious beliefs.

paragraph: Section::::"Our Lady of Copacabana".

paragraph: Under the influence of the Dominicans, Yupanqui's monotheistic beliefs increased while studying religion and started admiring the works of European religious art. Legend has it that one night, a beautiful woman carrying in her arms a child appeared in the fourth month of the Indian calendar and was charged with the task of making the image. This image later became known as "Nuestra Senora de Virgen de la Candelaria" or Our Virgin Lady of the Candles. Father Antonio Montoro, who was the presiding parish priest at the time insisted that the image of the virgin be likened to European faces, but Yupanqui insisted that the face of the statue be likened that to the native people of Bolivia.

paragraph: Section::::Later art career.

paragraph: Later in his life, Yupanqui created three other replicas of his famed Marian image and sent to three different places. One statue resides in Cocharcas, Peru while another one is located in Pucarani, Bolivia and another was sent to Tucumán in northern Argentina. The sculpture "Our Lady of Cocharcas" is attributed to him

paragraph: Section::::Death and sainthood.

paragraph: Yupanqui later died in 1616 in the monastery of Oblates of the Order of Saint Augustine in Cusco, Bolivia.

paragraph: The statue Yupanqui made was crowned Queen of Bolivia on August 1, 1925 by the Republic of Bolivia, as accorded with national honors by the centenary of the country, with the participation of President Bautista Saavedra, officiating Archbishop Augusto Sieffert in a solemn High Mass and religious ceremony, along with Monsignor Gaetano Cicognani, the Apostolic Nuncio to Bolivia sent by Pope Pius XI.

paragraph: In 2011, the Roman Catholic Bishops' Conference of Bolivia petitioned the Holy See to canonize Yupanqui as the first saint of Bolivia.

description: Bolivian sculptor

wikidata_label: Francisco Tito Yupanqui

wikipedia_title: Francisco Tito Yupanqui


text: Norwegian Constituent Assembly

text: Brunlanes

text: Vestfold

text: London

text: Napoleonic Wars

text: Royal Norwegian Navy

text: Larvik grevskap

text: Norwegian Constituent Assembly

text: Iver Hesselberg

text: Ole Olsen Amundrød

text: Eidsvoll

text: "Men of Eidsvoll" (eidsvollsmenn)

categories: Fathers of the Constitution of Norway,People from Larvik,1779 births,1819 deaths

paragraph: Anders Hansen Grønneberg

paragraph: Anders Hansen Grønneberg (1779 – 30 October 1819) was a Norwegian Naval officer and farmer who served as a representative at the Norwegian Constituent Assembly in 1814.

paragraph: Anders Grønneberg was born on Ødelund in Berg parish at Brunlanes in Vestfold, Norway where his father was district sheriff. In his youth he had stayed with an uncle in London, where he learned to speak English, as well as German and French. As a young man, Grønneberg was a sailor. During the Napoleonic Wars, he was appointed Lieutenant in the Royal Norwegian Navy. Later he settled on the family farm.

paragraph: He represented Larvik grevskap at the Norwegian Constituent Assembly in 1814, together with Iver Hesselberg and Ole Olsen Amundrød. At Eidsvoll, he joined the independence party ("Selvstendighetspartiet"), but he was not active in the debates.

paragraph: Section::::External links.

paragraph: BULLET::::- "Representantene på Eidsvoll 1814" (Cappelen Damm AS)

paragraph: BULLET::::- "Men of Eidsvoll" (eidsvollsmenn)

paragraph: Section::::Related Reading.

paragraph: BULLET::::- Holme Jørn (2014) "De kom fra alle kanter - Eidsvollsmennene og deres hus" (Oslo: Cappelen Damm)

description: farmer and father of the Constitution of Norway

wikidata_label: Anders Hansen Grønneberg

wikipedia_title: Anders Hansen Grønneberg


text:
Visigothic
King
Hispania
Septimania
Galicia
Clotaire II
Neustria
Theodobert II
Austrasia
Theuderic II
Burgundy
Brunhilda
Isidore of Seville
Byzantines
Toledo
Sisebut
Gondomar in Portugal
in Spain
Coins of King Gundemar

categories: 7th-century people of the Visigothic Kingdom,612 deaths,Visigothic kings,Year of birth unknown,7th-century monarchs in Europe,Gothic warriors

paragraph: Gundemar

paragraph: Gundemar was a Visigothic King of Hispania, Septimania and Galicia (610–612).

paragraph: Gundemar continued a policy of amity with Clotaire II of Neustria and Theodobert II of Austrasia. To this end, he sent grand sums of money to support their cause against their relative (cousin and brother, respectively) Theuderic II of Burgundy. At other times, he pursued a hostile policy against Brunhilda.

paragraph: According to Isidore of Seville, Gundemar made one expedition against the Basques, then besieged the Byzantines in the next. He died a natural death in Toledo, probably in February or March 612. The "Chronica Regum Visigotthorum" records that Gundemar reigned for one year, ten months and 14 days. He was succeeded by Sisebut.

paragraph: The towns of Gondomar in Portugal and in Spain are named after him.

paragraph: Section::::External links.

paragraph: BULLET::::- Coins of King Gundemar

description: Visigothic king

wikidata_label: Gundemar

wikipedia_title: Gundemar