text: pathologist

text: bacteriologist

text: Würzburg

text: University of Würzburg

text: anatomist

text: Albert von Kölliker

text: University of Zurich

text: University of Halle

text: bacillus

text: typhoid

text: Georg Theodor August Gaffky

text: typhoid fever

text: myocardium

text: silver nitrate

text: tissue

text: capillaries

text: Curt Schimmelbusch

text: Pathology

text: List of pathologists

categories: People from Würzburg,University of Zurich faculty,German bacteriologists,1835 births,University of Halle faculty,German pathologists,1926 deaths,Typhoid fever

paragraph: Karl Joseph Eberth

paragraph: Karl Joseph Eberth (21 September 1835 – 2 December 1926) was a German pathologist and bacteriologist who was a native of Würzburg.

paragraph: Section::::Biography.

paragraph: In 1859 he earned his doctorate at the University of Würzburg, and became an assistant to anatomist Albert von Kölliker (1817–1905). In 1869 he became a full professor of pathological anatomy at the University of Zurich, and from 1881 until his retirement in 1911, he was a professor at the University of Halle.

paragraph: In 1880 Eberth described a bacillus that he suspected was the cause of typhoid. In 1884 pathologist Georg Theodor August Gaffky (1850–1918) confirmed Eberth's findings, and the organism was given names such as "Eberthella typhi", "Eberth's bacillus" and "Gaffky-Eberth bacillus". Today the bacillus that causes typhoid fever goes by the scientific name of "Salmonella enterica subspecies enterica serovar Typhi".

paragraph: Section::::Associated eponyms.

paragraph: BULLET::::- "Eberth's lines": Microscopic lines that appear between the cells of the myocardium when stained with silver nitrate.

paragraph: BULLET::::- "Eberth's perithelium": an incomplete layer of connective tissue cells encasing the blood capillaries.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Untersuchungen über nematoden", (Leipzig : W. Engelmann, 1863).

paragraph: BULLET::::- "Zur Kenntnis der Bacteritischen Mykosen", (Leipzig : Engelmann, 1872).

paragraph: BULLET::::- "Zur kenntniss der blutplättchen bei den niederen wirbelthieren", (Leipzig, Engelmann, 1887).

paragraph: BULLET::::- "Die Thrombose nach Versuchen und Leichenbefunden", with Curt Schimmelbusch, (Stuttgart, 1888).

paragraph: BULLET::::- "Die männlichen Geschlechtsorgane", (Jena, Fischer, 1904).

paragraph: Section::::See also.

paragraph: BULLET::::- Pathology

paragraph: BULLET::::- List of pathologists

paragraph: Section::::References.

paragraph: "Parts of this article are based on a translation of an article from the German Wikipedia."

description: German pathologist

wikidata_label: Karl Joseph Eberth

wikipedia_title: Karl Joseph Eberth


text:
Umeå
Diocese of Luleå
Swedish Evangelical Mission
Church of Sweden
Archbishop of Uppsala
Uppsala Cathedral
Luleå Cathedral

categories: 1960 births,Living people,21st-century Lutheran bishops,Swedish Lutheran bishops

paragraph: Åsa Nyström

paragraph: Åsa Gunilla Elisabet Nyström (born 12 August 1960 in Umeå) is a Swedish prelate and current Bishop of the Diocese of Luleå.

paragraph: Section::::Biography.

paragraph: Nyström was ordained priest of the Swedish Evangelical Mission in 1982. In 1991 she was incardinated as a diocesan priest of the Church of Sweden. She has worked as director of studies and teachers in leadership at the Pastoral Institute in Uppsala and development secretary at the Swedish Church parish associations, focusing on management and leadership development. Most recently she worked as diocesan curate of leadership support at Uppsala diocese. She has also been a teacher and course director for management and leadership development in the Swedish Church.

paragraph: Section::::Bishop.

paragraph: On November 15, 2018, Nyström 50.07% of the votes for the bishopric of Luleå, with a total of 267 votes. On June 3, 2018, she was consecrated bishop by the Archbishop of Uppsala in Uppsala Cathedral. On June 10, she was installed as Bishop of Luleå in Luleå Cathedral.

wikidata_label: Åsa Nyström

wikipedia_title: Åsa Nyström


text:
European American
Mariposa Grove
Giant Sequoia
Yosemite National Park
Oakland, California
Springfield, Massachusetts
California Gold Rush
tuberculosis
antibiotic
Wawona, California
US Senator
John Conness
Abraham Lincoln
Yosemite Valley
Oakland, California
ecosystem
Mount Clark
Clark Range
Denver Pyle
Mount Clark (California)
Clark Range (California)
History of the Yosemite area
Samoset
John Muir
Ralph Waldo Emerson
California Legacy Project

categories: American conservationists,1814 births,Yosemite National Park,People from Dublin, New Hampshire,1910 deaths,American nature writers

paragraph: Galen Clark

paragraph: Galen Clark (March 28, 1814 – March 24, 1910) is known as the first European American to discover the Mariposa Grove of Giant Sequoia trees, and is notable for his role in gaining legislation to protect it and the Yosemite area, and for 24 years serving as Guardian of Yosemite National Park.

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

paragraph: Galen Clark was born in Shipton, Canada East (now Quebec) in 1814.

paragraph: Section::::Marriage and family.

paragraph: He joined the westward migration as a youth. In Missouri he met and married Rebecca McCoy. They had two children who survived until after their parents' deaths: Elvira M., who married and became a doctor in Oakland, California; and another daughter who married John T. Regan of Springfield, Massachusetts.

paragraph: Section::::Move to California.

paragraph: After his wife died young, Clark moved to California to seek his fortune, probably about 1848 at the time of the California Gold Rush. In 1853 at the age of 39, Clark contracted a severe lung infection that was diagnosed as consumption (as tuberculosis was called in his time). Doctors gave him six months to live, as they had no antibiotic treatment at the time, but counseled rest and outdoor air.

paragraph: Clark moved to the Wawona, California area. "I went to the mountains to take my chances of dying or growing better, which I thought were about even." (Galen Clark, 1856) Upon his discovery of the Mariposa Grove of Giant Sequoias, Galen Clark spent most of his time exploring the area and teaching others about the mysteries of the giant, cinnamon-colored trees.

paragraph: He wrote about protecting the grove to friends and the US Congress. He contributed to the writing and passage of legislation to protect the area, gaining support of US Senator John Conness from California. The act for the Yosemite Grant was signed into law by President Abraham Lincoln. Ceding the land to the state of California for preservation, the grant was the first of its kind. The legislation was to protect Yosemite Valley and the Mariposa Grove of Giant Sequoias for "public use, resort, and recreation ... to be left inalienable for all time." Galen became the first "guardian of the grant". His lungs healed, and he explored and climbed much of the area.

paragraph: Clark did not seek to enrich himself from Yosemite Valley or the Sequoia trees. He ran a modest hotel and guide service. A poor businessman, he was constantly in debt. His Clark's Station, for example, had several more employees than required for the number of guests and its short season.

paragraph: Toward the end of his life, Clark was desperately poor. He wrote three books on Yosemite. These include "Indians of the Yosemite" (1904) and "The Yosemite Valley" (1910). Clark's book on the sequoia trees is simple, factual, and direct. He left out his personal role in the discovery, popularization, and protection of the Mariposa Grove of Big Trees. He served as hotel keeper, guide, and guardian of Yosemite and the Mariposa Grove.

paragraph: Clark spent some time living in Summerland, a Spiritualist colony in Southern California, near Santa Barbara. His house still stands on Shelby Street.

paragraph: On March 24, 1910, he died at the home of his daughter Dr. Elvira M. Lee in Oakland, California. He was buried at a spot near Yosemite Falls which he personally selected and dug decades prior to his death. He had also selected the granite tombstone marker and planted around his gravesite seedlings from the Mariposa Grove sequoias.

paragraph: Section::::Legacy and honors.

paragraph: BULLET::::- Clark gained preservation of what became Yosemite National Park, and raised awareness of the wilderness, setting an example for the preservation of other ecosystems and wilderness areas.

paragraph: BULLET::::- Today, the Giant Sequoia that would have been the first of its kind to be seen by Clark at the Mariposa Grove is named and marked "Galen Clark Tree" (240 feet; diameter 15.3 at 10 feet above mean base) in memory of his contribution to the preservation of the Giant Sequoia ecosystem and the idea of the national park.

paragraph: BULLET::::- Mount Clark and the Clark Range, located east of Yosemite Valley, were named in his honor.

paragraph: Section::::Popular culture.

paragraph: BULLET::::- Clark's life and efforts to preserve the Giant Sequoias of Yosemite were depicted in the 1976 theatrical feature film "Guardian of the Wilderness" (also known as "Mountain Man"). He was portrayed by Denver Pyle.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Originally published as "A Plea for Yosemite" in "Yosemite Nature Notes" (February 1927), from a manuscript written c. 1907.

paragraph: Section::::Legacy.

paragraph: BULLET::::- Mount Clark (California)

paragraph: BULLET::::- Clark Range (California)

paragraph: Section::::See also.

paragraph: BULLET::::- History of the Yosemite area

paragraph: Section::::External links.

paragraph: BULLET::::- Short radio episode Samoset about John Muir showing Ralph Waldo Emerson the Mariposa Grove and Galen Clark asking Emerson to name a tree, from "The Life and Letters of John Muir", 1923. California Legacy Project.

description: American conservationist

wikidata_label: Galen Clark

wikipedia_title: Galen Clark


text: railroad

text: Great Northern Railway (U.S.)

text: Western Maryland Railway

text: Union Pacific Railroad

text: Union Pacific Railroad

text: Great Depression

text: Union Pacific Railroad

text: streamliner

text: passenger train

text: Union Station

text: Omaha, Nebraska

text: List of railroad executives

categories: American railroad executives of the 20th century,Great Northern Railway (U.S.),Western Maryland Railway,1867 births,1939 deaths,Union Pacific Railroad people

paragraph: Carl Raymond Gray

paragraph: Carl Raymond Gray (1867–1939) was an American railroad executive in the early 20th century. He was President of the Great Northern Railway (U.S.) from 1912 to 1914, and of the Western Maryland Railway from 1914 to 1919, and lastly of the Union Pacific Railroad from 1920 to 1937.

paragraph: Section::::Biography.

paragraph: During his tenure, the Union Pacific Railroad became one of a very small number of American railroads that paid dividends on the company's common stock during the Great Depression. Gray was instrumental in developing the Union Pacific Railroad's burgeoning streamliner passenger train fleet, which included the famous M-10000 series of trainsets.

paragraph: Gray was responsible for the construction and dedication of the Union Station in Omaha, Nebraska, which he declared to be, "Dedicated by the railways of Omaha to serve, comfort and convenience of the people."

paragraph: Section::::See also.

paragraph: BULLET::::- List of railroad executives

paragraph: Section::::Further reading.

paragraph: BULLET::::- President and Fellows of Harvard College (2004), "20th Century American Leaders - Carl R. Gray". Retrieved March 2, 2005.

paragraph: BULLET::::- White, John H. Jr. (Spring 1986), America's Most Noteworthy Railroaders, "Railroad History", "154"', p. 9-15.

description: American railroad executive

wikidata_label: Carl Raymond Gray

wikipedia_title: Carl Raymond Gray


text: Italian–British

text: war photographers

text: genre works

text: panoramas

text: Mediterranean

text: Indian Rebellion of 1857

text: Second Opium War

text: photojournalism

text: Venice

text: Florence

text: British subject

text: Corfu

text: protectorate

text: Ionian Islands

text: Felice Antonio Beato

text: James Robertson

text: Constantinople

text: Pera

text: Malta

text: Jerusalem

text: Balaklava

text: Crimean War

text: Roger Fenton

text: Sevastopol

text: Calcutta

text: Northern India

text: Indian Rebellion of 1857

text: Sikandar Bagh

text: Lucknow

text: events at Taku Forts

text: Delhi

text: Cawnpore

text: Meerut

text: Benares

text: Amritsar

text: Agra

text: Simla

text: Lahore

text: Thebes

text: Second Opium War

text: Hong Kong

text: Canton

text: Charles Wirgman

text: Illustrated London News

text: Talien Bay

text: Pehtang

text: Taku Forts

text: Peiho

text: Peking

text: Qingyi Yuan

text: Lord Elgin

text: Convention of Peking

text: Prince Kung

text: Xianfeng Emperor

text: Henry Hering

text: Yokohama

text: Charles Wirgman

text: Tōkaidō Road

text: ukiyo-e

text: Hiroshige

text: Hokusai

text: Tokugawa shogunate

text: Edo period

text: Shimonoseki

text: elevated status

text: Nagasaki

text: hand-coloured

text: Japanese

text: watercolourists

text: woodblock printmakers

text: Kusakabe Kimbei

text: Ueno Hikoma

text: Raimund von Stillfried

text: United States naval expedition

text: Admiral Rodgers

text: 1866 invasion

text: Ganghwa Island

text: Consul General

text: Stillfried & Andersen

text: Adolfo Farsari

text: Port Said

text: G.J. Wolseley

text: Khartoum

text: General Charles Gordon

text: Anglo-Burmese Wars

text: Thibaw Min

text: Mrs Ernest Hart's

text: Florence

text: albumen silver prints

text: wet collodion

text: negatives

text: John McCosh

text: Felice...Felice...

text: History of photography

text: Sakoku

text: List of Westerners who visited Japan before 1868

text: Felice A. Beato

text: List of Orientalist artists

text: Orientalism

text: Yale University Press

text: Felice Beato and the United States Expedition to Korea of 1871

text: Felice Beato

text: Second Chinese Opium War (1856–1860)

text: here

text: Rosenblum, Naomi

text: Biography of Felice Beato

text: Gallery of Felice Beato photographs

text: Photographic views of Lucknow taken after the Indian Mutiny

text: Photographs by Beato

text: Catalogue search for "Felice Beato"

text: Wayback Machine

text: Catalogue search for "Beato, Felice"

text: Gallery of Felice Beato photographs from Wellcome Images

text: Fostinum: Felice Beato

categories: British expatriates in China,Photography in China,1909 deaths,Photography in India,Photography in Myanmar,Italian photojournalists,19th-century photographers,1832 births,Pioneers of photography,Photography in Greece,Portrait photographers,Photography in Egypt,Photography in Japan,Architectural photographers,British expatriates in Japan,British photojournalists,British people of the Second Opium War,People from Corfu,Photography in Ukraine,British people of Italian descent

paragraph: Felice Beato

paragraph: Felice Beato (1832 – 29 January 1909), also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial body of photojournalism. He influenced other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.

paragraph: Section::::Early life and identity.

paragraph: A death certificate discovered in 2009 shows that Beato was born in Venice in 1832 and died on 29 January 1909 in Florence. The death certificate also indicates that he was a British subject and a bachelor. It is likely that early in his life Beato and his family moved to Corfu, at the time part of the British protectorate of the Ionian Islands, and so Beato was a British subject.

paragraph: Because of the existence of a number of photographs signed "Felice Antonio Beato" and "Felice A. Beato", it was long assumed that there was one photographer who somehow photographed at the same time in places as distant as Egypt and Japan. In 1983 it was shown by Chantal Edel that "Felice Antonio Beato" represented two brothers, Felice Beato and Antonio Beato, who sometimes worked together, sharing a signature. The confusion arising from the signatures continues to cause problems in identifying which of the two photographers was the creator of a given image.

paragraph: Section::::Mediterranean, the Crimea and India.

paragraph: Little is certain about Felice Beato's early development as a photographer, though it is said that he bought his first and only lens in Paris in 1851. He probably met the British photographer James Robertson in Malta in 1850 and accompanied him to Constantinople in 1851. James Robertson (1813–88), became his brother-in-law in 1855. Superintendent of the Imperial Mint, Robertson opened one of the first commercial photography studios in the capital between 1854 and 1856. Robertson had been an engraver at the Imperial Ottoman Mint since 1843 and had probably taken up photography in the 1840s. In 1853 the two began photographing together and they formed a partnership called "Robertson & Beato" either in that year or in 1854, when Robertson opened a photographic studio in Pera, Constantinople. Robertson and Beato were joined by Beato's brother Antonio on photographic expeditions to Malta in 1854 or 1856 and to Greece and Jerusalem in 1857. A number of the firm's photographs produced in the 1850s are signed "Robertson, Beato and Co.", and it is believed that the "and Co." refers to Antonio.

paragraph: In late 1854 or early 1855 James Robertson married Beato's sister, Leonilda Maria Matilda Beato. They had three daughters, Catherine Grace (b. 1856), Edith Marcon Vergence (b. 1859), and Helen Beatruc (b. 1861).

paragraph: In 1855 Felice Beato and Robertson travelled to Balaklava, Crimea, where they took over reportage of the Crimean War following Roger Fenton's departure. Beato was ostensibly Robertson's assistant, however the unpredictable conditions of a war-zone forced Beato to assume a more active role. In contrast to Fenton's depiction of the dignified aspects of war, Beato and Robertson showed the destruction and death. They photographed the fall of Sevastopol in September 1855, producing about 60 images. Their Crimean images dramatically changed the way that war was reported and depicted.

paragraph: In February 1858 Beato arrived in Calcutta and began travelling throughout Northern India to document the aftermath of the Indian Rebellion of 1857. During this time he produced possibly the first-ever photographic images of corpses. It is believed that for at least one of his photographs taken at the palace of Sikandar Bagh in Lucknow he had the skeletal remains of Indian rebels disinterred or rearranged to heighten the photograph's dramatic impact (see events at Taku Forts). He was also in the cities of Delhi, Cawnpore, Meerut, Benares, Amritsar, Agra, Simla, and Lahore. Beato was joined in July 1858 by his brother Antonio, who later left India, probably for health reasons, in December 1859. Antonio ended up in Egypt in 1860, setting up a photographic studio in Thebes in 1862.

paragraph: Section::::China.

paragraph: In 1860 Beato left the partnership of Robertson & Beato, though Robertson retained use of the name until 1867. Beato was sent from India to photograph the Anglo-French military expedition to China in the Second Opium War. He arrived in Hong Kong in March and immediately began photographing the city and its surroundings as far as Canton. Beato's photographs are some of the earliest taken in China.

paragraph: While in Hong Kong, Beato met Charles Wirgman, an artist and correspondent for the "Illustrated London News." The two accompanied the Anglo-French forces travelling north to Talien Bay, then to Pehtang and the Taku Forts at the mouth of the Peiho, and on to Peking and Qingyi Yuan, the suburban Summer Palace. For places on this route and later in Japan, Wirgman's (and others') illustrations for the "Illustrated London News" were often derived from Beato's photographs.

paragraph: Section::::China.:Taku Forts.

paragraph: Beato's photographs of the Second Opium War are the first to document a military campaign as it unfolded, doing so through a sequence of dated and related images. His photographs of the Taku Forts represent this approach on a reduced scale, forming a narrative recreation of the battle. The sequence of images shows the approach to the forts, the effects of bombardments on the exterior walls and fortifications, and finally the devastation within the forts, including the bodies of dead Chinese soldiers. The photographs were not taken in this order, as the photographs of dead Chinese had to be taken first—before the bodies were removed; only then was Beato free to take the other views of the exterior and interior of the forts.

paragraph: Beato's images of the Chinese dead and his manner of producing them particularly reveal the ideological aspects of his photojournalism. Dr. David F. Rennie, a member of the expedition, noted in his campaign memoir, "I walked round the ramparts on the west side. They were thickly strewn with dead—in the north-west angle thirteen were lying in one group around a gun. Signor Beato was here in great excitement, characterising the group as 'beautiful,' and begging that it might not be interfered with until perpetuated by his photographic apparatus, which was done a few minutes afterwards."

paragraph: Section::::China.:Summer Palace.

paragraph: Just outside Peking, Beato took photographs at Qingyi Yuan (now Yihe Yuan, the Summer Palace), a private estate of the Emperor of China comprising palace pavilions, temples, a large artificial lake, and gardens. Some of these photographs, taken between 6 and 18 October 1860, are unique images of buildings that were plundered and looted by the Anglo-French forces beginning on 6 October. On 18 and 19 October the buildings were torched by the British First Division on the orders of Lord Elgin as a reprisal against the emperor for the torture and deaths of twenty members of an Allied diplomatic party. Bennett writes that "These [photographs] appear to be the earliest images of Peking so far discovered, and are of the utmost historical and cultural importance."

paragraph: Among the last photographs that Beato took in China at this time were portraits of Lord Elgin, in Peking to sign the Convention of Peking, and Prince Kung, who signed on behalf of the Xianfeng Emperor.

paragraph: Beato returned to England in October 1861, and during that winter he sold 400 of his photographs of India and China to Henry Hering, a London commercial portrait photographer.

paragraph: Section::::Japan.

paragraph: By 1863 Beato had moved to Yokohama, Japan, joining Charles Wirgman, with whom he had travelled from Bombay to Hong Kong. The two formed and maintained a partnership called "Beato & Wirgman, Artists and Photographers" during the years 1864–1867, one of the earliest and most important commercial studios in Japan. Wirgman again produced illustrations derived from Beato's photographs, while Beato photographed some of Wirgman's sketches and other works. (Beato's photographs were also used for engravings within Aimé Humbert's "Le Japon illustré" and other works.) Beato's Japanese photographs include portraits, genre works, landscapes, cityscapes, and a series of photographs documenting the scenery and sites along the Tōkaidō Road, the latter series recalling the ukiyo-e of Hiroshige and Hokusai. During this period, foreign access to (and within) the country was greatly restricted by the Tokugawa shogunate. Accompanying ambassadorial delegations and taking any other opportunities created by his personal popularity and close relationship with the British military, Beato reached areas of Japan where few westerners had ventured, and in addition to conventionally pleasing subjects sought sensational and macabre subject matter such as heads on display after decapitation. His images are remarkable not only for their quality, but also for their rarity as photographic views of Edo period Japan.

paragraph: The greater part of Beato's work in Japan contrasted strongly with his earlier work in India and China, which "had underlined and even celebrated conflict and the triumph of British imperial might". Aside from the "Portrait of Prince Kung", any appearances of Chinese people in Beato's earlier work had been peripheral (minor, blurred, or both) or as corpses. With the exception of his work in September 1864 as an official photographer on the British military expedition to Shimonoseki, Beato was eager to portray Japanese people, and did so uncondescendingly, even showing them as defiant in the face of the elevated status of westerners.

paragraph: Beato was very active while in Japan. In 1865 he produced a number of dated views of Nagasaki and its surroundings. From 1866 he was often caricatured in "Japan Punch," which was founded and edited by Wirgman. In an October 1866 fire that destroyed much of Yokohama, Beato lost his studio and many, perhaps all, of his negatives.

paragraph: While Beato was the first photographer in Japan to sell albums of his works, he quickly recognised their full commercial potential. By around 1870 their sale had become the mainstay of his business. Although the customer would select the content of earlier albums, Beato moved towards albums of his own selection. It was probably Beato who introduced to photography in Japan the double concept of views and costumes/manners, an approach common in photography of the Mediterranean. By 1868 Beato had readied two volumes of photographs, "Native Types", containing 100 portraits and genre works, and "Views of Japan", containing 98 landscapes and cityscapes.

paragraph: Many of the photographs in Beato's albums were hand-coloured, a technique that in his studio successfully applied the refined skills of Japanese watercolourists and woodblock printmakers to European photography.

paragraph: Since about the time of the ending of his partnership with Wirgman in 1869, Beato attempted to retire from the work of a photographer, instead attempting other ventures and delegating photographic work to others within his own studio in Yokohama, "F. Beato & Co., Photographers", which he ran with an assistant named H. Woollett and four Japanese photographers and four Japanese artists. Kusakabe Kimbei was probably one of Beato's artist-assistants before becoming a photographer in his own right. These other ventures failed, but Beato's photographic skills and personal popularity ensured that he could successfully return to work as a photographer.

paragraph: Beato photographed with Ueno Hikoma, and possibly taught photography to Raimund von Stillfried.

paragraph: In 1871 Beato served as official photographer with the United States naval expedition of Admiral Rodgers to Korea. Although it is possible that an unidentified Frenchman photographed Korea during the 1866 invasion of Ganghwa Island, Beato's photographs are the earliest of Korea whose provenance is clear.

paragraph: Beato's business ventures in Japan were numerous. He owned land and several studios, was a property consultant, had a financial interest in the Grand Hotel of Yokohama, and was a dealer in imported carpets and women's bags, among other things. He also appeared in court on several occasions, variously as plaintiff, defendant, and witness. On 6 August 1873 Beato was appointed Consul General for Greece in Japan.

paragraph: In 1877 Beato sold most of his stock to the firm Stillfried & Andersen, who then moved into his studio. In turn, Stillfried & Andersen sold the stock to Adolfo Farsari in 1885. Following the sale to Stillfried & Andersen, Beato apparently retired for some years from photography, concentrating on his parallel career as a financial speculator and trader. On 29 November 1884 he left Japan, ultimately landing in Port Said, Egypt. It was reported in a Japanese newspaper that he had lost all his money on the Yokohama silver exchange.

paragraph: Section::::Burma and Later years.

paragraph: From 1884 to 1885 Beato was the official photographer of the expeditionary forces led by Baron (later Viscount) G.J. Wolseley to Khartoum, Sudan, in relief of General Charles Gordon.

paragraph: Briefly back in England in 1886, Beato lectured the London and Provincial Photographic Society on photographic techniques.

paragraph: He arrived in Burma probably in December 1886, after Upper Burma had been annexed by the British in late 1885. Much publicity had been made in the British press about the three Anglo-Burmese Wars, which had started in 1825 and culminated in December 1885 with the fall of Mandalay and the capture of King Thibaw Min.

paragraph: Beato, who had covered military operations in India and China, was probably attracted by the news of the annexation. While he arrived in Burma after the main military operations ended, he would still get to see more of the action, as the annexation by the British led to an insurgency which lasted for the following decade. This allowed Beato to take a number of pictures of British military in operations or at the Royal Palace, Mandalay, as well as insurgency soldiers and prisoners.

paragraph: Beato set up a photographic studio in Mandalay and, in 1894, a curiosa and antiques dealership, running both businesses separately and, according to records at the time, very successfully.

paragraph: His past experience and the credibility derived from his time in Japan brought him a large clientele of opulent locals, posing in traditional attire for official portraits. Other images, from Buddhas to landscapes and buildings, were sold from master albums in Burma and Europe.

paragraph: In 1896, Trench Gascoigne published some of Beato's images in "Among Pagodas and Fair Ladies" and, the following year, Mrs Ernest Hart's "Picturesque Burma" included more, while George W. Bird in his "Wanderings in Burma" not only presented thirty-five credited photographs but published a long description of Beato's businesses and recommended visitors to come by his shop.

paragraph: By that time, Beato's photographs had come to represent the very image of Burma to the rest of the world, which it would remain for decades to come.

paragraph: As his curios business developed, with branches in Rangoon, Mandalay but also in Colombo and London, he also acquired the Photographic Art Gallery in Mandalay in 1903, another photographic studio. In his old age, Beato had become an important business party in Colonial Burma, involved in many enterprises from electric works to life insurance and mining.

paragraph: Section::::Death and legacy.

paragraph: Although Beato was previously believed to have died in Rangoon or Mandalay in 1905 or 1906, his death certificate, discovered in 2009, indicates that he died on 29 January 1909 in Florence, Italy.

paragraph: Whether acknowledged as his own work, sold as Stillfried & Andersen's, or encountered as anonymous engravings, Beato's work had a major impact:

paragraph: For over fifty years into the early twentieth century, Beato's photographs of Asia constituted the standard imagery of travel diaries, illustrated newspapers, and other published accounts, and thus helped shape "Western" notions of several Asian societies.

paragraph: Section::::Photographic techniques.

paragraph: Photographs of the 19th century often now show the limitations of the technology used, yet Beato managed to successfully work within and even transcend those limitations. He predominantly produced albumen silver prints from wet collodion glass-plate negatives.

paragraph: Beato pioneered and refined the techniques of hand-colouring photographs and making panoramas. He may have started hand-colouring photographs at the suggestion of Wirgman, or he may have seen the hand-coloured photographs made by partners Charles Parker and William Parke Andrew. Whatever the inspiration, Beato's coloured landscapes are delicate and naturalistic and his coloured portraits, more strongly coloured than the landscapes, are appraised as excellent. As well as providing views in colour, Beato worked to represent very large subjects in a way that gave a sense of their vastness. Throughout his career, Beato's work is marked by spectacular panoramas, which he produced by carefully making several contiguous exposures of a scene and then joining the resulting prints together, thereby re-creating the expansive view. The complete version of his panorama of Pehtang comprises seven photographs joined together almost seamlessly for a total length of more than 2 metres (6 1/2 ft).

paragraph: Section::::See also.

paragraph: BULLET::::- John McCosh

paragraph: BULLET::::- "Felice...Felice...", a 1998 Dutch drama loosely based on Beato's time in Japan

paragraph: BULLET::::- History of photography

paragraph: BULLET::::- Sakoku

paragraph: BULLET::::- List of Westerners who visited Japan before 1868

paragraph: BULLET::::- Felice A. Beato

paragraph: BULLET::::- List of Orientalist artists

paragraph: BULLET::::- Orientalism

paragraph: Section::::References.

paragraph: BULLET::::- "Bakumatsu Nihon no fūkei to hitobito: Ferikkusu Beato shashinshū" (). Yokohama: Akashi Shoten, 1987.  OCLC 18743438.

paragraph: BULLET::::- Baldwin, Gordon, Malcolm Daniel, and Sarah Greenough. "All the Mighty World: The Photographs of Roger Fenton, 1852–1860." New Haven: Yale University Press, 2004. ; .

paragraph: BULLET::::- Banta, Melissa, and Susan Taylor, eds. "A Timely Encounter: Nineteenth-Century Photographs of Japan." Cambridge, Massachusetts: Peabody Museum Press, 1988. .

paragraph: BULLET::::- Bennett, Terry. "Early Japanese Images." Rutland, Vermont: Charles E. Tuttle, 1996. ; .

paragraph: BULLET::::- Bennett, Terry. "Felice Beato and the United States Expedition to Korea of 1871". Old Japan. Accessed 3 April 2006.

paragraph: BULLET::::- Bennett, Terry. "History of Photography in China, 1842–1860." London: Bernard Quaritch, 2009. .

paragraph: BULLET::::- Bennett, Terry. "Korea". In "Encyclopedia of Nineteenth-Century Photography," 2: pp. 804–806. New York: Routledge, 2008. .

paragraph: BULLET::::- Bennett, Terry. "Photography in Japan, 1853–1912." North Clarendon, Vermont: Tuttle, 2006. .

paragraph: BULLET::::- Bird, George W. "Wanderings in Burma", Simpkin, Marshall, Hamilton, Kent & Co., London 1897.

paragraph: BULLET::::- Broecker, William L., ed. "International Center of Photography Encyclopedia of Photography." New York: Pound Press; Crown, 1984. .

paragraph: BULLET::::- Choi Injin and Park Juseok. "The Century of Korean Photography: Images from the Land of the Morning Calm." Seoul: RIHP, 2001. OCLC 71135623.

paragraph: BULLET::::- Clark, John. A chronology of Charles Wirgman (1832?–1891). In Clark, "Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA," pp. 25–58. Sydney: Power Publications, 2001.

paragraph: BULLET::::- Clark, John. "Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA: Papers and Research Materials." Sydney: Power Publications, 2001. .

paragraph: BULLET::::- Clark, John, John Fraser, and Colin Osman. "A revised chronology of Felice (Felix) Beato (1825/34?–1908?)". In Clark, "Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA." Sydney: Power Publications, 2001.

paragraph: BULLET::::- Dehejia, Vidya, et al. "India through the Lens: Photography 1840–1911." Washington, D.C.: Freer Gallery of Art and Arthur M. Sackler Gallery; Ahmedabad: Mapin; Munich, Prestel, 2000. ; .

paragraph: BULLET::::- Dobson, Sebastian. "'I been to keep up my position': Felice Beato in Japan, 1863–1877". In Rousmaniere and Hirayama, eds, "Reflecting Truth: Japanese Photography in the Nineteenth Century," pp. 30–39. Amsterdam : Hotei, 2004. .

paragraph: BULLET::::- Dobson, Sebastian. "Japan." In "Encyclopedia of Nineteenth-Century Photography," 2: pp. 769–773.

paragraph: BULLET::::- "Encyclopedia of Nineteenth-Century Photography." 2 vols. New York: Routledge, 2008. .

paragraph: BULLET::::- "Felice Beato." Luminous Lint. Accessed 19 August 2011.

paragraph: BULLET::::- Gartlan, Luke. "A chronology of Baron Raimund von Stillfried-Ratenicz (1839–1911)." In Clark, "Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA," pp. 121–178. Sydney: Power Publications, 2001.

paragraph: BULLET::::- Gartlan, Luke. "Felix Beato". In "Encyclopedia of Nineteenth-Century Photography," 2: pp. 128–131.

paragraph: BULLET::::- Gernsheim, Helmut. "The Rise of Photography: 1850–1880: The Age of Collodion." London: Thames and Hudson, 1988. .

paragraph: BULLET::::- Gray, Ezio. "Le terre nostre ritornano... Malta, Corsica, Nizza". Novara: De Agostini Editoriale, 1943.  OCLC 22249643.

paragraph: BULLET::::- Greenough, Sarah. "'A new starting point': Roger Fenton's life". In Baldwin, Daniel, and Greenough, "All the Mighty World," pp. 2–31. New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2004. .

paragraph: BULLET::::- Griffiths, Alan. "Second Chinese Opium War (1856–1860)". Luminous-Lint. Accessed 3 April 2006.

paragraph: BULLET::::- Handy, Ellen. "Tradition, novelty and invention: Portrait and landscape photography in Japan, 1860s–1880s". In Banta and Taylor, eds, "A Timely Encounter : Nineteenth Century Photographs of Japan," pp. 53–71. Cambridge, Massachusetts: Peabody Museum, 1988. .

paragraph: BULLET::::- Harris, David. "Of Battle and Beauty: Felice Beato's Photographs of China." Santa Barbara: Santa Barbara Museum of Art, 1999. ; .

paragraph: BULLET::::- Hart, Mrs Ernest. "Picturesque Burma", J.M. Dent & Co., London 1897.

paragraph: BULLET::::- Himeno, Junichi. "Encounters with foreign photographers: The introduction and spread of photography in Kyūshū". In Rousmaniere and Hirayama, eds, "Reflecting Truth: Japanese Photography in the Nineteenth Century," pp. 18–29. Amsterdam : Hotei, 2004. .

paragraph: BULLET::::- Hockley, Allen. "Photo albums and their implications for the study of early Japanese photography". In Rousmaniere and Hirayama, eds, "Reflecting Truth: Japanese Photography in the Nineteenth Century," pp. 66–85. Amsterdam : Hotei, 2004. .

paragraph: BULLET::::- Kanai Madoka (), ed. "Egakareta Bakumatsu Meiji: Irasutoreiteddo Rondon Nyūsu Nihon tsūshin 1853–1902" (). Tokyo: Yushodo, 1973.

paragraph: BULLET::::- Lacoste, Anne. "Felice Beato: A Photographer on the Eastern Road. Los Angeles: J. Paul Getty Museum, 2010." .

paragraph: BULLET::::- Lowry, John. "Victorian Burma by Post: Felice Beato's Mail-Order Business", Country Life, March 13, 1975, pp. 659-660.

paragraph: BULLET::::- Masselos, Jim, and Narayani Gupta. "Beato's Delhi 1857, 1957." Delhi: Ravi Dayal, 2000. .

paragraph: BULLET::::- Pare, Richard. "Photography and Architecture: 1839–1939." Montréal: Centre Canadien d'Architecture/Canadian Centre for Architecture; New York: Callaway, 1982. ; .

paragraph: BULLET::::- O'Connor, Scott & Clarence, Vincent. "The Silken East", Volume I & II. Hutchinson & Co. Paternoster Row, London 1904.

paragraph: BULLET::::- O'Connor, Scott & Clarence, Vincent. "Mandalay and Other Cities of the Past in Burma", Hutchinson & Co. Paternoster Row, London 1907.

paragraph: BULLET::::- Pare, Richard. "Roger Fenton: The artist's eye". In Baldwin, Daniel, and Greenough, "All the Mighty World: The Photographs of Roger Fenton, 1852–1860," pp. 221–230. New Haven: Yale University Press, 2004. ; .

paragraph: BULLET::::- Peres, Michael R. "Focal Encyclopedia of Photography: Digital Imaging, Theory and Applications." 4th ed. Amsterdam: Focal Press, 2007. . "S.v." "Copying".

paragraph: BULLET::::- Rasch, Carsten. "Photographien aus dem alten Japan - Felice Beato und seine Photographien aus der Edo-Ära". Hamburg, 2014. .

paragraph: BULLET::::- Rennie, David Field. "The British Arms in Northern China and Japan: Pekin 1860; Kagoshima 1862." London: John Murray, 1864. Available here at Google Books.

paragraph: BULLET::::- Robinson, Bonnell D. "Transition and the Quest for Permanence: Photographer and Photographic Technology in Japan, 1854–1880s". In Banta and Taylor, eds, "A Timely Encounter: Nineteenth-Century Photographs of Japan," pp. 39–52. Cambridge, Massachusetts: Peabody Museum Press, 1988. .

paragraph: BULLET::::- Rosenblum, Naomi. "A World History of Photography." 3rd ed. New York: Abbeville Press, 1997. ; .

paragraph: BULLET::::- Rousmaniere, Nicole Coolidge, and Mikiko Hirayama, eds. "Reflecting Truth: Japanese Photography in the Nineteenth Century." Amsterdam: Hotei, 2004. .

paragraph: BULLET::::- "Thacker's Indian Directory". Thacker, Spink & Co. 3 Esplanade East, Calcutta, India. Issues from 1863 to 1915.

paragraph: BULLET::::- Trench Gascoigne, Gwendolen. "Among Pagodas and Fair Ladies", A. D. Innes & Co. Bedford Street, London 1896.

paragraph: BULLET::::- Vaczek, Louis, and Gail Buckland. "Travelers in Ancient Lands: A Portrait of the Middle East, 1839–1919." Boston: NYGS, 1981. .

paragraph: BULLET::::- Zannier, Italo. "Beato." In "The Dictionary of Art" (34 vols; New York: Grove, 1996; ), 3:446–447.

paragraph: BULLET::::- Zannier, Italo. "Antonio e Felice Beato." Venice: Ikona Photo Gallery, 1983.  OCLC 27711779.

paragraph: Section::::External links.

paragraph: BULLET::::- Biography of Felice Beato, with links to 40 photographs. J. Paul Getty Museum.

paragraph: BULLET::::- Gallery of Felice Beato photographs (53 images including landscapes and portraits). The Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

paragraph: BULLET::::- "Photographic views of Lucknow taken after the Indian Mutiny". Brown University Library; Anne S. K. Brown Military Collection.

paragraph: BULLET::::- Photographs by Beato, "Japanese Old Photographs in Bakumatsu-Meiji Period". Nagasaki University Library.

paragraph: BULLET::::- Catalogue search for "Felice Beato". Canadian Centre for Architecture.

paragraph: BULLET::::- . Asia through the Lens. Bachmann Eckenstein Art & Antiques, 2006. Archived by the Wayback Machine on 9 May 2007.

paragraph: BULLET::::- Catalogue search for "Beato, Felice". New York Public Library.

paragraph: BULLET::::- Gallery of Felice Beato photographs from Wellcome Images. (74 images from China and India). Wellcome Library, London.

paragraph: BULLET::::- Fostinum: Felice Beato

alias:
Felix Beato
Felice A. Beato
Felice Antonio Beato
Félix Beato

description: Italian-British photographer

wikidata_label: Felice Beato

wikipedia_title: Felice Beato


text: Russia

text: artist

text: designer

text: photographer

text: typographer

text: polemicist

text: architect

text: Russian avant-garde

text: suprematism

text: Kazimir Malevich

text: exhibition

text: propaganda

text: Soviet Union

text: Bauhaus

text: constructivist

text: 20th-century graphic design

text: Lithuanian Jewish

text: Yiddish

text: children's books

text: art group

text: UNOVIS

text: Proun

text: Weimar

text: Germany

text: Bauhaus

text: De Stijl

text: typography

text: photomontage

text: Soviet propaganda

text: Nazi Germany

text: Van Abbemuseum

text: catalogue raisonné

text: Pochinok

text: Jewish

text: Smolensk

text: Vitebsk

text: Belarus

text: drawing

text: Yehuda Pen

text: Saint Petersburg

text: Tsarist regime

text: Germany

text: architectural engineering

text: Technische Hochschule in Darmstadt

text: Europe

text: Paris

text: Italy

text: fine art

text: Paris

text: Ossip Zadkine

text: World War I

text: Switzerland

text: Balkans

text: expatriate

text: Wassily Kandinsky

text: Marc Chagall

text: Moscow

text: Polytechnic Institute of Riga

text: Boris Velikovsky

text: Roman Klein

text: antisemitic

text: Provisional Government

text: Hebrew

text: Mahilyow

text: synagogue

text: Yiddish

text: children's books

text: art nouveau

text: Passover

text: typographic

text: God

text: Bolshevik

text: Russian Revolution

text: photomontage

text: Marc Chagall

text: Leon Trotsky

text: genre

text: Kazimir Malevich

text: figurative art

text: impressionism

text: primitivism

text: cubism

text: suprematism

text: geometric

text: Beat the Whites with the Red Wedge

text: civil war

text: Bolshevik Revolution

text: political symbolism

text: UNOVIS

text: ballet

text: Nina Kogan

text: futurist

text: opera

text: Victory Over the Sun

text: Mikhail Matyushin

text: Aleksei Kruchenykh

text: Communist

text: seal

text: cufflink

text: tefillin

text: shtetl

text: abstract

text: painting

text: spatial

text: lithograph

text: Jewish themes and symbols

text: gallery

text: Ilya Ehrenburg

text: Western Europe

text: graphic designer

text: Vladimir Mayakovsky

text: Jean Arp

text: Kurt Schwitters

text: László Moholy-Nagy

text: Theo van Doesburg

text: constructivism

text: Moscow

text: Hanover

text: kestnergesellschaft

text: solo exhibition

text: Sophie Küppers

text: skyscraper

text: Boulevard Ring

text: Kremlin

text: color-coding

text: Adolf Behne

text: Moscow

text: ASNOVA

text: Ogonyok

text: tuberculosis

text: interior design

text: VKhUTEMAS

text: Hanover

text: Mart Stam

text: 1939 New York World's Fair

text: photomontage

text: Vladimir Favorsky

text: Cologne

text: Pressa

text: film

text: newsreel

text: animation

text: Hygiene

text: Dresden

text: typography

text: photomontage

text: Stalin

text: All-Union Agricultural Exhibition

text: Vyacheslav Oltarzhevsky

text: Vladimir Shchuko

text: socialist realism

text: 1939 New York World's Fair

text: Red Army

text: World War II

text: Vitebsk Museum of Modern Art

text: Ibiblio.org

text: MoMA

text: Flash

text: A Factory Discography

text: Factory Benelux Discography

text: FAC 101 to FAC 150

text: Van Abbemuseum Eindhoven

text: MT Abraham Foundation

text: Valeri Shishanov. VITEBSK’ BUDETLANE

categories: 20th-century Russian painters,Congrès International d'Architecture Moderne members,Russian architects,Soviet artists,People from Smolensk Governorate,Constructivism (art),Jewish painters,Russian watercolorists,Russian avant-garde,People from Pochinok,20th-century deaths from tuberculosis,Constructivist architects,Abstract painters,Russian graphic designers,1941 deaths,Vkhutemas faculty,Jewish socialists,Russian Jews,Soviet Jews,1890 births

paragraph: El Lissitzky

paragraph: Lazar Markovich Lissitzky (, ; – December 30, 1941), known as El Lissitzky (, ), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.

paragraph: Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

paragraph: Section::::Early years.

paragraph: Lissitzky was born on November 23, 1890 in Pochinok, a small Jewish community southeast of Smolensk, former Russian Empire. During his childhood, he lived and studied in the city of Vitebsk, now part of Belarus, and later spent 10 years in Smolensk living with his grandparents and attending the Smolensk Grammar School, spending summer vacations in Vitebsk. Always expressing an interest and talent in drawing, he started to receive instruction at 13 from Yehuda Pen, a local Jewish artist, and by the time he was 15 was teaching students himself. In 1909, he applied to an art academy in Saint Petersburg, but was rejected. While he passed the entrance exam and was qualified, the law under the Tsarist regime only allowed a limited number of Jewish students to attend Russian schools and universities.

paragraph: Like many other Jews then living in the Russian Empire, Lissitzky went to study in Germany. He left in 1909 to study architectural engineering at a Technische Hochschule in Darmstadt, Germany. During the summer of 1912, Lissitzky, in his own words, "wandered through Europe", spending time in Paris and covering on foot in Italy, teaching himself about fine art and sketching architecture and landscapes that interested him. His interest in ancient Jewish culture had originated during the contacts with a Paris-based group of Russian Jews led by sculptor Ossip Zadkine, a lifetime friend of Lissitzky since early childhood, who exposed Lissitzky to conflicts between different groups within the diaspora. Also in 1912 some of his pieces were included for the first time in an exhibit by the St. Petersburg Artists Union; a notable first step. He remained in Germany until the outbreak of World War I, when he was forced to return home through Switzerland and the Balkans, along with many of his countrymen, including other expatriate artists born in the former Russian Empire, such as Wassily Kandinsky and Marc Chagall.

paragraph: Upon his return to Moscow, Lissitzky attended the Polytechnic Institute of Riga, which had been evacuated to Moscow because of the war, and worked for the architectural firms of Boris Velikovsky and Roman Klein. During this work, he took an active and passionate interest in Jewish culture which, after the downfall of the openly antisemitic Tsarist regime, was experiencing a renaissance. The new Provisional Government repealed a decree that prohibited the printing of Hebrew letters and that barred Jews from citizenship. Thus Lissitzky soon devoted himself to Jewish art, exhibiting works by local Jewish artists, traveling to Mahilyow to study the traditional architecture and ornaments of old synagogues, and illustrating many Yiddish children's books. These books were Lissitzky's first major foray in book design, a field that he would greatly greatly influence over the course of his career.

paragraph: His first designs appeared in the 1917 book, "Sihas hulin: Eyne fun di geshikhten" (An Everyday Conversation), where he incorporated Hebrew letters with a distinctly art nouveau flair. His next book was a visual retelling of the traditional Jewish Passover song "Had gadya" (One Goat), in which Lissitzky showcased a typographic device that he would often return to in later designs. In the book, he integrated letters with images through a system that matched the color of the characters in the story with the word referring to them. In the designs for the final page, Lissitzky depicts the mighty "hand of God" slaying the angel of death, who wears the tsar's crown. This representation links the redemption of the Jews with the victory of the Bolsheviks in the Russian Revolution. An alternative view asserts that the artist was wary of Bolshevik internationalization, leading to destruction of traditional Jewish culture. Visual representations of the hand of God would recur in numerous pieces throughout his entire career, most notably with his 1924 photomontage self-portrait "The Constructor," which prominently featured the hand.

paragraph: Section::::Avant-garde.

paragraph: Section::::Avant-garde.:Suprematism.

paragraph: In May 1919, upon receiving an invitation from fellow Jewish artist Marc Chagall, Lissitzky returned to Vitebsk to teach graphic arts, printing, and architecture at the newly formed People's Art School – a school that Chagall created after being appointed Commissioner of Artistic Affairs for Vitebsk in 1918. Lissitzky was engaged in designing and printing propaganda posters; later, he preferred to keep quiet about this period, probably because one of main subjects of these posters was the exile Leon Trotsky. The quantity of these posters is sufficient to regard them as a separate genre in the artist's output.

paragraph: Chagall also invited other Russian artists, most notably the painter and art theoretician Kazimir Malevich and Lissitzky's former teacher, Yehuda Pen. However, it was not until October 1919 when Lissitzky, then on an errand in Moscow, persuaded Malevich to relocate to Vitebsk. The move coincided with the opening of the first art exhibition in Vitebsk directed by Chagall. Malevich would bring with him a wealth of new ideas, most of which inspired Lissitzky but clashed with local public and professionals who favored figurative art and with Chagall himself. After going through impressionism, primitivism, and cubism, Malevich began developing and advocating his ideas on suprematism aggressively. In development since 1915, suprematism rejected the imitation of natural shapes and focused more on the creation of distinct, geometric forms. He replaced the classic teaching program with his own and disseminated his suprematist theories and techniques school-wide. Chagall advocated more classical ideals and Lissitzky, still loyal to Chagall, became torn between two opposing artistic paths. Lissitzky ultimately favoured Malevich's suprematism and broke away from traditional Jewish art. Chagall left the school shortly thereafter.

paragraph: At this point Lissitzky subscribed fully to suprematism and, under the guidance of Malevich, helped further develop the movement. In 1919–1920 Lissitzky was a head of Architectural department at the People's Art School where with his students, primarily Lazar Khidekel, he was working on transition from plane to volumetric suprematism. Lissitzky designed "On the New System of Art" by Malevich, who responded in December 1919: "Lazar Markovich, I salute you on the publication of this little book". Perhaps the most famous work by Lissitzky from the same period was the 1919 propaganda poster "Beat the Whites with the Red Wedge". Russia was going through a civil war at the time, which was mainly fought between the "Reds" (communists, socialists and revolutionaries) and the "Whites" (monarchists, conservatives, liberals and other socialists who opposed the Bolshevik Revolution). The image of the red wedge shattering the white form, simple as it was, communicated a powerful message that left no doubt in the viewer's mind of its intention. The piece is often seen as alluding to the similar shapes used on military maps and, along with its political symbolism, was one of Lissitzky's first major steps away from Malevich's non-objective suprematism into a style his own. He stated: "The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything that is already finished, already made, or already existent in the world – it is a symbol of a new world, which is being built upon and which exists by the way of the people."

paragraph: In January 17, 1920, Malevich and Lissitzky co-founded the short-lived "Molposnovis" (Young followers of a new art), a proto-suprematist association of students, professors, and other artists. After a brief and stormy dispute between "old" and "young" generations, and two rounds of renaming, the group reemerged as UNOVIS (Exponents of the new art) in February. Under the leadership of Malevich the group worked on a "suprematist ballet", choreographed by Nina Kogan and on the remake of a 1913 futurist opera "Victory Over the Sun" by Mikhail Matyushin and Aleksei Kruchenykh. Lissitzky and the entire group chose to share credit and responsibility for the works produced within the group, signing most pieces with a black square. This was partly a homage to a similar piece by their leader, Malevich, and a symbolic embrace of the Communist ideal. This would become the de facto seal of UNOVIS that took the place of individual names or initials. Black squares worn by members as chest badges and cufflinks also resembled the ritual tefillin and thus were no strange symbol in Vitebsk shtetl.

paragraph: The group, which disbanded in 1922, would be pivotal in the dissemination of suprematist ideology in Russia and abroad and launch Lissitzky's status as one of the leading figures in the avant garde. Incidentally, the earliest appearance of the signature Lissitzky () emerged in the handmade "UNOVIS Miscellany", issued in two copies in March–April 1920, and containing his manifesto on book art: "the book enters the skull through the eye not the ear therefore the pathways the waves move at much greater speed and with more intensity. if i can only sing through my mouth with a book i can show myself in various guises."

paragraph: Section::::Avant-garde.:Proun.

paragraph: During this period Lissitzky proceeded to develop a suprematist style of his own, a series of abstract, geometric paintings which he called "Proun" (pronounced "pro-oon"). The exact meaning of "Proun" was never fully revealed, with some suggesting that it is a contraction of "proekt unovisa" (designed by UNOVIS) or "proekt utverzhdenya novogo" (Design for the confirmation of the new). Later, Lissitzky defined them ambiguously as "the station where one changes from painting to architecture."

paragraph: Proun was essentially Lissitzky's exploration of the visual language of suprematism with spatial elements, utilizing shifting axes and multiple perspectives; both uncommon ideas in suprematism. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works spanned over a half a decade and evolved from straightforward paintings and lithographs into fully three-dimensional installations. They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new and better world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict "das zielbewußte Schaffen" – "task oriented creation."

paragraph: Jewish themes and symbols also sometimes made appearances in his Prounen, usually with Lissitzky using Hebrew letters as part of the typography or visual code. For the cover of the 1922 book "Arba'ah Teyashim" (Four Billy Goats; ), he shows an arrangement of Hebrew letters as architectural elements in a dynamic design that mirrors his contemporary Proun typography. This theme was extended into his illustrations for the "Shifs-Karta" (Passenger Ticket) book.

paragraph: Section::::Avant-garde.:Return to Germany.

paragraph: In 1921, roughly concurrent with the demise of UNOVIS, suprematism was beginning to fracture into two ideologically adverse halves, one favoring Utopian, spiritual art and the other a more utilitarian art that served society. Lissitzky was fully aligned with neither and left Vitebsk in 1921. He took a job as a cultural representative of Russia and moved to Berlin where he was to establish contacts between Russian and German artists. There he also took up work as a writer and designer for international magazines and journals while helping to promote the avant-garde through various gallery shows. He started the very short-lived but impressive periodical "Veshch-Gegenstand Objekt" with Russian-Jewish writer Ilya Ehrenburg. This was intended to display contemporary Russian art to Western Europe. It was a wide-ranging pan-arts publication, mainly focusing on new suprematist and constructivist works, and was published in German, French and Russian. In the first issue, Lissitzky wrote:

paragraph: We consider the triumph of the constructive method to be essential for our present. We find it not only in the new economy and in the development of the industry, but also in the psychology of our contemporaries of art. Veshch will champion constructive art, whose mission is not, after all, to embellish life, but to organize it.

paragraph: During his stay Lissitzky also developed his career as a graphic designer with some historically important works such as the books "Dlia Golossa" (For the Voice), a collection of poems from Vladimir Mayakovsky, and "Die Kunstismen" (The Artisms) together with Jean Arp. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg. Together with Schwitters and van Doesburg, Lissitzky presented the idea of an international artistic movement under the guidelines of constructivism while also working with Kurt Schwitters on the issue "Nasci" (Nature) of the periodical "Merz", and continuing to illustrate children's books. The year after the publication of his first Proun series in Moscow in 1921, Schwitters introduced Lissitzky to the Hanover gallery kestnergesellschaft, where he held his first solo exhibition. The second Proun series, printed in Hanover in 1923, was a success, utilizing new printing techniques. Later on, he met Sophie Küppers, who was the widow of Paul Küppers, an art director of the kestnergesellschaft at which Lissitzky was showing, and whom he would marry in 1927.

paragraph: Section::::Avant-garde.:Horizontal skyscrapers.

paragraph: In 1923–1925, Lissitzky proposed and developed the idea of horizontal skyscrapers ("Wolkenbügel", "cloud-hangers", "sky-hangers" or "sky-hooks"). A series of eight such structures was intended to mark the major intersections of the Boulevard Ring in Moscow. Each "Wolkenbügel" was a flat three-story, 180-meter-wide L-shaped slab raised 50 meters above street level. It rested on three pylons (10×16×50 meters each), placed on three different street corners. One pylon extended underground, doubling as the staircase into a proposed subway station; two others provided shelter for ground-level tram stations.

paragraph: Lissitzky argued that as long as humans cannot fly, moving horizontally is natural and moving vertically is not. Thus, where there is not sufficient land for construction, a new plane created in the air at medium altitude should be preferred to an American-style tower. These buildings, according to Lissitzky, also provided superior insulation and ventilation for their inhabitants.

paragraph: Lissitzky, aware of severe mismatch between his ideas and the existing urban landscape, experimented with different configurations of the horizontal surface and height-to-width ratios so that the structure appeared balanced visually ("spatial balance is in the contrast of vertical and horizontal tensions"). The raised platform was shaped in a way that each of its four facets looked distinctly different. Each tower faced the Kremlin with the same facet, providing a pointing arrow to pedestrians on the streets. All eight buildings were planned identically, so Lissitzky proposed color-coding them for easier orientation.

paragraph: An illustration of the concept appeared on the front cover of Adolf Behne's book "Der Moderne Zweckbau", and articles on it written by Lissitzky appeared in the Moscow-based architectural review "ASNOVA News" (journal of ASNOVA, the Association of New Architects) and in the German art journal "Das Kunstblatt".

paragraph: After some time of creating "paper architecture" projects such as the "Wolkenbügels" he was hired to design an actual building in Moscow. Located at 17, 1st Samotechny Lane, it is Lissitzky's sole tangible work of architecture. It was commissioned in 1932 by Ogonyok magazine to be used as a print shop. In June 2007 the independent "Russky Avangard" foundation filed a request to list the building on the heritage register. In September 2007 the city commission (Moskomnasledie) approved the request and passed it to the city government for a final approval, which did not happen. In October 2008, the abandoned building was badly damaged by fire.

paragraph: Section::::Exhibitions of the 1920s.

paragraph: After two years of intensive work Lissitzky was taken ill with acute pneumonia in October 1923. A few weeks later he was diagnosed with pulmonary tuberculosis; in February 1924 he relocated to a Swiss sanatorium near Locarno. He kept very busy during his stay, working on advertisement designs for Pelikan Industries (who in turn paid for his treatment), translating articles written by Malevich into German, and experimenting heavily in typographic design and photography. In 1925, after the Swiss government denied his request to renew his visa, Lissitzky returned to Moscow and began teaching interior design, metalwork, and architecture at VKhUTEMAS (State Higher Artistic and Technical Workshops), a post he would keep until 1930. He all but stopped his Proun works and became increasingly active in architecture and propaganda designs.

paragraph: In June 1926, Lissitzky left the country again, this time for a brief stay in Germany and the Netherlands. There he designed an exhibition room for the Internationale Kunstausstellung art show in Dresden and the Raum Konstruktive Kunst (Room for constructivist art) and Abstraktes Kabinett shows in Hanover, and perfected the 1925 "Wolkenbügel" concept in collaboration with Mart Stam. In his autobiography (written in June 1941, and later edited and released by his wife), Lissitzky wrote, "1926. My most important work as an artist begins: the creation of exhibitions."

paragraph: Back in the USSR, Lissitzky designed displays for the official Soviet pavilions at the international exhibitions of the period, up to the 1939 New York World's Fair. One of his most notable exhibits was the All-Union Polygraphic Exhibit in Moscow in August–October 1927, where Lissitzky headed the design team for "photography and photomechanics" (i.e. photomontage) artists and the installation crew. His work was perceived as radically new, especially when juxtaposed with the classicist designs of Vladimir Favorsky (head of the book art section of the same exhibition) and of the foreign exhibits.

paragraph: In the beginning of 1928, Lissitzky visited Cologne in preparation for the 1928 "Pressa" Show scheduled for April–May 1928. The state delegated Lissitzky to supervise the Soviet program; instead of building their own pavilion, the Soviets rented the existing central pavilion, the largest building on the fairground. To make full use of it, the Soviet program designed by Lissitsky revolved around the theme of a film show, with nearly continuous presentation of the new feature films, propagandist newsreels and early animation, on multiple screens inside the pavilion and on the open-air screens. His work was praised for near absence of paper exhibits; "everything moves, rotates, everything is energized" (). Lissitzky also designed and managed on site less demanding exhibitions like the 1930 Hygiene show in Dresden.

paragraph: Along with pavilion design, Lissitzky began experimenting with print media again. His work with book and periodical design was perhaps some of his most accomplished and influential. He launched radical innovations in typography and photomontage, two fields in which he was particularly adept. He even designed a photomontage birth announcement in 1930 for his recently born son, Jen. itself is seen as being another personal endorsement of the Soviet Union, as it superimposed an image of the infant Jen over a factory chimney, linking Jen's future with his country's industrial progress. Around this time, Lissitzky's interest in book design escalated. In his remaining years, some of his most challenging and innovative works in this field would develop. In discussing his vision of the book, he wrote:

paragraph: In contrast to the old monumental art [the book] itself goes to the people, and does not stand like a cathedral in one place waiting for someone to approach [The book is the] monument of the future.

paragraph: He perceived books as permanent objects that were invested with power. This power was unique in that it could transmit ideas to people of different times, cultures, and interests, and do so in ways other art forms could not. This ambition laced all of his work, particularly in his later years. Lissitzky was devoted to the idea of creating art with power and purpose, art that could invoke change.

paragraph: Section::::Later years.

paragraph: In 1932, Stalin closed down independent artists' unions; former avant-garde artists had to adapt to the new climate or risk being officially criticised or even blacklisted. Lissitzky retained his reputation as the master of exhibition art and management into the late 1930s. His tuberculosis gradually reduced his physical abilities, and he was becoming more and more dependent on his wife in actual completion of his work.

paragraph: In 1937, Lissitzky served as the lead decorator for the upcoming All-Union Agricultural Exhibition, reporting to the master planner Vyacheslav Oltarzhevsky but largely independent and highly critical of him. The project was plagued by delays and political interventions. By the end of 1937 the "apparent simplicity" of Lissitzky's artwork aroused the concerns of the political supervisors, and Lissitzky responded: "The simpler the shape, the finer precision and quality of execution required... yet until now [the working crews] are instructed by the foremen (Oltarzhevsky and Korostashevsky), not the authors" (i.e. Vladimir Shchuko, author of the Central Pavilion, and Lissitzky himself). His artwork, as described in 1937 proposals, completely departed from the modernist art of the 1920s in favor of socialist realism. The iconic statue of Stalin in front of the central pavilion was proposed by Lissitzky personally: "this will give the square its head and its face" ().

paragraph: In June 1938, he was only one of seventeen professionals and managers responsible for the Central Pavilion; in October 1938, he shared the responsibility for its Main Hall decoration with Vladimir Akhmetyev. He simultaneously worked on the decoration of the Soviet pavilion for the 1939 New York World's Fair; the June 1938 commission considered Lissitzky's work along with nineteen other proposals and eventually rejected it.

paragraph: Lissitzky's work on the "USSR im Bau" (USSR in construction) magazine took his experimentation and innovation with book design to an extreme. In issue #2 he included multiple fold-out pages, presented in concert with other folded pages that together produced design combinations and a narrative structure that was completely original. Each issue focused on a particular issue of the time – a new dam being built, constitutional reforms, Red Army progress and so on. In 1941, his tuberculosis worsened, but he continued to produce works, one of his last being a propaganda poster for Russia's efforts in World War II, titled ""Davaite pobolshe tankov!"" (Give us more tanks!) He died on December 30, 1941, in Moscow.

paragraph: Section::::References.

paragraph: BULLET::::- Shishanov V.A. "Vitebsk Museum of Modern Art: a history of creation and a collection". 1918-1941. - Minsk: Medisont, 2007. - 144 p."" ""

paragraph: BULLET::::- "El Lissitzky. Wolkenbügel 1924-1925". Publisher= Editorial Rueda, Madrid, 2005

paragraph: Section::::External links.

paragraph: BULLET::::- Ibiblio.org - Image collection of some of his most famous works

paragraph: BULLET::::- MoMA - Flash-navigable exploration of "USSR im bau" and "Dlia Golossa"

paragraph: BULLET::::- The Roland Collection of Films & Videos on Art - Free streaming download of an entire 88-minute documentary, "El Lissitzky", by Leo Lorez

paragraph: BULLET::::- A Factory Discography - Factory Records catalog by Dennis Remmer.

paragraph: BULLET::::- Factory Benelux Discography - Factory Benelux section of the above website (scroll to FBN 24 to see The Wake).

paragraph: BULLET::::- FAC 101 to FAC 150 - Portion of Remmer's Factory catalog that contains FACT 130.

paragraph: BULLET::::- The full text of NASCI (Merz No. 8/9, Hanover, April-July 1924).

paragraph: BULLET::::- Van Abbemuseum Eindhoven image collection of El Lissizky

paragraph: BULLET::::- MT Abraham Foundation El Lissizky at the MT Abraham Collection

paragraph: BULLET::::- Valeri Shishanov. VITEBSK’ BUDETLANE

paragraph: BULLET::::- Catalogue listing for Swann Galleries auction of record-setting poster by Lissitzky.

paragraph: BULLET::::- El Lissitzky. Suprematic tale about two squares

alias:
ל. ליסיצקי
El' Lisickij
אליעזר ליסיצקי
Ėlʹ Lisit︠s︡kiĭ
El Lissickij
Eliezer Markovich Lissitzky
Lasar Lissitzky
Lisitsky, El' Lissitzky
Eliezer Lissitsky
Lazar Markovich Lissitzky
Lazar Markovich Lisitskii
El Lazar Lissitzky
Lazarʹ Markovich Lisit︠s︡kiĭ
Lazar Markovich Lisi︡tskiĭ
Lazar Markovich Lisitsky
Eliezer Lissitzky
Eliʻezer Lisitsḳi
א. ליסיצקי
El Lissitsky
Lazar Lissitzky
E. M. Lissitsky
El Lisitsḳi
Lisitsky, Lazar' Markovich Lissitzky
Eleazar Markovich Lissitzky
El Lisitsky
Eleazar M. Lissitzky
Lasar Markowitsch Lissitzky
אל ליסיצקי
Eliezer Lisitski
Lisitsky, Lazar' Lissitsky
Lisitsky, El' Lissitsky
Eliezer Lisitsky
Lisitsky, Lazar' Lissitzky
Lisitsky, Lazar' Markovich Lissitsky
Lazarʼ Markovič Lisickij
E. Lisitsḳi
Эль Lissitzky
Lazar Markovich Lisitski
Lazar Markovich Lisitzky
Lasar Morduchovich Lissitsky
Lissits
Ла́зарь Ма́ркович Лиси́цкий
Lissitzky

description: Soviet artist, designer, photographer, teacher, typographer and architect

enwikiquote_title: El Lissitsky

wikidata_label: El Lissitzky

wikipedia_title: El Lissitzky


text: Dhrupad

text: Dhamar

text: Tabla

text: sitar

text: Pt. Uday Shankar

text: Omkarnath Thakur

text: Banaras Hindu University

text: Varanasi

text: C.P. Ramaswami Iyer

text: Omkarnath Thakur

text: B. R. Deodhar

text: Hindustani classical music

text: University of Pennsylvania

text: Uday Shankar

text: Ananda Shankar

text: Vichitra Veena

text: Bharatiya Sangeet Vadya

text: origin

text: Gopal Shankar Misra

text: BHU

text: Ragini Trivedi

text: Ragini Trivedi

text: Ome Swarlipi

text: śruti

text: “Shruti Veena”

text: The Music of Pandit Lalmani Misra

text: Teen Tal

text: Misrabani

text: Tewari, Laxmi Ganesh

text: Chourasiya, Omprakash

text: Vidushi Premlata Sharma

text: Ethnomusicologist

text: Dr. Laxmi Ganesh Tewari

text: Online Music Education

text: Dr. Ragini Trivedi.

text: Links to musical pieces

categories: 20th-century Indian musicians,Indian musicologists,Banaras Hindu University faculty,1979 deaths,William Penn University faculty,Musicians from Varanasi,Indian male writers,Vichitra veena players,1924 births,Music theorists,Hindustani instrumentalists

paragraph: Lalmani Misra

paragraph: Lalmani Misra (11 August 1924 – 17 July 1979) was an eminent Indian classical musician known as much for his art as for his scholarship.

paragraph: Section::::Initiation into music.

paragraph: Lalmani learnt "Dhruvapada (Dhrupad) Dhamar" in the tradition of Pt. Shankar Bhatt and Munshi Bhrigunath Lal. He learnt Khayal singing with Ustad Mehndi Hussain Khan, a disciple of Ustad Vazir Khan of Rampur Seni Gharana. He received training in Dhruvpad, Bhajan and Tabla from Swami Pramodanand; in sitar from Shri Shukdev Roy. Under the tutelage of Ustad Amir Ali Khan he perfected several other musical instruments.

paragraph: Lalmani was appointed on the post of assistant music director in Shehanshahi Recording Company, Calcutta at the age of twelve. He worked in several films for the next two years. His interaction with these two, kindled an interest for orchestration in Lalmani.

paragraph: Section::::Making music work.

paragraph: He returned to Kanpur in 1940 after his father's death. A musical prodigy himself, he experimented with ways of imparting musical training to children, at a time and place where learning of music was shunned by the chaste and noble. He opened several "Bal Sangeet Vidyalaya" – music schools for children; modified the syllabus according to the need of learner, both formal and informal; started an orchestra society. He established the reputed institution of the region, "Bharatiya Sangeet Parishad", and a music college – "Gandhi Sangeet Mahavidyalaya". Excited by all things musical he persisted in experimenting and soon his innovations in technique, style, and orchestration brought him repute and regard.

paragraph: Section::::Globe-trotter.

paragraph: The renowned dance maestro Pt. Uday Shankar offered him the position of music director in his troupe. Lalmani Misra travelled with the troupe composing scores for the innovative dance presentations and ballets on mythological and contemporary themes. The troupe covered several major towns and cities of India and covered Ceylone, France, England, Belgium, America and Canada between 1951 and 1955. Not only was he adept at playing several types of musical instruments, he also had a knack for orchestration that served the needs of an innovative Dance troupe.

paragraph: The experience with the troupe made him try his hand on stage as well. He created Meera opera that was staged in 1956 at Kanpur. The audience were amazed by sudden disappearance of Meera from stage, apparently merging into the idol of Lord Krishna.

paragraph: Section::::Music educationist.

paragraph: On his return Lalmani Misra was appointed as the Registrar of "Akhil Bharatiya Gandharva Mandal Mahavidyalaya, Bombay" – the prestigious most body for Indian Classical Music education. On the pressing invitation of citizens and city officials, he resigned to join the college (Gandhi Sangeet Mahavidyalaya) he had founded in his hometown Kanpur, as its Principal in 1956.

paragraph: Meanwhile, the College of Music and Fine Arts had been established by Pandit Omkarnath Thakur at Banaras Hindu University (BHU), Varanasi in 1950. By 1955–56 its teething troubles were over and department was ready for expansion. A scheme for its re-organization was prepared with inspiration and encouragement provided by the then Vice-Chancellor, C.P. Ramaswami Iyer. On the insistence of Pandit Omkarnath Thakur, Lalmani Misra accepted appointment as Reader in the college and left his native Kanpur a third time for Varanasi in 1957.

paragraph: Section::::Shaping higher education.

paragraph: Misra followed stalwart predecessors like Omkarnath Thakur and B. R. Deodhar in the Department of Performing Arts at BHU. Under his able helmsman-ship, the college increased its reputation in imparting the best education in Hindustani classical music. A rigorous hands-on course in performance and composition culminating in doctoral degree (D.Mus.) was started which has earned faculty positions for almost all its graduates around the globe. He was a visiting Professor in music in the South Asia Studies program at the University of Pennsylvania, Philadelphia from 1969 to 1978. Many students came to learn intricacies of music with him. Pandit Uday Shankar sent his son Ananda Shankar to Misra to learn the art of orchestration.

paragraph: Section::::Writing music.

paragraph: Misra, apart from secretly perfecting the technique of Vichitra Veena after having heard a performance by Abdul Aziz Khan of Patiala, had carried out research on history and development of Indian musical instruments. His thesis published by Bharatiya Jnanpith, New Delhi in 1973 (second edition 2002, reprinted 2004; fifth edition 2012) under the title Bharatiya Sangeet Vadya dispelled the existing myths about the origin of Indian instruments and serves to this day as the primary reference work for identification, authentication and classification of Indian musical instruments. He wrote several other books. The first part of a four-part treatise on techniques of strings was published as "Tantri Nad". After his death in 1979 his son Gopal Shankar Misra, internationally renowned Vichitra Veena artiste and professor, Faculty of Music and Fine Arts, BHU, Varanasi was working on the remaining volumes, aided by hand-written notes by Lalmani Misra when on 13 August 1999 he succumbed to heart-attack at a five-day function organised in memory of his father at Bhopal. A book on essays written by Misra – "Sangeet Aur Samaj" (Music and Society) were edited by his daughter Ragini Trivedi and published by Madhukali Prakashan, Bhopal in 2000. His biographical sketches and writings have been printed in several books and journals. Ragini Trivedi is working on books planned by Misra which could not be published during his lifetime. First collection of featuring some of his compositions has been published as Rag Vibodh: Misrabani by Hindi Madhyam Karyanvaya Nideshalaya, Delhi. Another set of compositions has been presented in a symbol-based notation system, Ome Swarlipi. second volume of Rag Vibodh: Misrabani was released in February 2013 by Hindi Madhyam Karyanvaya Nideshalaya, Delhi.

paragraph: Section::::Researcher and inventor.

paragraph: Carrying out research in the music of Vedic age, he unravelled the mystery of Samic scale. To re-establish the lost notes of that period he created a Raga Sameshwari. Misra also first made it possible in history of mankind, the twenty-two Shruti-s (not to be confused with śruti, the genre of Vedic literature) to be distinctly heard on a single Veena. The invention and key to its function has been explained in “Shruti Veena” published on 11 February 1964 by Vikram Singh, Narendra Printing Works, Varanasi.

paragraph: He had created several other Raga-s like Shyam Bihag, Jog Todi, Madhukali, Madhu-Bhairav, Baleshwari etc., all in strict adherence with rigid classical norms for creation of new Raga-s. Unesco released a compact disc of his Vichitra Veena entitled "The Music of Pandit Lalmani Misra" in 1996.

paragraph: True inventions are seldom noticeable. Early on, Misra found use of Teen Tal in slow and medium compositions ubiquitous. He realised that it was the possibility of Chhand-s that made this Tal a favourite of most instrumentalists. He experimented and created equally alluring Chhand-s in other Tal-s. Legendary percussionists were enamored by his compositions because of their complex, oblique rhythm pattern and called it 'Koot ki Taan'. Later this style came to be known as Misrabani.

paragraph: Section::::Sources and links.

paragraph: BULLET::::1. ."Nada Rupa", Sharma, Dr. (Miss) Premlata, Ed. College of Fine Arts, B.H.U., Varanasi: 1961. Special Issue with Supplement, Vol I, No. 1, January 1961

paragraph: BULLET::::2. . "Sangeetendu Pandit Lalmani Ji Misra: Ek Pratibhavan Sangeetagya", Tewari, Laxmi Ganesh. Swar Sadhana, California, 1996.

paragraph: BULLET::::3. . "Shruti Aur Smriti:Mahan Sangeetagya Pandit Lalmani Misra", Chourasiya, Omprakash, Ed. Madhukali Prakashan, Bhopal, August 1999.

paragraph: BULLET::::4. . "Sangeetendu Acharya Lalmani Misra". Vidushi Premlata Sharma

paragraph: BULLET::::5. . Ethnomusicologist Dr. Laxmi Ganesh Tewari/a

paragraph: BULLET::::6. . Sindura on Vichitra Veena, a short movie clip on Online Music Education

paragraph: BULLET::::7. . "Celestial Music of Pandit Lalmani Misra". DVD. Santa Rosa, California: Svar Sadhana, 2007.

paragraph: BULLET::::8. . "Raga-Rupanjali". Ratna Publications: Varanasi. 2007. A collection of Compositions of Sangeetendu Dr. Lalmani Misra by Dr. Pushpa Basu.

paragraph: BULLET::::9. . "Raga Vibodh: Misrabani". Dr. Ragini Trivedi. Hindi Madhyam Karyanvaya Nideshalaya: Delhi. 2010.

paragraph: BULLET::::10. . "Sitar Compositions in Ome Swarlipi". Dr. Ragini Trivedi. 2010.

paragraph: BULLET::::11. . Links to musical pieces

paragraph: BULLET::::12. . Madhukali – Organization in memory of Sangeetendu Dr. Lalmani Misra

description: Indian musician

wikidata_label: Lalmani Misra

wikipedia_title: Lalmani Misra


categories: Pawtucket Maroons players,Denver Grizzlies (baseball) players,1864 births,Buffalo Bisons (minor league) players,Worcester (minor league baseball) players,Minneapolis Millers (baseball) players,19th-century baseball players,Denver Mountaineers players,Washington Nationals (1886–89) players,Cleveland Blues (1887–88) players,Binghamton Bingos players,Sportspeople from Brooklyn,Major League Baseball third basemen,Rochester Flour Cities players,Baseball players from New York (state),Rochester Maroons players,Detroit Wolverines (minor league) players,Omaha Lambs players,Lewiston (minor league baseball) players,Bangor Millionaires players,Toronto Canucks players,1927 deaths,Troy Trojans (minor league) players

paragraph: John McGlone

paragraph: John T. McGlone (1864–1927) was a professional baseball player from 1886–1888. He played in the minors through 1894.

description: American baseball player

wikidata_label: John McGlone

wikipedia_title: John McGlone


text:
Sukhothai Kingdom
dynasty
Siam
Khmer
Chinese
Thai principalities
Cambodian
epigraphy
Khmer Empire
northern-central
Thailand
Pha Mueang
Angkor
Si Satchanalai
Sukhothai
Sanskrit
Adityan
Indra
Sueang
Ban Muang
Ram Khamhaeng
Rama

categories: Rulers of Sukhothai,Tai history,1270 deaths,Year of birth unknown

image: 512px-พ่อขุนศรีอินทราทิตย์.jpg

paragraph: Si Inthrathit

paragraph: Si Inthrathit (, ; also spelt Sri Indraditya; died "c". 1270) ruled the Sukhothai Kingdom from 1238 until around 1270. He is credited as the founder of the Phra Ruang Dynasty, itself credited as the first historical Siamese dynasty, having a double claim to this title: for being cradled precisely in the region designated by foreigners as "Siam" (Khmer: Syāiņ; Chinese: Sien, etc.), and for being the dynasty which freed the Thai principalities from the Cambodian yoke.

paragraph: Section::::Difficulties in interpretation.

paragraph: Initially known as Pho Khun Bang Klang Hao () interpreted as "Lord Who Rules Sky", the controversy surrounding this names illustrates the limitations of epigraphy. This science studies inscriptions or epigraphs as writing, to identify graphemes, clarify their meanings, classify their uses according to dates and cultural contexts. Texts inscribed on steles are often missing the top or bottom portions, just where one would expect dates, complicating the drawing of conclusions about the writing and the writers. Specifically excluded from epigraphy are the historical significance of an epigraph as a document, and the artistic value of a literary composition. These complications led to the ruler in early life being simply Hao (หาว).

paragraph: Section::::Life.

paragraph: He was the chief of Bang Yang, a territory which belonged to the westernmost regions of the Khmer Empire at that time. The territory now lies around the northern-central region of Thailand.

paragraph: Khun Bang Klang Hao together with Khun Pha Mueang, the Lord of Mueang Rat, decided to rebel and declare independence from Angkor. The Khmer's control and its prohibitive taxes was a crucial motivating factor in the rebellion. Extensive Khmer preoccupation with great architectural works weakened the ability and readiness of Khmer defenses, indirectly aiding the rebellion. Khun Bang Klang Hao captured Si Satchanalai and gave it to Pha Mueang. Pha Mueang reciprocated by giving him Sukhothai.

paragraph: Khun Bang Klang Hao was then declared king at Sukhothai, taking a name of Sanskrit origin, Si Inthrathit translated as "Adityan Indra". His skill and bravery greatly impressed the people of the kingdom, who thus conferred him the title Phra Ruang ("Glorious Prince"). This title was given to all subsequent rulers of Sukhothai, thus giving rise to the first Thai royal dynasty of Phra Ruang .

paragraph: Sri Intraditya and his queen, Queen Sueang, had three sons. The eldest died at a young age, the second was named Ban Muang, and the third son defeated a Khmer prince in an encounter of mounted combat on elephants; he named this youngest son Ram Khamhaeng (Rama the Bold) in tribute to the feat. Sri Intraditya died around 1270, and was succeeded by his son Ban Muang.

description: Ruler of Sukhothai

wikidata_label: Sri Indraditya

wikipedia_title: Si Inthrathit


text:
Marianao
Cuba
La Habana
viola
solfège
Nueva Trova
ICAIC
Leo Brouwer
Silvio Rodríguez
Pablo Milanés
Joan Manuel Serrat
Chico Buarque
Mercedes Sosa
Soledad Bravo
Daniel Viglietti
Pete Seeger
Roy Brown
Pedro Guerra
Beth Carvalho
Liuba María Hevia
Anabell López
José Martí
Versos sencillos

categories: 2012 deaths,Cuban singers,20th-century births

paragraph: Sara González Gómez

paragraph: Sara González Gómez (Marianao, Cuba; June 13, 1949 or 1951 - La Habana, Cuba; February 1, 2012) was a Cuban singer.

paragraph: In the 1960s, she studied the viola in the Amadeo Roldán Conservatory. She graduated from the National School of Art Instructors where she also taught guitar and solfège. She was one of the founders of the Nueva Trova Movement and one of its main proponents. She belonged to The Cuban Institute of Cinematographic Art and Industry (ICAIC) Sound Experimentation Group (GES), under the direction of Leo Brouwer, where she studied composition, harmony and orchestration. She produced music for film, television and radio as well as participating in several group albums with other figures from the Nueva Trova Movement and the GES. She was in a relationship with the painter Diana Balboa.

paragraph: Sara González shared the stage with Silvio Rodríguez, Pablo Milanés, Augusto Blanca, Joan Manuel Serrat, Chico Buarque, Mercedes Sosa, Soledad Bravo, Daniel Viglietti, Pete Seeger, Roy Brown, Pedro Guerra, Beth Carvalho, Liuba María Hevia, Anabell López, Marta Campos, Heidi Igualada, along with several other artists.

paragraph: In 1973, she composed "Girón, la victoria" ("Girón, the victory") a tribute to the Bay of Pigs Invasion victory in April 1961. Her discography includes: José Martí's "Versos sencillos" ("Simple Verses", ), "Cuatro cosas" ("Four Things", 1982), "Con un poco de amor" ("With a Little of Love", 1987), "Con apuros y paciencia" ("With Hardships and Patience", 1991), "Si yo fuera mayo" ("If I Were May", 1996), and "Mírame" ("Look at Me", 1999).

paragraph: In December 2006, she attended the Second Iberoamerican Meeting of Languages, in the Villa de Cempoala.

alias:
Sara González Gómez
Sara Gonzalez
Sara Gonzalez Gomez

description: artist

wikidata_label: Sara González

wikipedia_title: Sara González Gómez


text:
Tokyo
Super GT
MR-S
Kazuya Oshima
Super Formula
Official website
Profile on driverdb

categories: Living people,1981 births,Formula Nippon drivers,Super Formula drivers,All-Japan Formula Three Championship drivers,Japanese racing drivers

paragraph: Hiroaki Ishiura

paragraph: Born in Tokyo, Ishiura won the Super GT300 championship, in the APR MR-S with Kazuya Oshima, and is the 2015, and 2017 Super Formula champion.

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- Profile on driverdb

description: Japanese racing driver

wikidata_label: Hiroaki Ishiura

wikipedia_title: Hiroaki Ishiura