categories: 1996 births,Norwegian male cyclists,Living people,Sportspeople from Trondheim

paragraph: Erik Resell

paragraph: Erik Resell (born 28 September 1996) is a Norwegian racing cyclist. He competed in the men's team time trial event at the 2017 UCI Road World Championships.

paragraph: Section::::Major results.

paragraph: BULLET::::- 2016

paragraph: BULLET::::- 2018

paragraph: BULLET::::- 2019

alias:
Erik Resell
Erik Nordsaeter Resell

description: Norwegian cyclist

wikidata_label: Erik Nordsæter Resell

wikipedia_title: Erik Resell


text:
racing cyclist
men's team time trial
2017 UCI Road World Championships

categories: 1997 births,Norwegian male cyclists,Place of birth missing (living people),Living people

paragraph: Hans Kristian Rudland

paragraph: Hans Kristian Rudland (born 16 April 1997) is a Norwegian racing cyclist. He competed in the men's team time trial event at the 2017 UCI Road World Championships.

paragraph: Section::::Major results.

paragraph: BULLET::::- 2017

wikidata_label: Hans Kristian Rudland

wikipedia_title: Hans Kristian Rudland


href: Ancient%20Egypt Nefermaat pharaoh Sneferu Vizier%20%28Ancient%20Egypt%29 Bastet Hemiunu mastaba Meidum Khufu

text:
Ancient Egypt
Nefermaat
king
Sneferu
vizier
Bastet
Hemiunu
mastaba
Meidum
Khufu

categories: 26th-century BC women,27th-century BC women,26th-century BC Egyptian people

paragraph: Itet

paragraph: Itet, also known as Atet, was a royal woman who lived in Ancient Egypt. She was the wife of Nefermaat, the eldest son of king Sneferu as well as a vizier and a religious leader in the royal court who officiated in the worship of Bastet. She was the mother of three daughters and many sons. Her son, Hemiunu, succeeded her husband as vizier. She and her husband are buried in mastaba 16 at Meidum.

paragraph: Section::::Family.

paragraph: Fifteen of Itet and Nefermaat's offspring are named in their tomb in Meidum. Daughters Djefatsen and Isesu and sons Hemiunu, Isu, Teta, and Khentimeresh are depicted as adults, while daughter Pageti and sons Itisen, Inkaef, Serfka, Wehemka, Shepseska, Kakhent, Ankhersheretef, Ankherfenedjef, Buneb, Shepsesneb, and Nebkhenet are depicted as children. Her son, Hemiunu, is the vizier who is believed to have helped plan the Great Pyramids for Khufu and he often is referred to as its architect.

description: Ancient Egyptian princess

wikidata_label: Itet

wikipedia_title: Itet


text: London

text: Inner Temple

text: Enfield

text: South Kensington Schools

text: Muskoka

text: Toronto

text: still life

text: oils

text: watercolours

text: etchings

text: Canadian Pacific Railway

text: A & C Black

text: CANADA

text: Kew Gardens

text: Ontario Society of Artists

text: Royal Canadian Academy of Arts

text: Swedenborgian church

text: Canada

text: Kew gardens

text: Peeps at many lands: Canada.

text: Father of Canadian Art

text: Thomas Mower Martin

text: Mower Martin archive

text: Glenbow Museum

categories: English emigrants to Canada,English watercolourists,English male painters,Canadian illustrators,19th-century English painters,English Swedenborgians,19th-century Canadian painters,1838 births,Canadian watercolourists,1934 deaths,Canadian landscape painters,English illustrators,20th-century English painters,20th-century Canadian painters

paragraph: Thomas Mower Martin

paragraph: Thomas Mower Martin (1838 – 1934) was an English-born Canadian landscape painter dubbed "the father of Canadian art"

paragraph: Section::::Life and work.

paragraph: Martin was born in London, England, the son of Edward H. Martin, sub-treasurer of the Inner Temple, and Susan

paragraph: Abernethy. He was educated at various schools and lastly, the Military school in Enfield his father wanted him to become a soldier with the East India Company. But he was orphaned at 15 years of age, lived with an aunt (Kezia, sister of his mother Susannah Abernethy, and widow of Thomas Mower) who supported his desire to not proceed with military life and leave school to become a carpenter and draughtsman. He had had a hobby of sketching and painting, for several years and now, took part-time instruction at the South Kensington Schools in London but was mostly self-taught in art.

paragraph: He found life in London unpleasant, was restless for a healthier life style and took advantage of the Canadian Government's offer of of land to enable him to immigrate and be a pioneer settler. He married Emma Nichols (1842–1911)—they went on to have nine children. In 1862 they emigrated to Canada and built a small house in Muskoka, Ontario. Farming proved impossible because of the poor quality of the land and so the family moved and settled in Toronto, where Mower Martin soon became an established professional painter.

paragraph: Martin produced landscapes, animals, still lifes and portraits in oils, watercolours and etchings. He was one of a group of artists given passes by the Canadian Pacific Railway to paint landscapes in western Canada—they became known as the "Railway Painters". Earlier he had travelled and painted landscapes through eastern Canada and the United States, and also provided illustrations for two books by A & C Black, CANADA and Kew Gardens. He was a founding member of the Ontario Society of Artists in 1872, and charter member of the Royal Canadian Academy of Arts in 1880, and was also a member of the Royal British Colonial Society of Artists (1909). Mower Martin exhibited widely as an artist during his lifetime and his works can be found in many public and private collections, including Windsor Castle in England.

paragraph: Martin was a member of the Swedenborgian church and wrote philosophical leaflets for the organisation. He died at the age of 96 in 1934.

paragraph: Section::::Illustrated books.

paragraph: BULLET::::- Campbell, Wilfred. "Canada" (A & C Black, 1907).

paragraph: BULLET::::- Moncrieff, A. R. Hope. "Kew gardens" (A & C Black, 1908).

paragraph: BULLET::::- Bealby, J. T. "Peeps at many lands: Canada." (A & C Black, 1909).

paragraph: BULLET::::- Graeme, Toni "Father of Canadian Art"(TGraeme Enterprises,2009).

paragraph: Section::::Further reading.

paragraph: BULLET::::- Macdonald, Colin S. "A Dictionary of Canadian Artists, Volume 4" (Canadian Paperbacks Pub., 1989)

paragraph: BULLET::::- Lerner, Loren Ruth & Williamson, Mary F. "Art and architecture in Canada" (University of Toronto Press, 1991) p664.

paragraph: Section::::External links.

paragraph: BULLET::::- Thomas Mower Martin (Biog at "Meibohm Fine Arts").

paragraph: BULLET::::- Mower Martin archive (Glenbow Museum)

paragraph: BULLET::::-

alias:
Mower Martin
T. Mower Martin

description: British artist

wikidata_label: Thomas Mower Martin

wikipedia_title: Thomas Mower Martin


text:
jazz
nickname
saxophone
African American
Vaudeville
Theater Owners Booking Association
Henry Busse
Johnny Dunn
Chicago
King Oliver
mute
Louis Armstrong
Ma Rainey
Philadelphia
Bobby Lee
Wilbur de Paris
New York City
Chick Webb
Europe
Sam Wooding
Marion Handy
McKinney's Cotton Pickers
Cab Calloway
Benny Carter
Teddy Wilson
Fletcher Henderson
Claude Hopkins
World War II
Latin bands
Perez Prado
Marcelino Guerra
Ricardo Ray
Machito
clave rhythm
Sammy Price
Benny Goodman
Jimmy Knepper
Paris
recording studio
Sweet Basil
Greenwich Village
New Orleans, Louisiana
Nicholas Payton
Butch Thompson
Verve Records
Grammy Award
Shorty & Doc
Shorty Baker
Black & Blue
Sackville
Metronome
Stash
DRG
Natasha Imports
Columbia
Jazzology
Verve
Viper's Nest
GHB
George Kelly
Benny Carter
Legends
Dizzy Gillespie
To Diz with Love
Telarc
Herbie Mann
Flute, Brass, Vibes and Percussion
The Common Ground
Our Mann Flute
Jay McShann
The Big Apple Bash
Doc Cheatham on PBS.org/jazz
Doc Cheatham on jazzhouse.org
Doc Cheatham Interview

categories: American jazz bandleaders,Swing trumpeters,McKinney's Cotton Pickers members,1905 births,Dixieland trumpeters,20th-century American singers,American male trumpeters,20th-century male musicians,Vaudeville performers,Grammy Award winners,Singers from Nashville, Tennessee,Jazz musicians from Tennessee,Big band bandleaders,Swing singers,Harlem Blues and Jazz Band members,American trumpeters,1997 deaths,20th-century trumpeters,Dixieland singers,American jazz singers,Male jazz musicians,African-American musicians

paragraph: Doc Cheatham

paragraph: Adolphus Anthony Cheatham, better known as Doc Cheatham (June 13, 1905 – June 2, 1997), was a jazz trumpeter, singer, and bandleader.

paragraph: Section::::Early life.

paragraph: Doc Cheatham was born in Nashville, Tennessee of African, Cherokee and Choctaw heritage. He noted there was no jazz music there in his youth; like many in the United States he was introduced to the style by early recordings and touring groups at the end of the 1910s. He abandoned his family's plans for him to be a pharmacist (although retaining the medically inspired nickname "Doc") to play music, initially playing soprano and tenor saxophone in addition to trumpet in Nashville's African American Vaudeville theater. Cheatham later toured in band accompanying blues singers on the Theater Owners Booking Association circuit. His early jazz influences included Henry Busse and Johnny Dunn, but when he moved to Chicago in 1924 he heard King Oliver. Oliver's playing was a revelation to Cheatham. Cheatham followed the jazz King around. Oliver gave young Cheatham a mute which Cheatham treasured and performed with for the rest of his career. A further revelation came the following year when Louis Armstrong returned to Chicago. Armstrong would be a lifelong influence on Cheatham.

paragraph: Section::::Working with the name bands.

paragraph: Cheatham played in Albert Wynn's band (and occasionally substituted for Armstrong at the Vendome Theater), and recorded on sax with Ma Rainey before moving to Philadelphia in 1927, where he worked with the bands of Bobby Lee and Wilbur de Paris before moving to New York City the following year. After a short stint with Chick Webb he left to tour Europe with Sam Wooding's band.

paragraph: Cheatham returned to the United States in 1930, and played with Marion Handy and McKinney's Cotton Pickers before landing a job with Cab Calloway. Cheatham was Calloway's lead trumpeter from 1932 through 1939.

paragraph: According to a personal discussion with Doc Cheatham, he studied with Max Schlossberg for 6 months in 1931.I approached the topic, at Sweet Basil's, because his tone was like Schlossberg's; I had heard Schlossberg, my grand uncle, play once, at home, in 1936-[Norman M. Canter, M.D.]

paragraph: He performed with Benny Carter, Teddy Wilson, Fletcher Henderson, and Claude Hopkins in the 1940s; after World War II he started working regularly with Latin bands in New York City, including the bands of Perez Prado, Marcelino Guerra, Ricardo Ray (on whose catchy, hook-laden album "Jala, Jala Boogaloo, Volume II", he played exquisitely (but uncredited), particularly on the track "Mr. Trumpet Man"), Machito, and others. The first time Cheatham joined Machito's band, he was fired because he couldn't cope with clave rhythm. Cheatham eventually got the hang of it though. In addition to continuing Latin gigs, he played again with Wilbur de Paris and Sammy Price. He led his own band on Broadway for five years starting in 1960, after which he toured with Benny Goodman.

paragraph: In 1959, the U.S. State Department funded a trip for bandleader Herbie Mann to visit Africa, after they heard his version of "African Suite." The grueling 14-week tour took place between 12/31/1959 to 4/5/1960. Personnel: Herbie Mann, Bandleader, flute and sax. Johnny Rae, vibist and arranger. Don Payne, bass Doc Cheatham, trumpet Jimmy Knepper, trombone Patato Valdez, conguero Jose Mangual, bongos. Destinations listed on official itinerary: Sierra Leone, Liberia, Nigeria, Mozambique, Rhodesia, Tanganyika, Kenya, Ethiopia, Sudan, Morocco, Tunisia.

paragraph: personal letters of Jimmy Knepper held by his daughter, Robin Knepper Mahonen

paragraph: Section::::Later work.

paragraph: In the 1970s, Doc Cheatham made a vigorous self-assessment to improve his playing, including taping himself and critically listening to the recordings, then endeavoring to eliminate all clichés from his playing. The discipline paid off, and Doc received ever-improving critical attention.

paragraph: His singing career began almost by accident in a Paris recording studio on 2 May 1977. As a level and microphone check at the start of a recording session with Sammy Price's band, Cheatham sang and scatted his way through a couple of choruses of "What Can I Say Dear After I Say I'm Sorry". The miking happened to be good from the start and the tape machine was already rolling, and the track was issued on the LP "Doc Cheatham: Good for What Ails You". His singing was well received and Cheatham continued to sing in addition to play music for the rest of his career.

paragraph: Cheatham toured widely in addition to his regular Sunday gig leading the band at Sweet Basil in Manhattan's Greenwich Village in his final decade. During one of his frequent trips to New Orleans, Louisiana, he met and befriended young trumpet virtuoso Nicholas Payton. In 1996 the two trumpeters and pianist Butch Thompson recorded a CD for Verve Records, "Doc Cheatham and Nicholas Payton", which won them a Grammy Award.

paragraph: Section::::Death.

paragraph: Doc Cheatham continued playing until two days before his death, eleven days shy of his 92nd birthday.

paragraph: Section::::Discography.

paragraph: BULLET::::- 1961 "Shorty & Doc" (Swingville) with Shorty Baker

paragraph: BULLET::::- 1973 "Adolphus Doc Cheatham" (Jezebel)

paragraph: BULLET::::- 1975 "Hey Doc!" (Black & Blue)

paragraph: BULLET::::- 1976 "Doc and Sammy" (Sackville)

paragraph: BULLET::::- 1977 "Good for What Ails Ya" (Classic Jazz)

paragraph: BULLET::::- 1979 "Black Beauty" (Sackville)

paragraph: BULLET::::- 1979 "John, Doc and Herb" (Metronome)

paragraph: BULLET::::- 1982 "I've Got a Crush on You" (New York Jazz)

paragraph: BULLET::::- 1982 "It's a Good Life" (Parkwood)

paragraph: BULLET::::- 1982 "Too Marvelous for Words" (New York Jazz)

paragraph: BULLET::::- 1983 "The Fabulous Doc Cheatham" (Parkwood)

paragraph: BULLET::::- 1985 "At the Bern Jazz Festival" (Sackville)

paragraph: BULLET::::- 1985 "Highlights in Jazz" (Stash)

paragraph: BULLET::::- 1987 "Tribute to Billie Holiday" (Kenneth)

paragraph: BULLET::::- 1988 "Dear Doc" (Orange Blue)

paragraph: BULLET::::- 1988 "Tribute to Louis Armstrong" (Kenneth)

paragraph: BULLET::::- 1992 "Eartha Kitt/Doc Cheatham/Bill Coleman with George Duvivier & Co." (DRG)

paragraph: BULLET::::- 1992 "Echoes of New Orleans" (Big Easy)

paragraph: BULLET::::- 1992 "You're a Sweetheart" (Sackville)

paragraph: BULLET::::- 1993 "Live" (Natasha Imports)

paragraph: BULLET::::- 1993 "The Eighty-Seven Years of Doc Cheatham" (Columbia)

paragraph: BULLET::::- 1995 "Duets and Solos"

paragraph: BULLET::::- 1995 "Swinging Down in New Orleans" (Jazzology)

paragraph: BULLET::::- 1996 "Live at Sweet Basil" (Jazzology)

paragraph: BULLET::::- 1997 "Doc Cheatham & Nicholas Payton" (Verve)

paragraph: BULLET::::- 1997 "Mood Indigo: A Memorial" (Viper's Nest)

paragraph: BULLET::::- 1999 "At the Vineyard on a Cold Sunday in January"

paragraph: BULLET::::- 2000 "Live at the Windsor Jazz Series 1981" (Jazzology)

paragraph: BULLET::::- 2003 "Meets the Swiss Dixie Stompers Plus Two" (Jazzology)

paragraph: BULLET::::- 2011 "Doc Cheatham and Sammy Price in New Orleans with Lars Edegran's Jazz Band" (1988; GHB, 2011)

paragraph: BULLET::::- 2011 "From Dixie to Swing" (Traditions Alive, 2011)

paragraph: BULLET::::- 2013 "Live in New York 1985" with George Kelly(City Hall/Squatty Roo, 1985, 2013)

paragraph: With Benny Carter

paragraph: BULLET::::- "Legends" (MusicMasters, 1993)

paragraph: With Dizzy Gillespie

paragraph: BULLET::::- "To Diz with Love" (Telarc, 1992)

paragraph: With Herbie Mann

paragraph: BULLET::::- "Flute, Brass, Vibes and Percussion" (Verve, 1959)

paragraph: BULLET::::- "The Common Ground" (Atlantic, 1960)

paragraph: BULLET::::- "Our Mann Flute" (Atlantic, 1966)

paragraph: With Jay McShann

paragraph: BULLET::::- "The Big Apple Bash" (Atlantic, 1979)

paragraph: Section::::External links.

paragraph: BULLET::::- Doc Cheatham on PBS.org/jazz

paragraph: BULLET::::- Doc Cheatham on jazzhouse.org

paragraph: BULLET::::-

paragraph: BULLET::::- Doc Cheatham Interview NAMM Oral History Library (1995)

description: American jazz musician

wikidata_label: Doc Cheatham

wikipedia_title: Doc Cheatham


text:
County Dublin
Dublin
Dominican
Roman Catholic Archbishop of Dublin
canon law
Bishop of Ossory
Flanders
Ignazio Busca
Kilkenny
tithe
Archbishop John Carpenter
John Keogh
excommunication
rebellion
veto
Daniel Murray
St Mary's Pro-Cathedral
John D'Alton
Dominicans in Ireland
William Carrigan

categories: Roman Catholic bishops of Ossory,Roman Catholic archbishops of Dublin,1739 births,Irish Dominicans,People from County Dublin,1823 deaths

paragraph: John Troy (bishop)

paragraph: John Thomas Troy (10 May 1739, County Dublin – 11 May 1823, Dublin) was an Irish Dominican and Roman Catholic Archbishop of Dublin.

paragraph: Section::::Life.

paragraph: Section::::Life.:Dominican.

paragraph: Of Anglo-Norman stock, Troy was born in or near Porterstown and received his early education at Liffey Street, Dublin. At the age of fifteen he went to study in Rome, where in 1756 he joined the Dominican Order and proceeded to their house of St. Clement, at Rome. Amenable to discipline, diligent in his studies, and talented, he made rapid progress, and while still a student was appointed to give lectures in philosophy. Subsequently, he professed theology and canon law, and finally became prior of the convent in 1772.

paragraph: Section::::Life.:Bishop of Ossory.

paragraph: When the Bishop of Ossory died, in 1776, the priests of the diocese recommended one of their number, Father Molloy, to Rome for the vacant see, and the recommendation was endorsed by many of the Irish bishops. But Dr Troy, who was held in high esteem at Rome, had already been appointed Bishop of Ossory. He was consecrated at Louvain in June 1777 by the nuncio to Flanders Archbishop (later Cardinal) Ignazio Busca.

paragraph: Troy arrived at Kilkenny in August 1777 and for the next nine years he laboured hard for the spiritual interests of his diocese.Maddened by excessive rents and tithes, and harried by grinding tithe-proctors, farmers had banded themselves together in a secret society called the "Whiteboys", so called from the white smocks the members wore in their nightly raids. They attacked landlords, bailiffs, agents, and tithe-proctors, and often committed fearful outrages. Bishop Troy frequently and sternly denounced them, declaring any who joined the secret society to be excommunicated. Bishop Troy had no sympathy with oppression, but he had lived long in Rome, and did not fully appreciate the extent of misery in which the poor Catholic masses lived.

paragraph: He was ready to condemn all violent efforts for reform, and had no hesitation in denouncing not only all secret societies in Ireland, but also "our American fellow-subjects, seduced by specious notions of liberty". This made him unpopular. He was zealous in correcting abuses in his diocese and in promoting education. So well was this recognized at Rome that in 1781, in consequence of some serious troubles which had arisen between the primate and his clergy, Dr. Troy was appointed Administrator of Armagh. This office he held till 1782.

paragraph: Section::::Life.:Archbishop of Dublin.

paragraph: Upon the death of Archbishop John Carpenter of Dublin) in 1786, Bishop Troy was appointed to succeed him. At Dublin, as at Ossory, he showed his zeal for religion, his sympathy with authority, and his distrust of popular movements, especially when violent means were employed. Though his circular, issued on 15 March 1792, disavowing the authority of any ecclesiastical power to absolve subjects from their allegiance, is believed to have influenced the concession in that year of the relaxations embodied in Langrishe's Act, and the extension of the franchise to Roman Catholics in 1793, he declined to associate himself with John Keogh and other Catholic reformers in their demands for further relief.

paragraph: In 1798 he issued a sentence of excommunication against all those of his flock who would join the rebellion. In a pastoral read in all the churches, he spoke of the clerical organisers of the rebellion as ‘vile prevaricators and apostates from religion, loyalty, honour, and decorum, degrading their sacred character, and the most criminal and detestable of rebellious and seditious culprits.’ Troy's action at this time appears to have endangered his life; but the influence he had acquired with the government enabled him to moderate the repressive measures taken by the authorities. Believing that Catholic emancipation could never be conceded by the Irish parliament, he was one of the most determined supporters of the Union.

paragraph: In 1799 he agreed to accept the veto of government, on the appointment of Irish bishops; and even when the other bishops, feeling they had been tricked by Pitt and Castlereagh, repudiated the veto, Dr Troy continued to favour it. However, in 1809, he recommended Daniel Murray be appointed his coadjutor. Murray was an uncompromising opponent of the "veto", and while Troy's coadjutor, made trips in 1814 and 1815 to Rome concerning the controversy.

paragraph: In April 1815, Archbishop Troy laid the foundation of St Mary's Pro-Cathedral in Marlborough Street, Dublin, but did not live to see it completed. Archbishop Troy died on 11 May 1823 at the age of eighty-four. He died very poor, leaving scarce sufficient to pay for his burial, and was interred in the unfinished St Mary's Pro-Cathedral.

paragraph: In the administration of his diocese and in his private life, Troy was eminently zealous, pious, and charitable; and although his cordial relations with the government exposed him to many suspicions and accusations, there is no ground for questioning the integrity of his motives and conduct, which were inspired by his views of the interest of his church. He fully shared that distrust of revolutionary tendencies in civil affairs which dominated the ecclesiastical policy of the Vatican throughout his career. John D'Alton, speaks of Troy as " a truly learned and zealous pastor, … a lover and promoter of the most pure Christian morality, vigilant in the discharge of his duty, and devotedly solicitous not only for the spiritual good of those consigned to his charge, but also for the public quiet of the state."

paragraph: Section::::See also.

paragraph: BULLET::::- Dominicans in Ireland

paragraph: Section::::Further reading.

paragraph: BULLET::::- Brady, Episcopal Succession (Rome, 1876)

paragraph: BULLET::::- William Carrigan, History of the Diocese of Ossory (Dublin, 1905)

paragraph: BULLET::::- Wyse, History of the Catholic Association (London, 1829)

paragraph: BULLET::::- Moran, Spicilegium Ossoriense (Dublin, 1874–84)

paragraph: Section::::Sources.

paragraph: BULLET::::- D'Alton, History of the Archbishops of Dublin (Dublin, 1838)

paragraph: BULLET::::- McNally, Vincent J., "Reform, Revolution and Reaction: Archbishop John Thomas Troy and the Catholic Church in Ireland 1787-1817". London: University Press of America, 1995, p. 10

description: Irish Roman Catholic archbishop

wikidata_label: John Troy

wikipedia_title: John Troy (bishop)


text:
Buenos Aires
Op Art
Valencia
Mesa Contemporary Arts Center
Long Beach Museum of Art
Palais de Tokyo
Reebok
Corvette
Forbes
Op artist
Carlos Cruz-Diez
Magda Danysz Gallery

categories: Spanish contemporary artists,Living people,1986 births,Artists from Buenos Aires

paragraph: Felipe Pantone

paragraph: Felipe Pantone (born 1986) is an Argentine-Spanish contemporary artist. He was born in Buenos Aires, Argentina and raised in southeast Spain. Pantone’s body of work is based in kinetic art, installations, graffiti and design, characterized by “use of bold colors, geometrical patterns and Op Art elements.” His combinations recall “bright colored typography, 80s Synth pop music, and SMPTE color bars on the TV.”

paragraph: Section::::History.

paragraph: Pantone began doing graffiti as Pant1 in Torrevieja, Spain, then moved to Valencia at the age of 18, where he started painting with the D.O.C.S crew and later became part of UltraBoyz (UB). He became known for his avante-garde cursive handstyle.

paragraph: Pantone began showing his work in galleries in 2006. It has since appeared on buildings, walls and in galleries worldwide, from the Mesa Contemporary Arts Center to the Long Beach Museum of Art, the Palais de Tokyo in Paris, as well as in Mexico City, Osaka, Lisbon, Palestine, Italy, and Australia. Pantone has been featured in various forms of media, including Reebok's "Always a Classic" campaign. He used a 1994 Corvette as a canvas for his pixelated graphics, a piece presented in the exhibit "Beyond the Streets." The piece is now known as "Ultradynamic".

paragraph: Section::::Style.

paragraph: Pantone often works in gradients, blending geometric shapes with neon colors and white and blacks, with critics noting "The divisions between geometric patterns and gradients are so effortlessly blended that the larger patterns seem created with digitization rather than with two hands." He cites the Parisian Grim Team and UltraBoyz crews as early influences.

paragraph: "Forbes" magazine called his aesthetic "the intersection of Blade Runner and PhotoShop" for its concepts of dynamism, transformation and movement. Others have said he has created a new visual dialogue derived from his infatuation with the digital age, comparing his work to Venezelian Op artist Carlos Cruz-Diez' chromatic linework and the geometric graphics of Jonathan Zawada.

paragraph: Section::::Exhibitions.

paragraph: Section::::Exhibitions.:Solo exhibitions.:2016.

paragraph: BULLET::::- Scroll Panorama - Celaya Brothers Gallery, Mexico D.F, Mexico

paragraph: BULLET::::- Cyberspazio Tubolare - Outdoor Festival, Rome, Italy

paragraph: BULLET::::- Data Somersault - StolenSpace Gallery, London

paragraph: BULLET::::- Data Smog - Lebenson Gallery, Paris

paragraph: BULLET::::- W3-Dimensional - Mirus Gallery, San Francisco, CA

paragraph: Section::::Exhibitions.:Solo exhibitions.:2017.

paragraph: BULLET::::- Dynamic Phenomena - Magda Danysz Gallery, Paris

paragraph: BULLET::::- Afterimage - Kolly Gallery, Zurich, Switzerland

paragraph: BULLET::::- Planned Iridescence - GR Gallery, New York, NY

paragraph: BULLET::::- Planar Direction - Station16 Gallery, Montreal, Canada

paragraph: BULLET::::- Artifact to Human Communication - Underdogs Gallery, Lisbon, Portugal

paragraph: Section::::Exhibitions.:Solo exhibitions.:2018.

paragraph: BULLET::::- Excés de Vitesse - Alice Gallery, Brussels, Belgium

paragraph: Section::::Exhibitions.:Group exhibitions.:2017.

paragraph: BULLET::::- Scope Art Fair - With Mirus Gallery, Miami, FL

paragraph: BULLET::::- Interferences, Contemporary Op & Kinetic Art - GR Gallery, New York, NY

paragraph: Section::::Exhibitions.:Group exhibitions.:2018.

paragraph: BULLET::::- Summer Mixer - Joshua Liner Gallery, New York, NY

paragraph: BULLET::::- Beyond the Streets - Los Angeles, CA

description: Argentine-Spanish artist

wikidata_label: Felipe Pantone

wikipedia_title: Felipe Pantone


text:
fermier général
Alençon
French Revolution
Claude Godard d'Aucourt de Saint-Just
Claude Godard d'Aucour

categories: 18th-century French writers,People from Langres,18th-century male writers,1716 births,18th-century French dramatists and playwrights,1795 deaths

paragraph: Claude Godard d'Aucour

paragraph: Claude Godard d'Aucourt (1716–1795) was an 18th-century French writer, marquis of .

paragraph: He became a fermier général in 1754 and in Alençon in 1785. He did not migrate during the French Revolution and managed to retain a portion of his non manorial estate. The librettist Claude Godard d'Aucourt de Saint-Just was his son.

paragraph: Section::::Works.

paragraph: BULLET::::- 1745: "Les Mémoires turcs, avec l'Histoire galante de deux jeunes Turcs durant leur séjour en France"

paragraph: BULLET::::- 1745: "Thémidore ou Mon Histoire et celle de ma maîtresse"

paragraph: Section::::Works.:Librettos.

paragraph: BULLET::::- 1798: "Zoraïme et Zulnar"

paragraph: Section::::External links.

paragraph: BULLET::::- Claude Godard d'Aucour on The Online Books Page

wikidata_label: Claude Godard d'Aucour

wikipedia_title: Claude Godard d'Aucour


text:
stage name
acronym
Hampton, Virginia
Atlantic Records
Empire Distribution
single
Broccoli
Lil Yachty
US "Billboard" Hot 100
Big Baby DRAM
Neustadt an der Weinstraße
Rhineland-Palatinate
Hampton, Virginia
Atlantic Records
Empire Distribution
Bubbling Under Hot R&B/Hip-Hop Singles
Broccoli
Lil Yachty
US "Billboard" Hot 100
Tonight Show Starring Jimmy Fallon
Chance the Rapper
Ty Dolla Sign
Anthony Hamilton
Raury
Big Baby DRAM
Andromeda
Gorillaz
Humanz
We Got the Power
Lazor Wulf
D.R.A.M.
SoundCloud
D.R.A.M.
YouTube

categories: American male singer-songwriters,Musicians from Hampton, Virginia,People from Neustadt an der Weinstraße,American male singers,1988 births,21st-century American rappers,American male rappers,African-American rappers,Military brats,Living people

paragraph: DRAM (musician)

paragraph: Shelley Marshaun Massenburg-Smith (born August 3, 1988), better known by his stage name DRAM (; an acronym for Does Real Ass Music), is an American rapper, singer, songwriter and actor from Hampton, Virginia. He is signed to Atlantic Records and Empire Distribution. His debut single was "Cha Cha", followed by his breakout single "Broccoli", featuring Lil Yachty, which peaked at number five on the US "Billboard" Hot 100. In October 2016, he released his debut studio album, "Big Baby DRAM".

paragraph: Section::::Early life.

paragraph: DRAM was born in Neustadt an der Weinstraße, Rhineland-Palatinate, Germany. Before the age of one, he moved to the United States and was raised in Hampton, Virginia. His mother was in the military.

paragraph: Section::::Career.

paragraph: In March 2015, DRAM released his debut EP, "#1Epic" through Atlantic Records and Empire Distribution. The EP included the single "Cha Cha", which peaked at number one on the Bubbling Under Hot R&B/Hip-Hop Singles chart. In October 2015, his debut mixtape, "Gahdamn!" was released.

paragraph: In April 2016, DRAM released his hit single "Broccoli" featuring rapper Lil Yachty. The song gained international success and peaked at number five on the US "Billboard" Hot 100, becoming his first top five song in the country. In October 2016, he appeared on the "Tonight Show Starring Jimmy Fallon", performing "Blessings (Reprise)" with Chance the Rapper, Ty Dolla Sign, Anthony Hamilton and Raury. His debut studio album, "Big Baby DRAM", was released on October 21, 2016. The album received many positive reviews.

paragraph: DRAM was featured on the single "Andromeda" from British band Gorillaz, for their fifth album, "Humanz". He also provided uncredited guest vocals on the track "We Got the Power" from the same album.

paragraph: He is the voice of Wallace from "Lazor Wulf".

paragraph: Section::::External links.

paragraph: BULLET::::- D.R.A.M. on SoundCloud

paragraph: BULLET::::- D.R.A.M. on YouTube

alias:
Shelley Marshaun Massenburg-Smith
Does Real Ass Music
D.R.A.M.
DRAMA J

description: American rapper

wikidata_label: DRAM

wikipedia_title: DRAM (musician)


text:
Van
Turkish
racewalker
2016 Summer Olympics
20 km race walk
European Athletics
Poděbrady
national record

categories: Athletes (track and field) at the 2016 Summer Olympics,Turkish male racewalkers,1985 births,Olympic athletes of Turkey,People from Van, Turkey,Living people

paragraph: Ersin Tacir

paragraph: Ersin Tacir (born April 1, 1985 in Van, Turkey) is a Turkish racewalker. He is a member of PTT SK.

paragraph: He earned a quota spot for 2016 Summer Olympics with his performance in the 20 km race walk event at the European Athletics Poděbrady Walking 2016 in the Czech Republic. His time of 1:22:19 is a new national record as well.

wikidata_label: Ersin Tacir

wikipedia_title: Ersin Tacir


text: art historian

text: Hebrew language

text: Jewish Scriptures

text: Art history

text: Biblical Texts

text: Jewish thought

text: Mysticism

text: Judaism

text: modern

text: contemporary art

text: Hebrew language

text: contemporary art

text: Jerusalem

text: Yitzhak Ben-Zvi

text: Art History

text: Hebrew University

text: Haaretz

text: Benjamin Tammuz

text: art history

text: University of California

text: Leo Steinberg

text: Pinchas Cohen-Gan

text: Benny Efrat

text: Michael Gitlin

text: Buky Swchartz

text: Brooklyn College

text: School of Visual Arts

text: Art in America

text: Art Forum

text: Art press

text: Motti Mizrahi

text: Ya'akov Dorchin

text: Venice Biennale

text: Adam Baruch

text: City University of New York

text: Frederick Kiessler

text: Shrine of the Book

text: Israel Museum

text: Bezalel Academy of Arts and Design

text: University of Haifa

text: Oranim Academic College

text: Bezalel Academy of Arts and Design

text: Tel Aviv Museum of Art

text: Bar'am

text: Lea Nickel

text: Yehiel Shemi

text: Tel Aviv Museum of Art

text: America-Israel Cultural Foundation

text: Minister of Education

text: Israel Museum

text: German Colony

text: Hebrew language

text: Jewish thought

text: Mysticism

text: Jewish identity

text: Israeli culture

text: Jewish culture

text: Nevo

text: Land of Israel

text: nostalgia

text: Jewish culture

text: Hebrew alphabet

text: Moses

text: The Akedah

text: Jonah

text: Leviathan

text: Psalms

text: Twelve Minor Prophets

text: post-modern

text: modernist

text: Art in America

text: Art in America

text: Motti Mizrahi

text: Venice Biennale

text: Frederick Kiesler

text: CUNY

text: Yaakov Dorchin

text: Venice Biennale

text: Frederick Kiesler

text: Centre Georges Pompidou

text: Ackland Art Museum

text: Ackland Art Museum

text: The University of North Carolina at Chapel Hill

text: Arturo Schwarz

text: Israel Museum

text: ”Haaretz”, Michael Sgan-Cohen

text: "Michael Sgan-Cohen"

text: The Israel Museum

text: Michael Sgan-Cohen: A Retrospective

text: The Israel Museum

text: "Michael Sgan-Cohen"

text: Israel Museum

text: "Michael Sgan-Cohen"

text: The Hebrew University of Jerusalem

categories: Israeli Jews,20th-century Israeli painters,1944 births,Israeli conceptual artists,People from Jerusalem,Israeli contemporary artists

paragraph: Michael Sgan-Cohen

paragraph: Michael Sgan-Cohen (2 March 1944 – 20 February 1999) was an Israeli artist, art historian, curator and critic. His oeuvre touches different realms of the Israeli experience and the Hebrew language, displaying a strong connection to the Jewish Scriptures. His works were nurtured by his extensive knowledge of Art history, philosophy, Biblical Texts, Jewish thought and Mysticism, which in turn illuminated all these pursuits. His engagement with Judaism and the Bible as a secular scholar and his vast knowledge of modern and contemporary art contributed to the development of a distinctive approach which combined Jewish and Israeli symbols and images to create a multilayered and contemporary artistic language.

paragraph: Sgan-Cohen's art was anticipatory in many respects: his concept of Israeli identity as part of Jewish Identity developed long before other artists began to see things in these terms. This reflected in his profound involvement with the formative Jewish sacred texts, both intellectually and by embedding Jewish thought into the essence of his artistic practice. He was one of the pioneers in the sophisticated use of the Hebrew language as a means of expression in contemporary art.

paragraph: Section::::Life.

paragraph: Michael Sgan-Cohen was born in Jerusalem in 1944. His father, Dr. Meir Sgan-Cohen, was a well-known figure in Jerusalem and president Yitzhak Ben-Zvi's personal physician. Sgan-Cohen graduated in Art History and Philosophy from the Hebrew University of Jerusalem in 1969. In the late sixties, while still a student, Sgan-Cohen began writing short articles on art for the literary and cultural supplement of the daily newspaper Haaretz (edited by Benjamin Tammuz).

paragraph: Between 1969 and 1978 Sgan-Cohen lived in Los Angeles and New York state. In 1973 he earned his MA degree in art history from the University of California (UCLA) in Los Angeles. Sgan-Cohen moved to New York in late 1973 to study with the art historian and critic Leo Steinberg. During this period, he was associated with the "New York Group" of Israeli artists including Pinchas Cohen-Gan, Benny Efrat, Michael Gitlin and Buky Swchartz. In 1976 he began to work as an artist. In 1978 Sgan-Cohen had his first solo exhibition at the Kibbutz Gallery in Tel Aviv. During his years in New York, Sgan-Cohen taught art history at the Brooklyn College and at the School of Visual Arts. He wrote for a number of art journals, such as Art in America, Art Forum and Art press, as well as for Hebrew journals like Mussag, Proza, Kav, Studio and Monitin. He wrote the catalogue articles for Motti Mizrahi (1988) and Ya'akov Dorchin (1990) for The Venice Biennale curated by Adam Baruch. In 1989 Sgan-Cohen earned his PhD from the City University of New York (CUNY). His dissertation dealt with the artist and architect Frederick Kiessler, who designed the Shrine of the Book in the Israel Museum.

paragraph: Between 1977 and 1978 Sgan-Cohen returned to Israel and taught at Bezalel Academy of Arts and Design in Jerusalem as well as at the University of Haifa. In 1987 he permanently settled in Jerusalem and since 1990 served as a lecturer in several Art Institutes in Israel including Oranim Academic College in Kiryat Tivon (1990–98), Kalisher Art Academy in Tel Aviv (1990–98), The School of Visual Theatre in Jerusalem (1991–94) and Bezalel Academy of Arts and Design in Jerusalem (1992–98)

paragraph: In 1993 Sgan-Cohen had a solo exhibition at the library of foyer of the Tel Aviv Museum of Art. In 1994 he had an extensive solo exhibition at the Ramat Gan Museum of Israeli Art. The following years he had two joint exhibitions—in 1995 with Haim Maor at the Museum of Jewish Art in Bar'am and in 1996 with Tsibi Geva at Julie M. Gallery in Tel Aviv.

paragraph: Michael Sgan-Cohen curated two major retrospective exhibitions of the painter Lea Nickel (1995) and the sculptor Yehiel Shemi (1997) at the Tel Aviv Museum of Art.

paragraph: In 1997 Sgan-Cohen was the recipient of the America-Israel Cultural Foundation Prize for Excellence in Plastic Arts and in 1998 he won the Minister of Education and Culture Prize.

paragraph: He died of an illness in 1999.

paragraph: During his life and posthumously, Sgan-Cohen's works participated in many prominent exhibitions in Israel, Europe and the U.S. Between 2004 and 2005 an extensive retrospective exhibition of his work was held at the Israel Museum in Jerusalem.

paragraph: In August 2014 a street was named after Michael Sgan-Cohen and his father in The German Colony neighborhood in Jerusalem.

paragraph: Section::::Work.

paragraph: Life in America sharpened Sgan-Cohen's preoccupation with Hebrew language, Jewish thought (particularly the Bible) and Mysticism and gradually led him from the theoretical articulation of ideas to visual expression. Michael Sgan-Cohen was primarily concerned with ideas. His approach to the visual arts may, accordingly, be considered as "conceptual", but not in the standard art-historical kind of sense. The art object was for him a medium of reflection on the fundamental problems of Jewish identity, particularly of the emerging Israeli culture. Sgan-Cohen's long stay in New York City served to sharpen his awareness of the uniqueness of the Israeli perspective in the role of Jewish culture in the life of modern Jews. His recurrent treatment of the theme of "Nevo," the observation of the Land of Israel from the outside in the position of Moses before he died, attests for this deep concern, and to his attempt to form an Israeli style in art without becoming provincial or parochial and without falling into the trap of nostalgia.

paragraph: A major role in Michael Sgan-Cohen's conception of art is given to the word and especially the Hebrew word. This does not only reflect the artist's preoccupation with ideas and intellectual reflection, but also his recognition of the "text" as the fundamental medium and subject characterizing Jewish culture. Sgan-Cohen was one of the pioneers in the sophisticated use of the Hebrew language as a means of expression in contemporary visual art. Hebrew served in his view as the bridge between Jewish heritage, particularly the Bible, and the contemporary search for Israeli cultural identity. His works are replete with the complex deployment of culturally charged Hebrew phrases and with the Hebrew Alphabet as a visual theme. The drawn or painted Hebrew word served him as the way in which a generally non-visual, verbal tradition can be approached in the visual medium. The "Hinneni" (1978) theme is just one example of this use of words as visual images, the word becoming a powerful effect on the eye. In other paintings he portrayed the body in its basic "alphabetic" gestures, placed his self-portrait in a text, copied whole chapters from the bible and made writing itself into a painted image. In those actions Sgan-Cohen's developed a unique poetic and artistic view of the visual aspects of the Hebrew word and the Hebrew alphabet. Naturally, the Bible became a major source in his art: Moses, The Akedah, Jonah and the Leviathan, Psalms, etc. In a very ambitious and project, Sgan-Cohen made twelve large panels in which the whole text of the Twelve Minor Prophets ("Trei Assar") were copied, a homage to the long tradition of the meticulous reproduction of the word of the prophet and at token of respect to the sanctity of the word. In his works he thus brought together in a highly original way the sensibilities of the critical, self-reflexive post-modern artist who understands the late and the repetitive with those of a modernist one who appreciated the archaic and the primary.

paragraph: Michael Sgan-Cohen's work shifts between painting and icon, reality and myth, nostalgia and critical distance. His conceptual images capture and invigorate a whole cultural alphabet, combining iconic qualities with virtues of simplicity, depth and humour. An image of Israel's map, for example, combines the political, mythical, visual and textual languages and thereby figures the intricate and tension-ridden Israeli place as both a direct experience and an emblem branded in Zionists and Israeli minds. In another exemplary work Sgan-Cohen portrayed himself as a Kabbalist who holds in his hand the tree of spheres assembled from parts of a child's old wooden toy. Rather than dissolving into mystical trance, he foregrounds the very language game and play of the artistic-cultural act.

paragraph: Section::::Education.

paragraph: BULLET::::- 1965–1969 BA History of Art and Philosophy, The Hebrew University of Jerusalem

paragraph: BULLET::::- 1969–1973 MA History of Art, University of California, Los Angeles, US

paragraph: BULLET::::- 1989 PhD City University of New York City, New York City, US

paragraph: Section::::Teaching.

paragraph: BULLET::::- 1973–1978 – Brooklyn College, New York City

paragraph: BULLET::::- 1977–1978 – Bezalel Academy of Arts and Design, Jerusalem

paragraph: BULLET::::- 1977–1978 – University of Haifa, Haifa

paragraph: BULLET::::- 1979 – School of Visual Arts, New York City

paragraph: BULLET::::- 1990–1998 – Art Institute – Oranim Academic College, Kiryat Tivon

paragraph: BULLET::::- 1990–1998 – Bezalel Academy of Arts and Design, Jerusalem

paragraph: BULLET::::- 1990–1998 – Kalisher Art Academy, Tel Aviv-Yaffo

paragraph: Section::::Solo exhibitions.

paragraph: BULLET::::- 1978 Hakibbutz Gallery, Tel Aviv

paragraph: BULLET::::- 1993 Library Foyar, Tel Aviv Museum of Art

paragraph: BULLET::::- 1994 "Michael Sgan-Cohen, Paintings, 1978 – to date", Museum of Israeli Art, Ramat-Gan

paragraph: BULLET::::- 2004 "Michael Sgan-Cohen, a Retrospective", The Israel Museum, Jerusalem

paragraph: Section::::Two-artist exhibitions.

paragraph: BULLET::::- 1995 "Twice over", Haim Maor and Michael Sgan-Cohen, Bar-David Museum, Bar-Am

paragraph: BULLET::::- 1996 "Painting a Land", Tzibi Geva and Michael Sgan-Cohen, Julie M. Gallery, Tel Aviv

paragraph: BULLET::::- 2008 Idan Erez / Michael Sgan-Cohen, Hamidrasha Gallery, Tel Aviv

paragraph: Section::::Awards and prizes.

paragraph: BULLET::::- 1994–1999 Artist-in-residence, The Jerusalem Foundation, Jerusalem

paragraph: BULLET::::- 1998 Ministry of Education and Culture Prize

paragraph: BULLET::::- 1997 George and Janet Jaffin Prize for Excellence in Plastic Arts, America-Israel Cultural Foundation

paragraph: BULLET::::- 2001–02, 2002–03 Memorial Foundation for Jewish Culture, New York City

paragraph: Section::::Selected art critic and writings.

paragraph: BULLET::::- Michael Sgan-Cohen, "The Jewish Experience in Art, "Art in America", May- June 1976, pp. 44–47

paragraph: BULLET::::- Michael Sgan-Cohen, "Kiesler on stage and off", Theatre design, "Art in America", summer 1981, pp. 37–39

paragraph: BULLET::::- Michael Sgan-Cohen, "Motti Mizrahi: A New Song", The Venice Biennale, 1988, The Israeli Pavilion

paragraph: BULLET::::- Michael Sgan-Cohen, "Frederick Kiesler: Artist, Architect, Visionary, A study on his work and writing", 1989, "PhD, CUNY", New York (A short summary that was compiled by Valentina Sonzogni for the Kiesler Foundation research department in order to add information to the status quo of the international research.)

paragraph: BULLET::::- Michael Sgan-Cohen, "Yaakov Dorchin: East of Eden", "Dorchin", The Venice Biennale, 1990, The Israeli Pavilion

paragraph: BULLET::::- Michael Sgan-Cohen, "Le Sanctuaire du Livre et L'art de transformer le superflu en nécessaire", Collection Monographie Frederick Kiesler sous la direction de Chantai Béret, "Edition du Centre Georges Pompidou," 1996, pp. 229–239

paragraph: BULLET::::- Michael Sgan-Cohen, "Ketav and Hebrew in Israeli Art" "Flesh and Word in Israeli Art", "Ackland Art Museum, The University of North Carolina at Chapel Hill", (Catalogue) pp. 41–51

paragraph: Section::::Selected Hebrew writings.

paragraph: BULLET::::- "Cain, artist, Wandering Jew", "Proza", No. 43, Dec. 1980, pp. 28–30 (Hebrew)

paragraph: BULLET::::- "Assumptions Concerning the possibility of the Birth of Jewish-Israeli Art", "Jerusalem", Vol. 11–12, "Bezalel", Feb. 1984, pp. 79–87 (Hebrew)

paragraph: BULLET::::- "Between New York and Jerusalem" "Kav", June 1984, pp. 64–76 (Hebrew)

paragraph: BULLET::::- "Tzeva" (color), Bezalel No.1, Feb. 1984, pp. 67–73 (Hebrew)

paragraph: BULLET::::- "A Cautious Touch of Sources", Studio, No. 14, Sept. 1990, p. 32 (Hebrew)

paragraph: BULLET::::- "Hur and Aharon – An Autointerview on Art, Religion and Israeliness", "Studio", No. 17, Dec. 1990 (Hebrew)

paragraph: BULLET::::- "From the Horse Mouth", "Studio", No. 52, April 1994, pp. 15–19 (Hebrew)

paragraph: Section::::Further reading.

paragraph: BULLET::::- Doreet Levitte-Harten, "Protest und Mitleid in der zeitgenossischen", "Nike 19", Juli–Sep. 1987, pp. 8–9

paragraph: BULLET::::- Gideon Ofrat, "Flesh and Word in Israeli Art", "Ackland Art Museum, The University of North Carolina at Chapel Hill", Curator: Gideon Ofrat (Catalogue)

paragraph: BULLET::::- Gideon Ofrat, “One Hundred Years of Art in Israel”, "Westview Press, a division of Harper Collins Publication," 1998, pp. 326–327

paragraph: BULLET::::- Arturo Schwarz, "Towards the Sublime / Michael Sgan-Cohen", Love at First Sight, "Israel Museum", Jerusalem, pp. 34–37, 2000

paragraph: BULLET::::- Milly Heyd, Selbstportrats: Zor Frage da Judischen Identitat, Das Rech des Bilds, "Jusische Perspektiven in der Modernnen Kunst", Herausgegeben von Hans Gunter Golinski und Sepp Hiokisch Picard, 2003, pp. 86–120

paragraph: BULLET::::- Ayelet Kohn, ”Haaretz”, Michael Sgan-Cohen, "Journal of Visual Literacy", Vol. 24 Number 1, Spring 2004

paragraph: BULLET::::- Judith Margolis, "Resident Artist: Spiritual Androgyny in the Art of Michael Sgan-Cohen and Carole Berman", "Nashim: A Journal of Jewish Women's Studies & Gender" Issues No. 10, Jewish Women's Spirituality (2) Published by: "Indiana University Press" (Fall, 5766/2005), pp. 225–242,

paragraph: BULLET::::- Yael Guilat, Between Painting and Poetry, Sacred and Secular Realms: Yehudah Amichai and Michael Sgan–Cohen, Pictorial Languages and their Meanings, Liber Amicorum in Honor of Nurith Kenaan-Kedar, Edited by Christine B. Verzar and G. Fishhof, "Tel Aviv University, The Yolanda and David Katz Faculty of the Arts", 2006, pp. 295–304

paragraph: BULLET::::- Emma Azriel Gashinski, "A Split Identity – The Uncanny in Michael Sgan-Cohen’s Art", "The Protocols of Bezalel's Young", Issue No. 9, July 2008

paragraph: BULLET::::- Shulamit Laderman,"The unique significance of the Hebrew Alphabet in the works of Mordecai Ardon and Michael Sgan-Cohen", Arts Judaica, "The Bar-Ilan Journal of Jewish Art", Volume 5, 2009, pp. 85–107

paragraph: BULLET::::- David Heyd, ”Between Response and Responsiveness: On Michael Sgan-Cohen's Hinneni", Jewish Dimensions in Modern Visual Culture, eds. Matthew Baigell, Milly Heyd, Rose-Carol Washton Long, "Brandeis Press" (8 December 2009), pp. 273–285

paragraph: BULLET::::- Milly Heyd, "Word and Image: The Leviathan in Michael Sgan-Cohen’s' Art", Jewish Dimensions in Modern Visual Culture, eds. Rose Carol, Washton Long, Matthew Baigell and Milly Heyd, "Brandeis Press" (December 8, 2009), pp. 193–219

paragraph: Section::::External links.

paragraph: BULLET::::- "Michael Sgan-Cohen". "Information Center for Israeli Art". The Israel Museum

paragraph: BULLET::::- Michael Sgan-Cohen: A Retrospective. 9 November 2004 – 21 May 2005. The Israel Museum

paragraph: BULLET::::- "Michael Sgan-Cohen" at the Israel Museum Collection

paragraph: BULLET::::- "Michael Sgan-Cohen" "The Bezalel Narkiss Index of Jewish Art, The Center for Jewish Art", The Hebrew University of Jerusalem

wikidata_label: Michael Sgan-Cohen

wikipedia_title: Michael Sgan-Cohen


href: Arabic Dabuyid%20dynasty Ibn%20Isfandiyar Dabuyids Djamasp Sassanid Kavadh%20I Rostam Gilan Tabaristan Padishkhwargar Dabuya Yazdegerd%20III shah

text:
Arabic
Dabuyid dynasty
Ibn Isfandiyar
Dabuyids
Djamasp
Sassanid
Kavadh I
Rostam
Gilan
Tabaristan
Patashwargar
Dabuya
Yazdegerd III
shah

categories: Persian people,Sasanian governors of Padishkhwargar,Year of birth unknown,7th-century Iranian people,Dabuyid dynasty,7th-century rulers in Asia,Vassal rulers of the Sasanian Empire,660 deaths

paragraph: Gil Gavbara

paragraph: Gil Gavbara (), known in Arabic sources as Jil-i Jilanshah and Gavbarih, was king and founder of the Dabuyid dynasty in 642, ruling until his death in 660.

paragraph: Section::::Origins.

paragraph: According to Ibn Isfandiyar, the Dabuyids were descended from Djamasp, a brother of the Sassanid shah Kavadh I. Gil Gavbara was the son of Piruz, who is described as brave as the Iranian mythological hero Rostam. Piruz later became the ruler of Gilan, and married a woman who bore him a son named Gil Gavbara.

paragraph: Section::::Biography.

paragraph: Piruz died around 642 and was succeeded by Gil Gavbara as the ruler of Gilan. Gil Gavbara was later given all of Tabaristan, which led to the formal conferment of the titles of "Gil-Gilan" ("ruler of Gilan") and "Padashwargarshah" ("Shah of Patashwargar", the old name of Tabaristan's mountains) to Gil Gavbara's son Dabuya by Yazdegerd III, the last Sasanian shah.

wikidata_label: Gil Gavbara

wikipedia_title: Gil Gavbara


text:
Newport News, Virginia
Syracuse, New York
violin
musicologist
violin
Norfolk, Virginia
New York Town Hall
University of Texas, Austin
Yale University
Paul Hindemith
viola d’amore
Helen Boatwright
New Haven, Connecticut
concertmaster
New Haven Symphony Orchestra
Syracuse University
Switzerland
Charles Ives
ethnomusicology
Charles Ives
Paul Hindemith
Hindemith's
Sophocles
Ezra Pound
Christopher Smart
Oscar Wilde
e.e. cummings
John Donne
D.H. Lawrence
Matthew Arnold
Walt Whitman
Ursula Vaughan Williams
Emily Dickinson
e.e. cummings
Emily Dickinson

categories: 20th-century classical composers,Musicians from Newport News, Virginia,20th-century American composers,1999 deaths,American male classical composers,Classical musicians from Virginia,1918 births,Syracuse University faculty,Yale School of Music alumni,American classical composers,Yale University faculty

paragraph: Howard Boatwright

paragraph: Howard (Leake, Jr.) Boatwright (Newport News, Virginia, March 16, 1918 – Syracuse, New York, February 20, 1999) was an American composer, violinist and musicologist.

paragraph: Section::::Biography.

paragraph: He studied the violin with Israel Feldman in Norfolk, Virginia, and made his début at New York Town Hall in 1942. He was assistant professor of violin at the University of Texas, Austin, from 1943 to 1945. He then studied music theory and composition at Yale University (BM 1947, MM 1948), where he met Paul Hindemith, with whom he studied the viola d’amore. Hindemith urged him to stay at Yale to teach as assistant professor in music theory.

paragraph: He planned to become a violinist instead of a composer, but began writing music in 1941 as a way to court the soprano Helen Strassburger. They were married in 1943 and performed and recorded new music, standard vocal works, and early music together for many years. Helen Boatwright continued to have a distinguished career as a teacher and performer, sometimes in collaboration with her husband and sometimes independently. The couple had three children: a daughter Alice and two sons, Howard III and David Alexander.

paragraph: Boatwright became the music director at St Thomas's Church, New Haven, Connecticut, in 1949, a position he held until 1964. It was there that he established a reputation as a pioneer in the performance of early choral music. While in New Haven he also served as conductor of the Yale University Orchestra from 1952 to 1960, and he was the concertmaster of the New Haven Symphony Orchestra from 1950 until 1962.

paragraph: In 1964 he became the dean of the school of music at Syracuse University, and from 1971 he also served as a professor of music in composition and theory. At Syracuse, he transformed the music school, making it an important center for composition and the performance of new music by presenting festivals and establishing an electronic music studio. He also introduced non-Western music to the curriculum, and expanded its early music programs by acquiring collections of antique instruments. From 1969 to 1988, when he stopped teaching, he also directed a summer music program in Switzerland.

paragraph: He was a Fulbright lecturer in India during the year 1959–60 and received a Fulbright grant to study in Romania, 1971–2. A pioneering scholar of Charles Ives, he was elected to the board of directors of the Charles Ives Society in 1975. Indeed, he demonstrated an unusually wide breadth of erudition as a scholar, publishing writings on music theory, ethnomusicology, Charles Ives, and Paul Hindemith.

paragraph: Section::::Music.

paragraph: Boatwright's musical compositions are full of chromaticism, although "adhering to traditional classical structures and by using rugged harmonies to support arching, shapely themes, he invariably created pieces with an appealing clarity, directness and emotional resonance".

paragraph: He initially concentrated on sacred choral music, but later added secular works for chorus and solo songs with piano or instruments, and instrumental works. The most notable of his instrumental works are the Quartet for clarinet and strings, which received an award from the Society for the Publication of American Music in 1962; the Symphony; and his Second String Quartet.

paragraph: His earliest choral works are modal, and he "revived the modalities of early church music, using modern harmonies and linear counterpoint". The subsequent chamber works were influenced by Hindemith's middle-period style. In 1966 Boatwright started to develop a style he referred to as 'dodecaphonic, though not serial', where he appropriated the total of chromatic resources while still exercising control over harmony, all within the context of a layered, contrapuntal approach. This technique (described in his book "Chromaticism") is demonstrated in his Second Quartet, a work both consistent in style and impressive in its ability to project a wide variety of moods.

paragraph: Most of his songs were inspired by his wife's "clear-voiced soprano". "Though his refined, intelligent, atonal songs require advanced musicianship, the natural declamation and pliant, expressive vocal lines make them gratifying to sing." His compiled set of "Five Early Songs" are highlighted by Carmen et al., requiring "an intelligent singer with good technique and musicianship." Clifton referred to his songs titled "From Joy to Fire" as "an effective cycle of five brief songs".

paragraph: Section::::Writings.

paragraph: BULLET::::- "Introduction to the Theory of Music" (New York, 1956)

paragraph: BULLET::::- "Indian Classical Music and the Western Listener" (Bombay, 1960)

paragraph: BULLET::::- 'Ives' Quarter-Tone Impressions', "Perspectives of New Music", iii/2 (1964–5), 22–31

paragraph: BULLET::::- 'Paul Hindemith's Performances of Old Music', "Hindemith-Jahrbuch" 1973, 39–62

paragraph: BULLET::::- "Chromaticism: Theory and Practice" (Fayetteville, NY, 1994)

paragraph: BULLET::::- "Essays Before a Sonata, The Majority, and other writings by Charles Ives (Ed) (New York. 1970)

paragraph: Section::::Musical works.

paragraph: Orchestra

paragraph: BULLET::::- "A Song for St Cecilia's Day", large string ensemble, 1948

paragraph: BULLET::::- "Variations", small orchestra, 1949

paragraph: BULLET::::- "Symphony", 1976

paragraph: Instrumental and keyboard

paragraph: BULLET::::- String Quartet no.1, 1947

paragraph: BULLET::::- Trio, 2 violins and viola, 1948

paragraph: BULLET::::- Serenade, 2 string instruments, 2 wind instruments, 1952

paragraph: BULLET::::- Quartet, clarinet and strings, 1958

paragraph: BULLET::::- String Quartet no. 2, 1974

paragraph: BULLET::::- "Twelve Pieces for Violin Alone", 1977

paragraph: BULLET::::- Sonata, clarinet and piano, 1980

paragraph: BULLET::::- "Orgelbuch", organ solo

paragraph: BULLET::::- "Eight Preludes", organ solo

paragraph: BULLET::::- other chamber and keyboard works

paragraph: Large choral works

paragraph: BULLET::::- "The Women of Trachis" (Sophocles, trans. Ezra Pound), 6 choruses, female voices, chamber orchestra, 1955

paragraph: BULLET::::- "Mass", C major, 1958

paragraph: BULLET::::- "The Passion According to St. Matthew", solo voices, SATB, organ, 1962

paragraph: BULLET::::- "Canticle of the Sun" (St. Francis of Assisi), soprano solo, SATB, orchestra, 1963

paragraph: BULLET::::- "Music for Temple Service", baritone solo, SATB, organ, 1969

paragraph: BULLET::::- "A Song for St. Cecilia's Day", soprano solo, SATB, orchestra, 1981

paragraph: BULLET::::- "Nunc Dimittis" and "Magnificat", SATB, organ, 1997

paragraph: BULLET::::- other choral works, including four masses, many partsongs

paragraph: Church anthems

paragraph: BULLET::::- Ah, holy Jesus, how has thou offended (from "The Passion According to St. Matthew")

paragraph: BULLET::::- All praise to thee (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Alone thou goest forth, O Lord (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Creator of the Stars (Advent Hymn)

paragraph: BULLET::::- For sins of heedless word and deed (from "The Passion According to St. Matthew")

paragraph: BULLET::::- God is our Refuge (Psalm 46)

paragraph: BULLET::::- Go to dark Gethsemane (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Hear my cry, O God (Psalm 61)

paragraph: BULLET::::- Jesus, all thy labor vast (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Morning Hymn

paragraph: BULLET::::- Nunc sancte nobis Spiritus (Come, Holy Spirit)

paragraph: BULLET::::- O sacred head, sore wounded (from "The Passion According to St. Matthew")

paragraph: BULLET::::- The Royal banners forward go (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Star in the East (Christmas)

paragraph: BULLET::::- We sing of God the mighty source (Christopher Smart)

paragraph: BULLET::::- When I survey the wondrous cross (from "The Passion According to St. Matthew")

paragraph: BULLET::::- Who was the guilty? (from "The Passion According to St. Matthew")

paragraph: Voice

paragraph: BULLET::::- "Five Early Songs" (various poets), soprano and piano, 1946-1954, published 1993

paragraph: BULLET::::1. Requiescat (Oscar Wilde)

paragraph: BULLET::::2. On Hearing the Birds Sing (Irish)

paragraph: BULLET::::3. o by the by (e.e. cummings)

paragraph: BULLET::::4. At the Round Earth's Imagined Corners (John Donne)

paragraph: BULLET::::5. Revelation (B. T. Coler)

paragraph: BULLET::::- Grant us Peace, medium voice and organ, published by the Sacred Music Press of the Hebrew Union College, 1961

paragraph: BULLET::::- "The Ship of Death" (D.H. Lawrence), SATB solo quartet, string quartet, 1966

paragraph: BULLET::::- "The Lament of Mary Stuart" (text from a Carissimi cantata), soprano, harpsichord/piano, optional 'cello, 1968

paragraph: BULLET::::- "Six Prayers of Kierkegaard" (trans. P. LeFevre), soprano and piano, 1978, published 1985

paragraph: BULLET::::1. Grant that our prayer

paragraph: BULLET::::2. And when at times

paragraph: BULLET::::3. It is from thy Hand

paragraph: BULLET::::4. When the thought of thee

paragraph: BULLET::::5. Thou has commanded us to forgive

paragraph: BULLET::::6. Be near to us with thy power

paragraph: BULLET::::- "Three Morning Hymns", soprano and violin, published 1985

paragraph: BULLET::::- "Dover Beach" (Matthew Arnold), soprano and string quartet, published 1985

paragraph: BULLET::::- "Five Songs" (Victoria Hill), soprano and piano, published 1985

paragraph: BULLET::::1. Flowing Sheets of Rain

paragraph: BULLET::::2. The Armadillo and the Acorn

paragraph: BULLET::::3. A Painful Sweetness

paragraph: BULLET::::4. Rain Melodies

paragraph: BULLET::::5. Thought Patterns

paragraph: BULLET::::- "Prologue, Narrative and Lament" (Walt Whitman), tenor and string quartet, published 1987

paragraph: BULLET::::- "From Joy to Fire" (Ursula Vaughan Williams), mezzo-soprano and piano, published 1989

paragraph: BULLET::::1. He Followed Me, He Courted Me

paragraph: BULLET::::2. Here's Solitude in Which My Life Must Grow

paragraph: BULLET::::3. Little Fruits, Wild-Herb Leaves of Summer

paragraph: BULLET::::4. So Long, So Long Since Any Hand Has Touched Me

paragraph: BULLET::::5. Now I Know All

paragraph: BULLET::::- "Adoration and Longing" (Biblical Song of Solomon), soprano and string quartet, published 1991

paragraph: BULLET::::- "Three Songs of Eternity" (Emily Dickinson), soprano and clarinet, published 1991

paragraph: BULLET::::- "Three Song" (e.e. cummings), soprano, flute, and bassoon, published 1994

paragraph: BULLET::::- "In Illo Tempore: Three Biblical Narratives", medium voice and piano, published 1994

paragraph: BULLET::::- "Five Poems of Sylvia Plath", soprano and piano, published 1995

paragraph: BULLET::::- "Three French Songs" (various poets), voice and piano

paragraph: BULLET::::- "Three Love Songs" (Emily Dickinson), soprano and piano

paragraph: BULLET::::- Folksong arrangements, published by Oxford University Press

paragraph: BULLET::::- other unpublished solo songs

description: American composer

wikidata_label: Howard Boatwright

wikipedia_title: Howard Boatwright