text: poet

text: essay

text: journalist

text: translator

text: professor

text: publisher

text: Latin American literature

text: revolution

text: philosopher

text: political theorist

text: independence

text: Spain

text: liberty

text: Spanish American

text: Cubans

text: Havana

text: Latin America

text: émigré

text: Florida

text: Cuban War of Independence

text: Battle of Dos Ríos

text: letters

text: children's magazine

text: American newspapers

text: Simple Verses

text: Guantanamera

text: freedom

text: democracy

text: Nicaragua

text: Rubén Darío

text: Chile

text: Gabriela Mistral

text: Havana

text: Valencian

text: Canary Islands

text: Valencia

text: assassination

text: Abraham Lincoln

text: the abolition of slavery

text: Guanabacoa

text: Ten Years' War

text: verse

text: Spanish rule of his homeland

text: practiced in Cuba

text: treason

text: Isla de Pinos

text: Cádiz

text: Madrid

text: Central University of Madrid

text: National Library

text: Cuban flag

text: Proclamation of the First Spanish Republic

text: Cortes

text: Nestor Ponce de Leon

text: Zaragoza

text: Canon Law

text: Paris

text: Auguste Vacquerie

text: Victor Hugo

text: Le Havre

text: Zócalo

text: Manuel Antonio Mercado

text: Distrito Federal

text: Vicente Villada

text: Mes Fils

text: Sociedad Gorostiza

text: Zayas Bazán

text: Sebastián Lerdo de Tejada

text: Porfirio Díaz

text: Plan de Tuxtepec

text: Progreso

text: Isla de Mujeres

text: Belize

text: Guatemala City

text: Ciudad Vieja

text: Justo Rufino Barrios

text: Universidad Nacional

text: María García Granados y Saborío

text: Miguel García Granados

text: Pact of Zanjón

text: Ten Years' War

text: Juan Gualberto Gómez

text: Calle Tulipán

text: Comité Revolucionario Cubano de Nueva York

text: Venezuela

text: Caracas

text: Antonio Guzmán Blanco

text: Calixto García

text: The Library of America

text: Máximo Gómez

text: Máximo Gómez

text: Antonio Maceo Grajales

text: Ten Years' War

text: Cesar Romero

text: Ybor City

text: Tampa, Florida

text: A Dolores Castellanos

text: Rubén Darío

text: Máximo Gómez

text: Antonio Maceo Grajales

text: Porfirio Díaz

text: Juan Gualberto Gómez

text: Montecristi

text: Dominican Republic

text: Máximo Gómez

text: Gonzalo de Quesada

text: Cape Maisí

text: Imías

text: Battle of Dos Ríos

text: Contramaestre

text: Cauto

text: Santa Ifigenia Cemetery

text: Santiago de Cuba

text: US expansionism

text: Cuba

text: Ten Years' War

text: Máximo Gómez

text: Pact of Zanjón

text: capitalism

text: Guillermo Prieto

text: Esteban Echeverría

text: Versos Sencillos

text: Modernismo

text: Cuban Independence

text: translator

text: freelance

text: in house

text: Appleton

text: Cuban Revolutionary Party

text: Fidel Castro

text: Havana's international airport

text: Raul Castro

text: National Association of Hispanic Publications

text: Versos Sencillos

text: International José Martí Prize

text: Radio y Televisión Martí

text: José Rizal

text: "José Martí" (Lopez)

text: Obras completas de José Martí

text: José Martí (.cu)

text: José Martí (.org)

text: "Romero Family Papers Regarding José Martí"

text: books by José Martí

text: "Digital Library of the Caribbean (dLOC)"

categories: American writers of Cuban descent,Cuban male poets,1853 births,History of Key West, Florida,Cuban soldiers,Male journalists,Cuban expatriates in the United States,History of Tampa, Florida,Partido Auténtico politicians,19th-century journalists,Cuban dissidents,Cuban essayists,Heroes of the Republic of Cuba,Cuban expatriates in Guatemala,Cuban people of Canarian descent,People of the Cuban War of Independence,19th-century translators,Spanish colonial period of Cuba,19th-century Cuban poets,Cuban translators,People of the Latin American wars of independence,Cuban people of Spanish descent,Cuban people of Catalan descent,People from Havana,People from Santiago de Cuba,Cuban revolutionaries,Hispanic and Latino American journalists,Male essayists,Anti-Americanism,1895 deaths

paragraph: José Martí

paragraph: José Julián Martí Pérez; (January 28, 1853 – May 19, 1895) was a Cuban poet, essayist, journalist, translator, professor, and publisher, who is considered a Cuban national hero and an important figure in Latin American literature. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence." From adolescence, he dedicated his life to the promotion of liberty, political independence for Cuba, and intellectual independence for all Spanish Americans; his death was used as a cry for Cuban independence from Spain by both the Cuban revolutionaries and those Cubans previously reluctant to start a revolt.

paragraph: Born in Havana, Martí began his political activism at an early age. He traveled extensively in Spain, Latin America, and the United States, raising awareness and support for the cause of Cuban independence. His unification of the Cuban émigré community, particularly in Florida, was crucial to the success of the Cuban War of Independence against Spain. He was a key figure in the planning and execution of this war, as well as the designer of the Cuban Revolutionary Party and its ideology. He died in military action during the Battle of Dos Ríos on May 19, 1895.

paragraph: Martí is considered one of the great turn-of-the-century Latin American intellectuals. His written works include a series of poems, essays, letters, lectures, novel, and a children's magazine. He wrote for numerous Latin American and American newspapers; he also founded a number of newspapers. His newspaper "Patria" was an important instrument in his campaign for Cuban independence. After his death, one of his poems from the book, "Versos Sencillos (Simple Verses)" was adapted to the song "Guantanamera", which has become the definitive patriotic song of Cuba.

paragraph: The concepts of freedom, liberty, and democracy are prominent themes in all of his works, which were influential on the Nicaraguan poet Rubén Darío and the Chilean poet Gabriela Mistral.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life, Cuba: 1853–70.

paragraph: José Julián Martí Pérez was born on January 28, 1853, in Havana, at 41 Paula Street, to Spanish parents, a Valencian father, Mariano Martí Navarro, and Leonor Pérez Cabrera, a native of the Canary Islands. Martí was the elder brother to seven sisters: Leonor, Mariana, Maria de Carmen, Maria de Pilar, Rita Amelia, Antonia and Dolores. He was baptized on February 12 in Santo Ángel Custodio church. When he was four, his family moved from Cuba to Valencia, Spain, but two years later they returned to the island where they enrolled José at a local public school, in the Santa Clara neighborhood where his father worked as a prison guard.

paragraph: In 1865, he enrolled in the Escuela de Instrucción Primaria Superior Municipal de Varones that was headed by Rafael María de Mendive. Mendive was influential in the development of Martí's political philosophies. Also instrumental in his development of a social and political conscience was his best friend Fermín Valdés Domínguez, the son of a wealthy slave-owning family. In April the same year, after hearing the news of the assassination of Abraham Lincoln, Martí and other young students expressed their pain—through group mourning—for the death of a man who had decreed the abolition of slavery in the United States. In 1866, Martí entered the Instituto de Segunda Enseñanza where Mendive financed his studies.

paragraph: Martí signed up at the Escuela Profesional de Pintura y Escultura de La Habana (Professional School for Painting and Sculpture of Havana) in September 1867, known as San Alejandro, to take drawing classes. He hoped to flourish in this area but did not find commercial success. In 1867, he also entered the school of San Pablo, established and managed by Mendive, where he enrolled for the second and third years of his bachelor's degree and assisted Mendive with the school's administrative tasks. In April 1868, his poem dedicated to Mendive's wife, "A Micaela. En la Muerte de Miguel Ángel" appeared in Guanabacoa's newspaper "El Álbum".

paragraph: When the Ten Years' War broke out in Cuba in 1868, clubs of supporters for the Cuban nationalist cause formed all over Cuba, and José and his friend Fermín joined them. Martí had a precocious desire for the independence and freedom of Cuba. He started writing poems about this vision, while, at the same time, trying to do something to achieve this dream. In 1869, he published his first political writings in the only edition of the newspaper "El Diablo Cojuelo", published by Fermín Valdés Domínguez. That same year he published "Abdala", a patriotic drama in verse form in the one-volume "La Patria Libre" newspaper, which he published himself. "Abdala" is about a fictional country called Nubia which struggles for liberation. His sonnet "10 de Octubre", later to become one of his most famous poems, was also written during that year, and was published later in his school newspaper.

paragraph: In March of that year, colonial authorities shut down the school, interrupting Martí's studies. He came to resent Spanish rule of his homeland at an early age; likewise, he developed a hatred of slavery, which was still practiced in Cuba.

paragraph: On October 21, 1869, aged 16, he was arrested and incarcerated in the national jail, following an accusation of treason and bribery from the Spanish government upon the discovery of a "reproving" letter, which Martí and Fermín had written to a friend when the friend joined the Spanish army. More than four months later, Martí confessed to the charges and was condemned to six years in prison. His mother tried to free her son (who at 16 was still a minor) by writing letters to the government, and his father went to a lawyer friend for legal support, but these efforts failed. Eventually, Martí fell ill; his legs were severely lacerated by the chains that bound him. As a result, he was transferred to another part of Cuba known as Isla de Pinos instead of further imprisonment. Following that, the Spanish authorities decided to exile him to Spain. In Spain, Martí, who was 18 at the time, was allowed to continue his studies with the hopes that studying in Spain would renew his loyalty to Spain.

paragraph: Section::::Life.:Spain: 1871–74.

paragraph: In January 1871, Martí embarked on the steam ship "Guipuzcoa", which took him from Havana to Cádiz. He settled in Madrid in a guesthouse in Desengaño St. #10. Arriving at the capital he contacted fellow Cuban Carlos Sauvalle, who had been deported to Spain a year before Martí and whose house served as a center of reunions for Cubans in exile. On March 24, Cádiz's newspaper "La Soberania Nacional", published Martí's article "Castillo" in which he recalled the sufferings of a friend he met in prison. This article would be reprinted in Sevilla's "La Cuestión Cubana" and New York's "La República". At this time, Martí registered himself as a member of independent studies in the law faculty of the Central University of Madrid. While studying here, Martí openly participated in discourse on the Cuban issue, debating through the Spanish press and circulating documents protesting Spanish activities in Cuba.

paragraph: Martí's maltreatment at the hands of the Spaniards and consequent deportation to Spain in 1871 inspired a tract, "Political Imprisonment in Cuba", published in July. This pamphlet's purpose was to move the Spanish public to do something about its government's brutalities in Cuba and promoted the issue of Cuban independence. In September, from the pages of "El Jurado Federal", Martí and Sauvalle accused the newspaper "La Prensa" of having calumniated the Cuban residents in Madrid. During his stay in Madrid, Martí frequented the Ateneo and the National Library, the Café de los Artistas, and the British, Swiss and Iberian breweries. In November he became sick and had an operation, paid for by Sauvalle.

paragraph: On November 27, 1871, eight medical students, who had been accused (without evidence) of the desecration of a Spanish grave, were executed in Havana. In June 1872, Fermín Valdés was arrested because of the November 27 incident. His sentence of six years of jail was pardoned, and he was exiled to Spain where he reunited with Martí. On November 27, 1872, the printed matter "Dia 27 de Noviembre de 1871" (27 November 1871) written by Martí and signed by Fermín Valdés Domínguez and Pedro J. de la Torre circulated Madrid. A group of Cubans held a funeral in the Caballero de Gracia church, the first anniversary of the medical students' execution.

paragraph: In 1873, Martí's ""A mis Hermanos Muertos el 27 de Noviembre"" was published by Fermín Valdés. In February, for the first time, the Cuban flag appeared in Madrid, hanging from Martí's balcony in Concepción Jerónima, where he lived for a few years. In the same month, the Proclamation of the First Spanish Republic by the Cortes on February 11, 1873 reaffirmed Cuba as inseparable to Spain, Martí responded with an essay, "The Spanish Republic and the Cuban Revolution", and sent it to the Prime Minister, pointing out that this new freely elected body of deputies that had proclaimed a republic based on democracy had been hypocritical not to grant Cuba its independence. He sent examples of his work to Nestor Ponce de Leon, a member of the Junta Central Revolucionaria de Nueva York (Central revolutionary committee of New York), to whom he would express his will to collaborate on the fight for the independence of Cuba.

paragraph: In May, he moved to Zaragoza, accompanied by Fermín Valdés to continue his studies in law at the Universidad Literaria. The newspaper "La Cuestión Cubana of Sevilla", published numerous articles from Martí.

paragraph: In June 1874, Martí graduated with a degree in Civil Law and Canon Law. In August he signed up as an external student at the Facultad de Filosofia y Letras de Zaragoza, where he finished his degree by October. In November he returned to Madrid and then left to Paris. There he met Auguste Vacquerie, a poet, and Victor Hugo. In December 1874 he embarked from Le Havre for Mexico. Prevented from returning to Cuba, Martí went instead to Mexico and Guatemala. During these travels, he taught and wrote, advocating continuously for Cuba's independence.

paragraph: Section::::Life.:México and Guatemala: 1875–78.

paragraph: In 1875, Martí lived on Calle Moneda in Mexico City near the Zócalo, a prestigious address of the time. One floor above him lived Manuel Antonio Mercado, Secretary of the Distrito Federal, who became one of Martí's best friends. On March 2, 1875, he published his first article for Vicente Villada's "Revista Universal", a broadsheet discussing politics, literature, and general business commerce. On March 12, his Spanish translation of Hugo's "Mes Fils" (1874) began serialization in "Revista Universal". Martí then joined the editorial staff, editing the "Boletín" section of the publication.

paragraph: In these writings, he expressed his opinions about current events in Mexico. On May 27, in the newspaper "Revista Universal", he responded to the anti-Cuban-independence arguments in "La Colonia Española", a newspaper for Spanish citizens living in Mexico. In December, Sociedad Gorostiza (Gorostiza Society), a group of writers and artists, accepted Martí as a member, where he met his future wife, Carmen Zayas Bazán, during his frequent visits to her Cuban father's house to meet with the Gorostiza group.

paragraph: On January 1, 1876, in Oaxaca, elements opposed to Sebastián Lerdo de Tejada's government, led by Gen. Porfirio Díaz, proclaimed the Plan de Tuxtepec, which instigated a bloody civil war. Martí and Mexican colleagues established the Sociedad Alarcón, composed of dramatists, actors, and critics. At this point, Martí began collaborating with the newspaper "El Socialista" as leader of the Gran Círculo Obrero (Great Labor Circle) organization of liberals and reformists who supported Lerdo de Tejada. In March, the newspaper proposed a series of candidates as delegates, including Martí, to the first Congreso Obrero, or congress of the workers. On June 4, La Sociedad Esperanza de Empleados (Employees' Hope Society) designated Martí as delegate to the Congreso Obrero. On December 7, Martí published his article "Alea Jacta Est" in the newspaper "El Federalista", bitterly criticizing the Porfiristas' armed assault upon the constitutional government in place. On December 16, he published the article "Extranjero" (foreigner; abroad), in which he repeated his denunciation of the Porfiristas and bade farewell to Mexico.

paragraph: In 1877, using his second name and second surname Julián Pérez as pseudonym, Martí embarked for Havana, hoping to arrange to move his family away to Mexico City from Havana. He returned to Mexico, however, entering at the port of Progreso from which, via Isla de Mujeres and Belize, he travelled south to progressive Guatemala City. He took residence in the prosperous suburb of Ciudad Vieja, home of Guatemala's artists and Intelligentsia of the day, on Cuarta Avenida (Fourth Avenue), 3 km south of Guatemala City. While there, he was commissioned by the government to write the play "Patria y Libertad (Drama Indio)" (Country and Liberty (an Indian Drama)). He met personally the president, Justo Rufino Barrios, about this project. On April 22, the newspaper "El Progreso" published his article ""Los códigos nuevos"" (The New Laws) pertaining to the then newly enacted Civil Code. On May 29, he was appointed head of the Department of French, English, Italian and German Literature, History and Philosophy, on the faculty of philosophy and arts of the Universidad Nacional. On July 25, he lectured for the opening evening of the literary society 'Sociedad Literaria El Porvenir', at the Teatro Colón (the since-renamed Teatro Nacional), at which function he was appointed vice-president of the Society, and acquiring the moniker "el doctor torrente," or Doctor Torrent, in view of his rhetorical style. Martí taught composition classes free at the "academia de niñas de centroamérica" girls' academy, among whose students he enthralled young María García Granados y Saborío, daughter of Guatemalan president Miguel García Granados. The schoolgirl's crush was unrequited, however, as he went again to México, where he met Carmen Zayas Bazán and whom he later married.

paragraph: In 1878, Martí returned to Guatemala and published his book "Guatemala", edited in Mexico. On May 10, socialite María García Granados died of lung disease; her unrequited love for Martí branded her, poignantly, as 'la niña de Guatemala, la que se murió de amor' (the Guatemalan girl who died of love). Following her death, Martí returned to Cuba. There, he resigned signing the Pact of Zanjón which ended the Cuban Ten Years' War, but had no effect on Cuba's status as a colony. He met Afro-Cuban revolutionary Juan Gualberto Gómez, who would be his lifelong partner in the independence struggle and a stalwart defender of his legacy during this same journey. He married Carmen Zayas Bazán on Havana's Calle Tulipán Street at this time. In October, his application to practice law in Cuba was refused, and thereafter he immersed himself in radical efforts, such as for the Comité Revolucionario Cubano de Nueva York (Cuban Revolutionary Committee of New York). On November 22, 1878 his son José Francisco, known fondly as "Pepito", was born.

paragraph: Section::::Life.:United States and Venezuela: 1880–90.

paragraph: In 1881, after a brief stay in New York, Martí travelled to Venezuela and founded in Caracas the "Revista Venezolana", or Venezuelan Review. The journal incurred the wrath of Venezuela's dictator, Antonio Guzmán Blanco, and Martí was forced to return to New York. There, Martí joined General Calixto García's Cuban revolutionary committee, composed of Cuban exiles advocating independence. Here Martí openly supported Cuba's struggle for liberation, and worked as a journalist for "La Nación" of Buenos Aires and for several Central American journals, especially "La Opinion Liberal" in Mexico City. The article "El ajusticiamiento de Guiteau," an account of President Garfield's murderer's trial, was published in "La Opinion Liberal" in 1881, and later selected for inclusion in The Library of America's anthology of American True Crime writing. In addition, Martí wrote poems and translated novels to Spanish. He worked for Appleton and Company and, "on his own, translated and published Helen Hunt Jackson's "Ramona". His repertory of original work included plays, a novel, poetry, a children's magazine, "La Edad de Oro", and a newspaper, "Patria", which became the official organ of the Cuban Revolutionary party". He also served as a consul for Uruguay, Argentina, and Paraguay. Throughout this work, he preached the "freedom of Cuba with an enthusiasm that swelled the ranks of those eager to strive with him for it".

paragraph: Tension existed within the Cuban revolutionary committee between Martí and his military compatriots. Martí feared a military dictatorship would be established in Cuba upon independence, and suspected Dominican-born General Máximo Gómez of having these intentions. Martí knew that the independence of Cuba needed time and careful planning. Ultimately, Martí refused to cooperate with Máximo Gómez and Antonio Maceo Grajales, two Cuban military leaders from the Ten Years' War, when they wanted to invade immediately in 1884. Martí knew that it was too early to attempt to win back Cuba, and later events proved him right.

paragraph: Section::::Life.:United States, Central America and the West Indies: 1891–94.

paragraph: On January 1, 1891, Martí's essay "Nuestra America" was published in New York's "Revista Ilustrada", and on the 30th of that month in Mexico's "El Partido Liberal". He actively participated in the Conferencia Monetaria Internacional (The International Monetary Conference) in New York during that time as well. On June 30 his wife and son arrived in New York. After a short time, in which Carmen Zayas Bazán realized that Martí's dedication to Cuban independence surpassed that of supporting his family, she returned to Havana with her son on August 27. Martí would never see them again. The fact that his wife never shared the convictions central to his life was an enormous personal tragedy for Martí. He turned for solace to Carmen Miyares de Mantilla, a Venezuelan who ran a boarding house in New York, and he is presumed to be the father of her daughter María Mantilla, who was in turn the mother of the actor Cesar Romero, who proudly claimed to be Martí's grandson. In September Martí became sick again. He intervened in the commemorative acts of The Independents, causing the Spanish consul in New York to complain to the Argentine and Uruguayan governments. Consequently, Martí resigned from the Argentinean, Paraguayan, and Uruguayan consulates. In October he published his book "Versos Sencillos".

paragraph: On November 26 he was invited by the "Club Ignacio Agramonte", an organization founded by Cuban immigrants in Ybor City, Tampa, Florida, to a celebration to collect funding for the cause of Cuban independence. There he gave a lecture known as ""Con Todos, y para el Bien de Todos"", which was reprinted in Spanish language newspapers and periodicals across the United States. The following night, another lecture, "" Los Pinos Nuevos"", was given by Martí in another Tampa gathering in honor of the medical students killed in Cuba in 1871. In November artist Herman Norman painted a portrait of José Martí.

paragraph: On January 5, 1892, Martí participated in a reunion of the emigration representatives, in Cayo Hueso (Key West), the Cuban community where the "Bases del Partido Revolucionario" (Basis of the Cuban Revolutionary Party) was passed. He began the process of organizing the newly formed party. To raise support and collect funding for the independence movement, he visited tobacco factories, where he gave speeches to the workers and united them in the cause. In March 1892 the first edition of the "Patria" newspaper, related to the Cuban Revolutionary Party, was published, funded and directed by Martí. During Martí's Key West years, his secretary was Dolores Castellanos (1870-1948), a Cuban-American woman born in Key West, who also served as president of the Protectoras de la Patria: Club Político de Cubanas, a Cuban women's political club in support of Martí's cause, and for whom Martí wrote a poem titled "A Dolores Castellanos." On April 8, he was chosen delegate of the Cuban Revolutionary Party by the Cayo Hueso Club in Tampa and New York.

paragraph: From July to September 1892 he traveled through Florida, Washington, Philadelphia, Haiti, the Dominican Republic and Jamaica on an organization mission among the exiled Cubans. On this mission, Martí made numerous speeches and visited various tobacco factories. On December 16 he was poisoned in Tampa.

paragraph: In 1893, Martí traveled through the United States, Central America and the West Indies, visiting different Cuban clubs. His visits were received with a growing enthusiasm and raised badly needed funds for the revolutionary cause. On May 24 he met Rubén Darío, the Nicaraguan poet in a theatre act in Hardman Hall, New York City. On June 3 he had an interview with Máximo Gómez in Montecristi, Dominican Republic, where they planned the uprising. In July he met with General Antonio Maceo Grajales in San Jose, Costa Rica.

paragraph: In 1894 he continued traveling for propagation and organizing the revolutionary movement. On January 27 he published ""A Cuba!"" in the newspaper "Patria" where he denounced collusion between the Spanish and American interests. In July he visited the president of the Mexican Republic, Porfirio Díaz, and travelled to Veracruz. In August he prepared and arranged the armed expedition that would begin the Cuban revolution.

paragraph: Section::::Life.:Return to Cuba: 1895.

paragraph: January 12, 1895, the North American authorities stopped the steamship "Lagonda" and two other suspicious ships, "Amadis", and "Baracoa" at the Fernandina port in Florida, confiscating weapons and ruining Plan de Fernandina (Fernandina Plan). On January 29, Martí drew up the order of the uprising, signing it with general Jose Maria Rodriguez and Enrique Collazo. Juan Gualberto Gómez was assigned to orchestrate war preparations for La Habana Province, and was able to work right under the noses of the relatively unconcerned Spanish authorities. Martí decided to move to Montecristi, Dominican Republic to join Máximo Gómez and to plan out the uprising.

paragraph: The uprising finally took place on February 24, 1895. A month later, Martí and Máximo Gómez declared the Manifesto de Montecristi, an "exposition of the purposes and principles of the Cuban revolution". Martí had persuaded Gómez to lead an expedition into Cuba.

paragraph: Before leaving for Cuba, Martí wrote his "literary will" on April 1, 1895, leaving his personal papers and manuscripts to Gonzalo de Quesada, with instructions for editing. Knowing that the majority of his writing in newspapers in Honduras, Uruguay, and Chile would disappear over time, Martí instructed Quesada to arrange his papers in volumes. The volumes were to be arranged in the following way: volumes one and two, North Americas; volume three, Hispanic Americas; volume four, North American Scenes; volume five, Books about the Americas (this included both North and South America); volume six, Literature, education and painting. Another volume included his poetry.

paragraph: The expedition, composed of Martí, Gómez, Ángel Guerra, Francisco Borreo, Cesar Salas and Marcos del Rosario, left Montecristi for Cuba on April 1, 1895. Despite delays and desertion by some members, they got to Cuba. They landed at Playitas, near Cape Maisí and Imías, Cuba, on April 11. Once there, they made contact with the Cuban rebels, who were headed by the Maceo brothers, and started fighting against Spanish troops. The revolt did not go as planned, "mainly because the call to revolution received no immediate, spontaneous support from the masses." By May 13, the expedition reached Dos Rios. On May 19, Gomez faced Ximenez de Sandoval's troops and ordered Martí to stay rearguard, but Martí separated from the bulk of the Cuban forces, and entered the Spanish line.

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

paragraph: José Martí was killed in battle against Spanish troops at the Battle of Dos Ríos, near the confluence of the rivers Contramaestre and Cauto, on May 19, 1895. Gómez had recognized that the Spaniards had a strong position between palm trees, so he ordered his men to disengage. Martí was alone and seeing a young courier ride by he said: "Joven, a la carga!" meaning: "Young man, charge!" This was around midday, and he was dressed in a black jacket while riding a white horse, which made him an easy target for the Spanish. After Martí was shot, the young trooper, Angel de la Guardia, lost his horse and returned to report the loss. The Spanish took possession of the body, buried it close by, then exhumed the body upon realization of its identity. He is buried in Santa Ifigenia Cemetery in Santiago de Cuba. Many have argued that Maceo and others had always spurned Martí for never participating in combat, which may have compelled Martí to that ill-fated suicidal two-man charge. Some of his "Versos Sencillos" had a premonitory quality:

paragraph: "No me entierren en lo oscuro/

paragraph: A morir como un traidor/

paragraph: Yo soy bueno y como bueno/

paragraph: Moriré de cara al sol."

paragraph: ("Do not bury me in darkness / to die like a traitor / I am good, and as a good man /

paragraph: I will die facing the sun.")

paragraph: The death of Martí was a blow to the "aspirations of the Cuban rebels, inside and outside of the island, but the fighting continued with alternating successes and failures until the entry of the United States into the war in 1898".

paragraph: Section::::Political ideology.

paragraph: Marti wrote extensively about Spanish colonial control and the threat of US expansionism into Cuba. To him, it was unnatural that Cuba was controlled and oppressed by the Spanish government, when it had its own unique identity and culture. In his pamphlet from February 11, 1873, called "The Spanish Republic and the Cuban Revolution", he argued that "Cubans do not live as Spaniards live... They are nourished by a different system of trade, have links with different countries, and express their happiness through quite contrary customs. There are no common aspirations or identical goals linking the two peoples, or beloved memories to unite them ... Peoples are only united by ties of fraternity and love.".

paragraph: Martí opposed slavery and criticized Spain for failing to abolish it. In a speech to Cuban immigrants in Steck Hall, New York, on January 24, 1879, he stated that the war against Spain needed to be fought, recalled the heroism and suffering of the Ten Years' War, which, he declared, had qualified Cuba as a real nation with a right to independence. Spain had not ratified the conditions of the peace treaty, had falsified elections, continued excessive taxation, and had failed to abolish slavery. Cuba needed to be free.

paragraph: Martí proposed in a letter to Máximo Gómez in 1882 the formation of a revolutionary party, which he considered essential in the prevention of Cuba falling back on the Home Rule Party ("Partido Autonomista") after the Pact of Zanjón. The Home Rule Party was a peace-seeking party that would stop short of the outright independence that Martí thought Cuba needed. But he was aware that there were social divisions in Cuba, especially racial divisions, that needed to be addressed as well. He thought war was necessary to achieve Cuba's freedom, despite his basic ideology of conciliation, respect, dignity, and balance. The establishment of the "patria" (fatherland) with a good government would unite Cubans of all social classes and colours in harmony. Together with other Cubans resident in New York, Martí started laying the grounds for the Revolutionary Party, stressing the need for a democratic organization as the basic structure before any military leaders were to join. The military would have to subordinate themselves to the interests of the fatherland. Gómez later rejoined Martí's plans, promising to comply.

paragraph: Martí's consolidation of support among the Cuban expatriates, especially in Florida, was key in the planning and execution of the invasion of Cuba. His speeches to Cuban tobacco workers in Tampa and Key West motivated and united them; this is considered the most important political achievement of his life. At this point he refined his ideological platform, basing it on a Cuba held together by pride in being Cuban, a society that ensured "the welfare and prosperity of all Cubans" independently of class, occupation or race. Faith in the cause could not die, and the military would not try for domination. All pro-independence Cubans would participate, with no sector predominating. From this he established the Cuban Revolutionary Party in early 1892.

paragraph: Martí and the CRP were devoted to secretly organizing the anti-Spanish war. Martí's newspaper, "Patria", was a key instrument of this campaign, where Martí delineated his final plans for Cuba. Through this medium he argued against the exploitative colonialism of Spain in Cuba, criticized the Home Rule ("Autonomista") Party for having aims that fell considerably short of full independence, and warned against U.S. annexationism which he felt could only be prevented by Cuba's successful independence. He specified his plans for the future Cuban Republic, a multi-class and multi-racial democratic republic based on universal suffrage, with an egalitarian economic base to develop fully Cuba's productive resources and an equitable distribution of land among citizens, with enlightened and virtuous politicians.

paragraph: From Martí's 'Campaign Diaries', written during the final expedition in Cuba, it seems evident that Martí would have reached the highest position in the future Republic of Arms. This was not to be; his death occurred before the Assembly of Cuba was set up. Until his very last minute, Martí dedicated his life to achieve full independence for Cuba. His uncompromising belief in democracy and freedom for his fatherland is what characterized his political ideology.

paragraph: Section::::Political ideology.:Martí and the United States.

paragraph: Martí demonstrated an anti-imperialist attitude from an early age, and was conscious of the perceived danger the United States posed for Latin America. While critiquing the United States for its stereotypes of Latin Americans and preoccupation with capitalism, Martí also related the American struggle for independence from Britain with the Cuban nationalist movement. At the same time, he recognized the advantages of the European or North American civilizations, which were open to the reforms that Latin American countries needed in order to detach themselves from the colonial heritage of Spain. Martí's distrust of North American politics had developed during the 1880s, due to the intervention threats that loomed on Mexico and Guatemala, and indirectly on Cuba's future. Over time Martí became increasingly alarmed about the United States' intentions for Cuba. The United States desperately needed new markets for its industrial products because of the economic crisis it was experiencing, and the media was talking about the purchase of Cuba from Spain. Cuba was a profitable, fertile country with an important strategic position in the Gulf of Mexico. Martí felt that the interests of Cuba's future lay with its sister nations in Latin America, and were opposite to those of the United States.

paragraph: Another trait that Martí admired was the work ethic that characterized American society. On various occasions Martí conveyed his deep admiration for the immigrant-based society, "whose principal aspiration he interpreted as being to construct a truly modern country, based upon hard work and progressive ideas." Martí stated that he was "never surprised in any country of the world [he had] visited. Here [he] was surprised ... [he] remarked that no one stood quietly on the corners, no door was shut an instant, no man was quiet. [He] stopped [him]self, [he] looked respectfully on this people, and [he] said goodbye forever to that lazy life and poetical inutility of our European countries".

paragraph: Martí found American society to be so great, he thought Latin America should consider imitating America. Martí argued that if the US "could reach such a high standard of living in so short a time, and despite, too, its lack of unifying traditions, could not the same be expected of Latin America?" However, Martí thought that US expansionism represented the Spanish American republics' "greatest danger". Martí was amazed at how education was directed towards helping the development of the nation and once again encouraged Latin American countries to follow the example set by North American society. At the same time, he criticized the elitist educational systems of Cuba and the rest of Latin America. Often, Martí recommended countries in Latin America to "send representatives to learn more relevant techniques in the United States". Once this was done, Martí hoped that this representatives would bring a "much-needed modernization to the Latin American agricultural policies".

paragraph: However, not everything was to be admired by Martí. When it came to politics Martí wrote that politics in the US had "adopted a carnival atmosphere ... especially during election time". He saw acts of corruption among candidates, such as bribing "the constituents with vast quantities of beer, while impressive parades wound their way through New York's crowded streets, past masses of billboards, all exhorting the public to vote for the different political candidates". Martí criticized and condemned the elites of the United States as they "pulled the main political strings behind the scenes". According to Martí, the elites "deserved severe censure" as they were the biggest threat to the "ideals with which the United States was first conceived".

paragraph: Martí started to believe that the US had abused its potential. Racism was abundant. Different races were being discriminated against; political life "was both cynically regarded by the public at large and widely abused by 'professional politicians'; industrial magnates and powerful labor groups faced each other menacingly". All of this convinced Martí that a large-scale social conflict was imminent in the United States.

paragraph: On the positive side, Martí was astonished by the "inviolable right of freedom of speech which all U.S. citizens possessed". Marti applauded the United States' Constitution which allowed freedom of speech to all its citizens, no matter what political beliefs they had. In May 1883, while attending political meetings he heard "the call for revolution – and more specifically the destruction of the capitalist system". Marti could not believe that revolution was advocated and was amazed that this could happen because this "could have led to its own destruction". Marti also gave his support to the women's suffrage movements, and was "pleased that women here [took] advantage of this privilege in order to make their voices heard". According to Marti, free speech was essential if any nation was to be civilized and he expressed his "profund admiration for these many basic liberties and opportunities open to the vast majority of American citizens".

paragraph: The works of Marti contain many comparisons between the ways of life of North and Latin America. The former was seen as "hardy, 'soulless', and, at times, cruel society, but one which, nevertheless, had been based upon a firm foundation of liberty and on a tradition of liberty". Although North American society had its flaws, they tended to be "of minor importance when compared to the broad sweep of social inequality, and to the widespread abuse of power prevalent in Latin America".

paragraph: Once it became apparent that the United States were actually going to purchase Cuba and intended to Americanize it, Marti "spoke out loudly and bravely against such action, stating the opinion of many Cubans on the United States of America."

paragraph: Section::::Political ideology.:Invention of a Latin American identity.

paragraph: José Martí as a liberator believed that the Latin American countries needed to know the reality of their own history. Martí also saw the necessity of a country having its own literature. These reflections started in Mexico from 1875 and are connected to the Mexican Reform, where prominent people like Ignacio Manuel Altamirano and Guillermo Prieto had situated themselves in front of a cultural renovation in Mexico, taking on the same approach as Esteban Echeverría thirty years before in Argentina. In the second "Boletin" that Martí published in the "Revista Universal" (May 11, 1875) one can already see Martí's approach, which was fundamentally Latin American. His wish to build a national or Latin American identity was nothing new or unusual in those days; however, no Latin-American intellectual of that time had approached as clearly as Martí the task of building a national identity. He insisted on the necessity of building institutions and laws that matched the natural elements of each country, and recalled the failure of the applications of French and American civil codes in the new Latin American republics. Martí believed that "el hombre del sur", the man of the South, should choose an appropriate development strategy matching his character, the peculiarity of his culture and history, and the nature that determined his being.

paragraph: Section::::Writings.

paragraph: Martí as a writer covered a range of genres. In addition to producing newspaper articles and keeping up an extensive correspondence (his letters are included in the collection of his complete works), he wrote a serialized novel, composed poetry, wrote essays and published four issues of a children's magazine, "La Edad de Oro"(The Golden Age, 1889). His essays and articles occupy more than fifty volumes of his complete works. His prose was extensively read and influenced the modernist generation, especially the Nicaraguan poet Rubén Darío, whom Martí called "my son" when they met in New York in 1893.

paragraph: Martí did not publish any books: only two notebooks ("cuadernos") of verses, in editions outside of the market, and a number of political tracts. The rest (an enormous amount) was left dispersed in numerous newspapers and magazines, in letters, in diaries and personal notes, in other unedited texts, in frequently improvised speeches, and some lost forever. Five years after his death, the first volume of his "Obras" was published. A novel appeared in this collection in 1911: "Amistad funesta", which Martí had made known was published under a pseudonym in 1885. In 1913, also in this edition, his third poetic collection that he had kept unedited: "Versos Libres". His "Diario de Campaña" (Campaign Diary) was published in 1941. Later still, in 1980, Nicaraguan poet Ernesto Mejía Sánchez produced a set of about thirty of Martí's articles written for the Mexican newspaper "El Partido Liberal" that weren't included in any of his so-called "Obras Completas" editions. From 1882–1891, Martí collaborated in "La Nación ", a Buenos Aires newspaper. His texts from "La Nación " have been collected in "Anuario del centro de Estudios Martianos".

paragraph: Over the course of his journalistic career, he wrote for numerous newspapers, starting with "El Diablo Cojuelo" (The Limping Devil) and "La Patria Libre" (The Free Fatherland), both of which he helped to found in 1869 in Cuba and which established the extent of his political commitment and vision for Cuba. In Spain he wrote for "La Colonia Española",in Mexico for "La Revista Universal", and in Venezuela for "Revista Venezolana", which he founded. In New York he contributed to Venezuelan periodical "La Opinión Nacional", Buenos Aires newspaper "La Nación", Mexico's "La Opinion Liberal", and America's "The Hour".

paragraph: The first critical edition of Martí's complete works began to appear in 1983 in "José Martí: Obras completas. Edición crítica". The critical edition of his complete poems was published in 1985 in "José Martí: Poesía completa. Edición critica."

paragraph: Volume two of his "Obras Completas" includes his famous essay 'Nuestra America' which "comprises a variety of subjects relating to Spanish America about which Marti studied and wrote. Here it is noted that after Cuba his interest was directed mostly to Guatemala, Mexico and Venezuela. The various sections of this part are about general matters and international conferences; economic, social and political questions; literature and art; agrarian and industrial problems; immigration; education; relations with the United States and Spanish America; travel notes".

paragraph: According to Marti, the intention behind the publication of "La edad de oro" was "so that American children may know how people used to live, and how they live nowadays, in America and in other countries; how many things are made, such as glass and iron, steam engines and suspension bridges and electric light; so that when a child sees a coloured stone he will know why the stone is coloured. ... We shall tell them about everything which is done in factories, where things happen which are stranger and more interesting than the magic in fairy stories. These things are real magic, more marvelous than any. ... We write for children because it is they who know how to love, because it is children who are the hope for the world".

paragraph: Marti's "Versos Sencillos" was written "in the town of Haines Falls, New York, where his doctor has sent [him] to regain his strength 'where streams flowed and clouds gathered in upon themeselves'". The poetry encountered in this work is "in many [ways] autobiographical and allows readers to see Marti the man and the patriot and to judge what was important to him at a crucial time in Cuban history".

paragraph: Martí's writings reflected his own views both socially and politically. "Cultivo Una Rosa Blanca" is one of his poems that emphasize his views in hopes of betterment for society:

paragraph: This poem is a clear description of Martí's societal hopes for his homeland. Within the poem, he talks about how regardless of the person, whether kind or cruel he cultivates a white rose, meaning that he remains peaceful. This coincides with his ideology about establishing unity amongst the people, more so those of Cuba, through a common identity, with no regards to ethnic and racial differences. This doctrine could be accomplished if one treated his enemy with peace as he would treat a friend. The kindness of one person should be shared with all people, regardless of personal conflict. By following the moral that lies within "Cultivo Rosa Blanca", Martí's vision of Cuban solidarity could be possible, creating a more peaceful society that would emanate through future generations.

paragraph: After his breakthrough in Cuba literature, José Martí went on to contribute his works to newspapers, magazines, and books that reflected his political and social views. Because of his early death, Martí was unable to publish a vast collection of poetry; even so, his literary contributions have made him a renowned figure in literature, influencing many writers, and people in general, to aspire to follow in the footsteps of Martí.

paragraph: Section::::Writings.:Style.

paragraph: Martí's style of writing is difficult to categorize. He used many aphorisms—short, memorable lines that convey truth and/or wisdom—and long complex sentences. He is considered a major contributor to the Spanish American literary movement known as Modernismo and has been linked to Latin American consciousness of the modern age and modernity. His chronicles combined elements of literary portraiture, dramatic narration, and a dioramic scope. His poetry contained "fresh and astonishing images along with deceptively simple sentiments". As an orator (for he made many speeches) he was known for his cascading structure, powerful aphorisms, and detailed descriptions. More important than his style is how he uses that style to put into service his ideas, making "advanced" convincing notions. Throughout his writing he made reference to historical figures and events, and used constant allusions to literature, current news and cultural matters. For this reason, he may be difficult to read and translate.

paragraph: His didactic spirit encouraged him to establish a magazine for children, "La Edad de Oro" (1889) which contained a short essay titled "Tres Heroes" (three heroes), representative of his talent to adapt his expression to his audience; in this case, to make the young reader conscious of and amazed by the extraordinary bravery of the three men, Bolivar, Hidalgo, and San Martín. This is his style to teach delightfully.

paragraph: Section::::Writings.:Translation.

paragraph: José Martí is universally honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Martí learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895.

paragraph: In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Martí also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.

paragraph: There was clearly a dichotomy in Martí's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Martí never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".

paragraph: Section::::Writings.:Modernism.

paragraph: The modernists, in general, use a subjective language. Martí's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Martí values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Martí, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido).

paragraph: The difference that Martí established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people.

paragraph: Martí produces a system of specific signs "an ideological code" (código ideológico). These symbols claim their moral value and construct signs of ethic conduct. Martí's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing.

paragraph: The difference between Martí and other modernist initiators such as Manuel Gutiérrez Nájera, Julian del Casal, and José Asunción Silva (and the similarity between him and Manuel González Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutiérez Nájera, Rubén Darío, Miguel de Unamuno and José Enrique Rodó saved the Martinian articles, which will have an endless value in the writings of the American continent.

paragraph: Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.

paragraph: Section::::Legacy.

paragraph: Martí's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans, a symbol of unity, the "Apostle", a great leader. His writings have created a platform for all that he went through during the duration of this period in time. His ultimate goal of building a democratic, just, and stable republic in Cuba and his obsession with the practical execution of this goal led him to become the most charismatic leader of the 1895 colonial revolution. His work with the Cuban émigré community, enlisting the support of Cuban workers and socialist leaders to form the Cuban Revolutionary Party, put into motion the Cuban war of independence. His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba by the United States following the Spanish–American War. His belief in the inseparability of Cuban and Latin American sovereignty and the expression thereof in his writings have contributed to the shape of the modern Latin American Identity. Through his beliefs for Cuban and Latin American sovereignty, Cuba revolted on former allies. This is why Cuba became an independent nation. His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed.

paragraph: Martí's writings on the concepts of Cuban nationalism fuelled the 1895 revolution and have continued to inform conflicting visions of the Cuban nation. The Cuban nation-state under Fidel Castro consistently claimed Martí as a crucial inspiration for its Communist revolutionary government. During Castro's tenure, the politics and death of Marti were used to justify certain actions of the Cuban state. The Cuban government claimed that Marti had supported a single party system, creating a precedent for a communist government. The vast amount of writing that Marti produced in his lifetime makes it difficult to determine his exact political ideology, but his major goal was the liberation of Cuba from Spain and the establishment of a democratic republican government. Despite Marti never having supported communism or single party systems, Cuban leaders repeatedly claimed that Marti's Partido Revolucionario Cubano was a "forerunner of the Communist Party".

paragraph: Martí's nuanced, often ambivalent positions on the most important issues of his day have led Marxist interpreters to see a class conflict between the proletariat and the bourgeoisie as the main theme of his works, while others, namely the Cuban diasporic communities in Miami and elsewhere have identified a liberal-capitalist emphasis. These Cuban exiles still honor Martí as a figure of hope for the Cuban nation in exile and condemn Castro's government for manipulating his works and creating a "Castroite Martí" to justify its "intolerance and abridgments of human rights". His writings thus remain a key ideological weapon in the battle over the fate of the Cuban nation.

paragraph: One further example of his legacy is that his name has been chosen for several institutions or NGOs from various countries, such as Romania, where a public school from Bucharest and the Romanian-Cuban Friendship Association from Targoviste are both named "Jose Marti".

paragraph: Havana's international airport is named after Martí.

paragraph: A gigantic statue of Martí was unveiled in Havana on his 123rd birth anniversary, and Cuban president Raul Castro was present at the ceremony.

paragraph: The National Association of Hispanic Publications, a non-profit organization to promote Hispanic publications, each year designates the José Martí Awards for excellence in Hispanic media. The awards are given for Editorial Articles, Editorial Sections, Design, Photographs, Marketing, and Best Overall Categories.

paragraph: Section::::List of selected works.

paragraph: Martí's fundamental works published during his life

paragraph: BULLET::::- 1869 January: "Abdala"

paragraph: BULLET::::- 1869 January: ""10 de octubre""

paragraph: BULLET::::- 1871: "El presidio político en Cuba"

paragraph: BULLET::::- 1873: "La República Española ante la revolución cubana"

paragraph: BULLET::::- 1875: "Amor con amor se paga"

paragraph: BULLET::::- 1882: "Ismaelillo"

paragraph: BULLET::::- 1882 February: "Ryan vs. Sullivan"

paragraph: BULLET::::- 1882 February: "Un incendio"

paragraph: BULLET::::- 1882 July: "El ajusticiamiento de Guiteau"

paragraph: BULLET::::- 1883 January: ""Batallas de la Paz""

paragraph: BULLET::::- 1883 March: "" Que son graneros humanos""

paragraph: BULLET::::- 1883 March: "Karl Marx ha muerto"

paragraph: BULLET::::- 1883 March:"El Puente de Brooklyn"

paragraph: BULLET::::- 1883 September: ""En Coney Island se vacía Nueva York""

paragraph: BULLET::::- 1883 December:"" Los políticos de oficio""

paragraph: BULLET::::- 1883 December: "Bufalo Bil"

paragraph: BULLET::::- 1884 April:""Los caminadores""

paragraph: BULLET::::- 1884 November: "Norteamericanos"

paragraph: BULLET::::- 1884 November:"El juego de pelota de pies"

paragraph: BULLET::::- 1885: "Amistad funesta"

paragraph: BULLET::::- 1885 January:"Teatro en Nueva York"

paragraph: BULLET::::- 1885 '"Una gran rosa de bronce encendida""

paragraph: BULLET::::- 1885 March:"Los fundadores de la constitución"

paragraph: BULLET::::- 1885 June: ""Somos pueblo original""

paragraph: BULLET::::- 1885 August: ""Los políticos tiene sus púgiles""

paragraph: BULLET::::- 1886 May: "Las revueltas anarquistas de Chicago"

paragraph: BULLET::::- 1886 September: "" La ensenanza""

paragraph: BULLET::::- 1886 October: "La Estatua de la Libertad"

paragraph: BULLET::::- 1887 April: "El poeta Walt Whitman"

paragraph: BULLET::::- 1887 April: "El Madison Square"

paragraph: BULLET::::- 1887 November: "Ejecución de los dirigentes anarquistas de Chicago"

paragraph: BULLET::::- 1887 November: "La gran Nevada"

paragraph: BULLET::::- 1888 May: "El ferrocarril elevado"

paragraph: BULLET::::- 1888 August: "Verano en Nueva York"

paragraph: BULLET::::- 1888 November: "" Ojos abiertos, y gargantas secas""

paragraph: BULLET::::- 1888 November: ""Amanece y ya es fragor""

paragraph: BULLET::::- 1889: 'La edad de oro'

paragraph: BULLET::::- 1889 May: "El centenario de George Washington"

paragraph: BULLET::::- 1889 July: "Bañistas"

paragraph: BULLET::::- 1889 August: ""Nube Roja""

paragraph: BULLET::::- 1889 September: ""La caza de negros""

paragraph: BULLET::::- 1890 November: "" El jardín de las orquídeas""

paragraph: BULLET::::- 1891 October:"Versos Sencillos"

paragraph: BULLET::::- 1891 January: ""Nuestra América""

paragraph: BULLET::::- 1894 January: "" ¡A Cuba!""

paragraph: BULLET::::- 1895: "Manifiesto de Montecristi- coauthor with Máximo Gómez"

paragraph: Martí's major posthumous works

paragraph: BULLET::::- "Adúltera"

paragraph: BULLET::::- "Versos libres"

paragraph: Section::::See also.

paragraph: BULLET::::- International José Martí Prize

paragraph: BULLET::::- Radio y Televisión Martí

paragraph: BULLET::::- José Rizal, Philippine national hero also executed by the Spanish in 1896

paragraph: BULLET::::- "José Martí" (Lopez), Houston, Texas

paragraph: Section::::References.

paragraph: BULLET::::- Abel, Christopher. "José Martí: Revolutionary Democrat". London: Athlone. 1986.

paragraph: BULLET::::- .

paragraph: BULLET::::- Cairo, Ana. "Jose Marti y la novela de la cultura cubana." Santiago de Compostela: Universidade de Santiago de Compostela. 2003.

paragraph: BULLET::::- De La Cuesta, Leonel Antonio. "Martí, Traductor." Salamanca: Universidad Pontificia de Salamanca. 1996.

paragraph: BULLET::::- .

paragraph: BULLET::::- Fidalgo, Jose Antonio. "El Doctor Fermín Valdés-Domínguez, Hombre de Ciencias y Su Posible Influencia Recíproca Con José Martí" "Cuadernos de Historia de la Salud Pública" 1998 (84) pp. 26–34

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- Kirk, John M. "José Martí, Mentor of the Cuban Nation." Tampa: University Presses of Florida, c1983.

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- .

paragraph: BULLET::::- Martí, José, Manuel A.Tellechea "Versos Sencillos." U of Houston: Arte Público Press, 1997

paragraph: BULLET::::- Morukian, Maria. "Cubanidad: Survival of Cuban Culture Identity in the 21st Century".

paragraph: BULLET::::- Nassif, Ricardo. "Jose Martí (1853–95) ". Originally published in Prospects:the quarterly review of comparative education(Paris, UNESCO: International Bureau of Education), vol. XXIV, no. 1/2, 1994, pp. 107–19

paragraph: BULLET::::- Pérez-Galdós Ortiz, Víctor. "José Martí: Visión de un Hombre Universal". Barcelona: Puvill Libros Ltd. 1999.

paragraph: BULLET::::- Quiroz, Alfonso. "The Cuban Republic and José Martí: reception and use of a national symbol". Lexington Books, 2006

paragraph: BULLET::::- Ripoll, Carlos. "Jose Marti and the United States, and the Marxist interpretation of Cuban History." New Jersey: Transaction Inc. 1984.

paragraph: BULLET::::- Ronning, C. Neale. "Jose Marti and the emigre colony in Key West." New York: Praeger. 1990.

paragraph: BULLET::::- Scott, Rebecca J. "Explaining Abolition: Contradiction, Adaptation, and Challenge in Cuban Slave Society, 1860–1886". "Comparative Studies in Society and History," Vol. 26, No. 1 (Jan., 1984), pp. 83–111

paragraph: BULLET::::- Vincent, Jon S. "Jose Marti: Surrealist or Seer?" Latin American Research Review, Vol. 13, No. 1 (1978), pp. 178–81.

paragraph: Section::::External links.

paragraph: BULLET::::- Obras completas de José Martí (Index to Complete Works; Spanish)

paragraph: BULLET::::- José Martí (.cu)

paragraph: BULLET::::- José Martí (.org)

paragraph: BULLET::::- "Romero Family Papers Regarding José Martí" and books by José Martí fully and freely available from the "Digital Library of the Caribbean (dLOC)"

description: Cuban poet, writer, and nationalist leader

enwikiquote_title: José Martí

wikidata_label: José Martí

wikipedia_title: José Martí


text:
Dutch Golden Age
Samuel Ampzing
Pieter Molyn
Jacob Pinas
Salomon de Bray
Cornelis van Poelenburch
Abraham van Cuylenborch
Dirck Stoop
Esaias
Jan van de Velde
Pieter Dircksz Santvoort
Salomon Ruysdael
Bartholomeus Breenbergh
Rombout van Troyen
Utrecht Guild of St. Luke
Pieter de Hooch
Abraham Bredius
Fredensborg Palace
Suermondt-Ludwig-Museum
Hofstede de Groot
Arnold Houbraken
Nicolaes Berchem
Pieter de Hooch
Abraham Bredius
Dirck Cornelis de Hooch
Charles Cornelisz. De Hooch
Artnet

categories: Dutch Golden Age painters,1600s births,1638 deaths,Dutch male painters,Artists from Haarlem

paragraph: Charles Cornelisz. de Hooch

paragraph: Charles Cornelisz. de Hooch (c.1600 – 2 July 1638), was a Dutch Golden Age landscape painter and etcher.

paragraph: Section::::Biography.

paragraph: He became known as "Karel de Hooge" from being listed in Samuel Ampzing's "lof der Haerlem" as a painter of ruins, along with Pieter Molyn, Jacob Pinas and Salomon de Bray, who was born in 1597. He is best known today for his so-called grotto paintings. Grotto painting as an independent genre was probably initiated by a group of followers of Cornelis van Poelenburch, which included De Hooch along with Abraham van Cuylenborch and Dirck Stoop. His contemporaries in landscape painting included Esaias and Jan van de Velde, Pieter Dircksz Santvoort, Pieter Molyn and Salomon Ruysdael.

paragraph: Charles was probably born in Haarlem, since Ampzing included him, but this is not totally certain. It is accepted that he lived in Haarlem up until 1628, the year of publication of Ampzing's book. Ampzing wrote a whole verse of poetry about him:

paragraph: En sal ik hier "DE HOOG" ook niet wel bilijk pogen (And would I hereby deem de Hooch worthy)

paragraph: Naer sijne waerdigheyd met ere te verhogen? (of enhancing his dignity with praise?)

paragraph: Wilt gij ruwijnen sien, naer ‘t leven afgebeeld? (Do you want to see ruins, true to life?)

paragraph: So siet wat sijne hand en sijne konst hier teeld. (You recognize his mastery and refinement.)

paragraph: After his Haarlem period he moved to Utrecht, where he died 2 July 1638 leaving underage children. His life can thus be divided in his "Haarlem period"(from birth up until at least 1628) and his "Utrecht period" (From 1628 up until his death in 1638). In Utrecht he belonged to a group of painters that included Bartholomeus Breenbergh, Abraham van Cuylenburch, Rombout van Troyen and "P. van Hattick."

paragraph: Charles Cornelisz. de Hooch was married to Claesgen van Thiel (1629-07-11 - 1671-06-20) and they had one son Horatius (? - after 1686) who in turn married Wilhelmina van Swoll.

paragraph: After he donated a painting to the ‘St. Jobs Gasthuis’ in 1628, he was introduced into the Utrecht Guild of St. Luke in 1633.

paragraph: Charles Cornelisz. de Hooch is not the father of the famous painter of interiors Pieter de Hooch, as is often mentioned. C.H.C. Flugi van Aspermont argues that this is not true, though "Het schildersregister" by Jan Sysmus, doctor of the city of Amsterdam, which was published by Dr. Abraham Bredius in "Oud Holland VIII," mentions (p. 222) ‘"Karel de Hoogh, vader van Pieter’" and on p. 307 ‘Pieter de Hoogh, landschap, utert, redelijk, syn vader hiet Carel’. P. Haverkorn van Rijsewijk writes in "Oud-Holland X, p. 172," that he found a testament (dating 21 dec 1657) saying: "“Henrick de Hoge, metselaer benoemt SIJN SOON Pieter de Hooch, schilder”." Which implies that not Charles Cornelisz. de Hooch, but Henrick de Hoge is Pieter’s father. Pieter de Hoogh lived in the same street as Hendrik de Hoogh during his marriage. A Hendrik de Hoogh was a witness during the baptism of Pieter’s daughter Anna. Pieter’s age coincides with the age on Hendrik’s son Pieter’s baptising.

paragraph: Section::::Works and Style.

paragraph: His works are very rare, but most of them are easily recognised by his distinguished signature.

paragraph: Section::::Works and Style.:Works of Haarlem Period (1624-1628).

paragraph: The earliest works of de Hooch are dated around 1620, and were produced in Haarlem. These realistic paintings of the Dutch landscape belong, according to Flugi van Aspermont to the oldest school of Haarlem landscape painters, which distanced itself from the Flemish school of landscape painting.

paragraph: An example of one of those landscapes can be found in his "Landscape with Travelers underneath a Dovecote". In the centre of this panel there is a wooden dovecote build on three trees ; a man in a red shirt and blue pants is standing on a ladder which is placed to it. On the right is a ruin of a castle with a stork’s nest. In front of it there is a man accompanied by a dog. In the background there are trees surrounded by a clouded sky. This theme of a dovecote is also painted in a canvas painting in 1628, the year he moved to Utrecht , which de Hooch painted in Haarlem. At the bottom of the right is it signed “Chaerles dhooch”

paragraph: These two paintings of dovecotes look largely the same in terms of content, with the exception of the buildings in the right side. On the panel this is a ruin of a castle, while on the canvas this is a regular building. De Hooch was particularly admired for his ability to paint ruins, according to Ampzing.

paragraph: Section::::Works and Style.:Works of Utrecht Period (1628-1638).

paragraph: His Utrecht period is characterized by Italianate landscapes and grotto paintings. The seventeenth century Dutch Italianate grotto painting that is characteristic of De Hooch’s Utrecht period owes its inception to Cornelis van Poelenbergh of Utrecht. Poelenbergh traveled to the south and, upon his return to Utrecht in the mid-1620s, he continued to depict Italianate landscapes featuring ruins and grottos. De Hooch was most likely involved in initiating this subject matter as an independent genre, along with other followers of Poelenbergh. De Hooch’s Italianate landscapes can be clearly associated with those of Poelenburgh and Breenbergh, however it is not known whether he learned about Italianate motifs on a trip south or from Poelenburgh and Breenbergh after they returned to Holland from their own trips to south. De Hooch is known for his intriguing paintings of dramatically lit and spooky grottos which feature classical sculpture and architectural fragments. In his painting Italian landscape with ruins and duck hunters, which is estimated to be completed sometime between 1630 and 1635, a clear connection to the work of Poelenburgh and Breenbergh can be seen. The simple design of the piece and the “solid, monumental composition is accompanied by firmer, more tangible modeling details”.

paragraph: Section::::Works and Style.:Best known works.

paragraph: BULLET::::- ‘De duiventil - Charles DHooch’, Panel 27x32, in Museum Kunstliefde in Utrecht

paragraph: BULLET::::- ‘De grot - Charles D. Hooch f.’ Panel, 53x79, in Fredensborg Palace in Kopenhagen

paragraph: BULLET::::- ‘De Catacomben, panel 68x93, in the collection Prince Charles d’Arenberg in Brussel

paragraph: An interesting case are two landscapes with ruins in Suermondt-Ludwig-Museum of Aken (nr 67 and 68 of their 1883 catalogue), are both wrongly attributed to Pieter de Hooch (according to Dr. Hofstede de Groot), because "Pieter" never painted landscapes. Although Arnold Houbraken thought that he was a pupil of Nicolaes Berchem, it could be that these were Carel de Hooch’s paintings.

paragraph: Section::::De Hooch family of artists.

paragraph: Charles Cornelisz. de Hooch is not the father of the famous painter of interiors Pieter de Hooch, as is often mentioned. C.H.C. Flugi van Aspermont argues that this is not true, though "Het schildersregister" by Jan Sysmus, doctor of the city of Amsterdam, which was published by Dr. Abraham Bredius in "Oud Holland VIII," mentions (p.222) ‘"Karel de Hoogh, vader van Pieter’" and on p. 307 ‘Pieter de Hoogh, landschap, utert, redelijk, syn vader hiet Carel’. P. Haverkorn van Rijsewijk writes in "Oud-Holland X, p. 172," that he found a testament (dating 21 dec 1657) saying: "“Henrick de Hoge, metselaer benoemt SIJN SOON Pieter de Hooch, schilder”." Which implies that not Charles Cornelisz. de Hooch, but Henrick de Hoge is Pieter’s father. Pieter de Hoogh lived in the same street as Hendrik de Hoogh during his marriage. A Hendrik de Hoogh was a witness during the baptism of Pieter’s daughter Anna. Pieter’s age coincides with the age on Hendrik’s son Pieter’s baptising. Charles Cornelisz de Hooch was possibly the brother of Dirck Cornelis de Hooch.

paragraph: Section::::References.

paragraph: BULLET::::- Charles Cornelisz. De Hooch on Artnet

alias:
Carel Cornelisz. de Hooch
Carel Cornelisz. de Hoock
Carel de Hoogh
Carel Hoogh
Charles Cornelisz. de Hooghe
Carel Hooghe
Carel Cornelisz. de Hoogh
Charles Cornelisz. de Hoogh
Carel Hooch
Carel Cornelisz. de Hooghe
Charles Cornelisz. De Hoogh
Charles Cornelisz. De Hooghe
Charles Cornelisz. De Hooch
Carel de Hooch
Carl de Hoch
Carl de Hooch
C. De Hooge
De Hoock
De Hooch
Carel Cornelisz. De Hooch
C. de Hooch
De Hoge
De Hoghe
Carel de Hoghe
Charles de Hoog
Hooch
Charles De Hooghe
De Hooge
Hoog

description: Dutch painter

wikidata_label: Charles Cornelisz. de Hooch

wikipedia_title: Charles Cornelisz. de Hooch


text:
German
Early Renaissance
printmaker
painter
architect
court painter
Schwerin
Albrecht Altdorfer
Lambach Abbey
St Florian
Klosterneuburg
Henry V
Mecklenburg-Schwerin
Lucas Cranach the Elder
Albert VII
Sternberg
woodcut
Johannes Bugenhagen
Low German
Bible
Lübeck
Ludwig Dietz
John Albert I
Mecklenburg
St. Annen Museum
Jacopo de' Barbari
German Renaissance

categories: German male painters,1561 deaths,German printmakers,People from Regensburg,Albrecht Altdorfer,Court painters,German artists,Manuscript illuminators,German Renaissance painters,16th-century German painters,1480s births

paragraph: Erhard Altdorfer

paragraph: Erhard Altdorfer (sometimes "Erhart Aldorfer") (c. 1480–1561) was a German Early Renaissance printmaker, painter, and architect, who worked as a court painter in Schwerin from 1512 until his death in 1561.

paragraph: Erhard Altdorfer was the younger brother of Albrecht Altdorfer. Most likely, he was trained by his brother and it is believed they started a workshop together in 1506.

paragraph: It is assumed Erhard Altdorfer worked in Austria at the Lambach Abbey, and in St Florian and Klosterneuburg around 1510. In 1512, he went to Schwerin where Duke Henry V of Mecklenburg-Schwerin (1479–1552) appointed him court painter and architect. During a trip with the duke that year he probably came in contact with Lucas Cranach the Elder. A commission for the duke and Albert VII was an altarpiece in Sternberg, however destroyed by fire in 1741.

paragraph: In 1533–34 his woodcuts appeared in Johannes Bugenhagen's Low German translation of the Bible printed in Lübeck by the printer and bookmaker Ludwig Dietz (–1559), a work for which he was rewarded with a house.

paragraph: Between 1546 and 1551, further construction projects were realized, projects of which remains virtually no traces, why one can have only vague ideas of their character.

paragraph: In 1552, the written records of John Albert I of Mecklenburg (1525–1576) tells us Erhard Altdorfer was working for him, and until 1555 Erhard probably worked as the leading architect of the court of Wismar.

paragraph: He is mentioned a last time in 1561.

paragraph: Of his surviving works most are those he produced as a painter, and at least parts of the altar pieces in the collection of the St. Annen Museum in Lübeck are attributed to him.

paragraph: Compared to his brothers, Erhard was less independent and creative in his work, and took a lot of influence from the working practice of the workshop of Cranach and from artists such as Jacopo de' Barbari.

paragraph: As it seems, he was primarily as draughtsman and a printmaker and only produced a few paintings. However, he only signed a few of his works, so most of those associated with him are only attributed works.

paragraph: Section::::See also.

paragraph: BULLET::::- German Renaissance

alias:
Erhard Altdorffer
Master EA
Master EA 1506

description: German artist

wikidata_label: Erhard Altdorfer

wikipedia_title: Erhard Altdorfer


text:
Lebedyan
Tambov Governorate
Russia
pianist
teacher
Nikolai Zverev
Moscow Conservatory
Alexander Siloti
Pavel Pabst
Sergei Taneyev
Anton Arensky
Mikhail Ippolitov-Ivanov
Tiflis
Russian Music Society
piano roll
Welte-Mignon
reproducing piano
Bolesław Kon
Oleg Boshniakovich
Naum Shtarkman
Elena Beckman-Shcherbina
Yakov Flier
Boris Moiseyevitch Berlin
Lev Oborin
Maria Grinberg
Andrzej Wasowski
Ryszard Bakst
Tengiz Amirejibi
Anatoly Nikolayevich Alexandrov
Aleksandr Iokheles
Bella Davidovich
Rosa Tamarkina
Issay Dobrowen
Melodiya
Order of Lenin
Order of the Red Banner of Labour
People's Artist of USSR
Stalin Prize

categories: Russian classical pianists,People from Tambov Governorate,Recipients of the Order of Lenin,People from Lebedyan,Moscow Conservatory alumni,Pupils of Pavel Pabst,1873 births,1948 deaths,Stalin Prize winners,Pupils of Nikolai Zverev,People's Artists of the USSR,Burials at Novodevichy Cemetery

image: 512px-Могила_пианиста_Николая_Игумнова.JPG

paragraph: Konstantin Igumnov

paragraph: Konstantin Nicolayevich Igumnov (; , 1873, Lebedyan, Tambov Governorate, – March 24, 1948) was a Russian pianist and the teacher of many Russian pianists.

paragraph: Section::::Biography.

paragraph: Igumnov studied under Nikolai Zverev, and at Moscow Conservatory under Alexander Siloti and Pavel Pabst. He took theory and composition courses from Sergei Taneyev, Anton Arensky and Mikhail Ippolitov-Ivanov. In 1898-9 he was pianoforte teacher at the Tiflis music-school of the Russian Music Society. From 1899 he was Professor at the Moscow Conservatory, where his life's work was carried out. He recorded 6 pieces on piano roll for the Welte-Mignon reproducing piano in 1910.

paragraph: Among his many students were Bolesław Kon, Oleg Boshniakovich, Naum Shtarkman, Elena Beckman-Shcherbina, Yakov Flier, Boris Moiseyevitch Berlin, Lev Oborin, Maria Grinberg, Andrzej Wasowski, Ryszard Bakst, Tengiz Amirejibi, Anatoly Nikolayevich Alexandrov, Natalia Satina (wife of Rachmaninoff), Aleksandr Iokheles, Bella Davidovich, Rosa Tamarkina, and the conductor Issay Dobrowen.

paragraph: A four-record (LP) set of Igumnov's recordings was issued by Melodiya on 33C 10-05519-26.

paragraph: Section::::Honours and awards.

paragraph: BULLET::::- Order of Lenin

paragraph: BULLET::::- Order of the Red Banner of Labour

paragraph: BULLET::::- People's Artist of USSR (1946)

paragraph: BULLET::::- Stalin Prize (1946)

paragraph: Section::::Welte-Mignon Piano Rolls.

paragraph: BULLET::::- Catalog no. 2061: Rachmaninoff - Prelude, Op. 23, No. 1, f#

paragraph: BULLET::::- Catalog no. 2062: Rachmaninoff - Prelude, Op. 23, No. 6, Eb

paragraph: BULLET::::- Catalog no. 2063: Scriabin - Sonata-Fantasie, Op. 19, No. 2, g#

paragraph: BULLET::::- Catalog no. 2064: Brahms - Intermezzo, Op. 118, No. 6, eb

paragraph: BULLET::::- Catalog no. 2065: Rachmaninoff - "Fantasy Pieces", Op. 3, No. 2, c#: Prelude

paragraph: BULLET::::- Catalog no. 2066: Arensky - By the Seashore, Op. 52, No. 4, Gb

paragraph: Section::::Sources.

paragraph: BULLET::::- A. Eaglefield-Hull, "A Dictionary of Modern Music and Musicians" (Dent, London 1924).

paragraph: BULLET::::- J. Methuen-Campbell, "Chopin Playing from the Composer to the Present Day" (Gollancz, London 1981).

description: Russian pianist

wikidata_label: Konstantin Igumnov

wikipedia_title: Konstantin Igumnov


text:
Edward de Vere, 17th Earl of Oxford
William Cecil, 1st Baron Burghley
Francis Norris, 1st Earl of Berkshire
Theobalds House
Hertfordshire
Anne Cecil
Elizabeth I of England
Elizabeth
Susan
Maid of Honour
Queen Elizabeth
Henry
Lady of the Bedchamber
Anne Vavasour
William Herbert
heir apparent
Henry Norris, 1st Baron Norreys
Elizabeth Norris
Edward Wray
James I of England
Fleet Prison
House of Lords
Prince Charles
Rycote
Oxfordshire
Westminster Abbey
effigy

categories: 17th-century  English women,1584 births,De Vere family,1630s deaths,Women of the Tudor period,16th-century English nobility,People from Waltham Cross,17th-century English nobility,16th-century English women,English countesses

paragraph: Bridget de Vere, Countess of Berkshire

paragraph: Bridget de Vere, Countess of Berkshire (6 April 1584 – December 1630/March 1631) was an English noblewoman, the daughter of Edward de Vere, 17th Earl of Oxford. Bridget was brought up by her maternal grandfather, the powerful statesman William Cecil, 1st Baron Burghley. She was also styled Lady Norris of Rycote and Viscountess Thame. She married Francis Norris, 1st Earl of Berkshire; however, the marriage was not a success, and they separated in 1606.

paragraph: Section::::Family.

paragraph: Lady Bridget was born on 6 April 1584 at Theobalds House, Hertfordshire. She was one of the three surviving daughters of courtier, playwright, and poet Edward de Vere, 17th Earl of Oxford, and Anne Cecil, daughter of Queen Elizabeth I of England's chief minister, William Cecil, 1st Baron Burghley. Bridget, along with her sisters, Lady Elizabeth and Lady Susan, remained in the household of her grandfather following the death of her mother on 5 June 1588, when she was four years old.

paragraph: In 1591, Bridget's father married secondly, Elizabeth Trentham, a Maid of Honour to Queen Elizabeth. This marriage produced a half-brother for Bridget, Henry who became her father's heir, and later succeeded him as the 18th Earl of Oxford. Bridget already had an older illegitimate half-brother, Sir Edward de Vere, by her father's scandalous affair with the Queen's Lady of the Bedchamber, Anne Vavasour.

paragraph: Section::::Marriage.

paragraph: In 1597, Bridget's grandfather proposed to marry her to William Herbert, heir to the earldom of Pembroke. Burghley offered Herbert £3,000 plus an annuity, the payment of which would begin upon Burghley's death. Herbert, however, wanted immediate payment on the annuity, and when his proposal was rejected, he refused to marry Bridget. Baron Burghley was therefore compelled to settle for a less illustrious husband for Bridget. On 28 April 1599, shortly after her 15th birthday, she married Francis Norris of Rycote, the son of Sir William Norris of Rycote and Elizabeth Morrison, and heir apparent to his grandfather Henry Norris, 1st Baron Norreys. On 17 October 1601, Norris succeeded to the title of 2nd Baron Norris, and Bridget was henceforth styled as Lady Norris.

paragraph: Together they had one daughter:

paragraph: BULLET::::- Elizabeth Norris, Baroness Norris of Rycote (c. 1603- c. November 1645), married Edward Wray, Groom of the Bedchamber to King James I of England, by whom she had issue. The marriage between Norris and Bridget was not successful, and in 1606, Bridget and her husband separated.

paragraph: Bridget de Vere's second marriage was to Sir Hugh Pollard, 2nd Baronet.  The eldest son of Sir Lewis Pollard, 1st Baronet.  By him, she left an only daughter, Bridget Pollard.

paragraph: Section::::Last years.

paragraph: On 28 January 1621, Norris was created 1st Viscount Thame and 1st Earl of Berkshire. At about the time Norris had been planning to divorce Bridget he was sent to Fleet Prison after elbowing and pushing Lord Scrope in front of the House of Lords in the presence of Prince Charles. Upon his release, he went home to Rycote in Oxfordshire where he committed suicide on 29 January 1622. His estates and titles became forfeit to the crown. Bridget died sometime between December 1630 and March 1631, aged 46, and was buried in Westminster Abbey in a tomb which she shares with her mother, grandmother and sisters. Her effigy is on the tomb.

description: English noblewoman

wikidata_label: Bridget de Vere, Countess of Berkshire

wikipedia_title: Bridget de Vere, Countess of Berkshire


text: Australian rules football

text: Swan Districts Football Club

text: Midland Districts

text: fairest and best

text: South Australia

text: Sandover Medal

text: Subiaco

text: wing

text: Team of the Century

text: Goldfields Football League

text: Saint Kilda Football Club

text: Victorian Football League

categories: 1912 births,Boulder City Football Club players,Sandover Medal winners,People from Boulder, Western Australia,Swan Districts Football Club players,Australian rules footballers from Western Australia

paragraph: George Krepp

paragraph: George Llewellyn Krepp (21 July 1912 – 16 August 1973) is a former Australian rules footballer who was highly successful in the West Australian National Football League (WANFL) playing for the Swan Districts Football Club.

paragraph: Krepp played for Midland Districts in 1933 and was awarded the Cecil Bros. Medal for the best and fairest player in the association.

paragraph: Picked up Swan Districts in 1934, Krepp played for most of the season. Krepp had an impressive season and the and winger was pressing for state selection. He was noted for his sharp turns and evasive maneuvers and precise kicking skills with both feet.

paragraph: A speedy and rugged wingman, Krepp was one of Swan Districts' best players and won the club's fairest and best award three times.

paragraph: As part of his excellent 1935 season Krepp also played for the state team which was defeated by the Victorian side by 13 points. Krepp shone on the wing and was one of the few centre-line players who outplayed his opponent. He was selected again to play for the state against South Australia later the same year.

paragraph: He was the first Swan Districts player to win a Sandover Medal when he tied with Lou Daily from Subiaco in 1935.

paragraph: He is named on the wing in the Swan Districts Team of the Century.

paragraph: In 1936 Krepp was gain selected to play for his state against the South Australians. Western Australia lost the game by a single point with Krepp playing a good game until he was injured late in the game and was replaced by "Bluey" Matthews.

paragraph: Krepp married Gladys Reid in 1939 in the Ross Memorial Church.

paragraph: In 1940 Krepp was awarded the fairest and best in the Goldfields Football League winning with 24 votes, 10 more than the next best player. In 1941 Krepp announced he would be leaving to play for Saint Kilda Football Club in the Victorian Football League.

description: Australian footballer

wikidata_label: George Krepp

wikipedia_title: George Krepp


text: Stamford Theatre

text: Stamford, Connecticut

text: Thaddeus B. Wakeman

text: clubwoman

text: women's suffrage

text: Friends Seminary

text: American Academy of Dramatic Arts

text: Rufus Wilmot Griswold

text: Cos Cob, Connecticut

text: Museum of the City of New York

text: Emily Wakeman's listing on IBDB.

categories: American actresses,Actresses from Stamford, Connecticut,1935 deaths,American Academy of Dramatic Arts alumni,1872 births,People from Cos Cob, Connecticut,Friends Seminary alumni

paragraph: Emily Wakeman Hartley

paragraph: Emily Wakeman Hartley (1872 – February 20, 1935) was an American actress and theatrical manager, founder of the Stamford Theatre in Stamford, Connecticut.

paragraph: Section::::Early life.

paragraph: Emily I. Wakeman was born in New York, the daughter of Thaddeus B. Wakeman and Emily Ludlam Wakeman. Her father was a lawyer and writer interested in philosophy. Her mother was a clubwoman, active in working for women's suffrage. Emily Wakeman attended Friends Seminary and the American Academy of Dramatic Arts.

paragraph: Section::::Career.

paragraph: Emily Wakeman was an actress as a young woman, usually playing comic or character roles, including Broadway appearances in "Caleb West" (1900), "Lover's Lane" (1901), "Marta of the Lowlands" (1903), "A Case of Frenzied Finance" (1905), "The Firm of Cunningham" (1905), "The House of Mirth" (1906), "The Three Daughters of Monsieur Dupont" (1910), and "The Runaway" (1911).

paragraph: Emily Wakeman Hartley was the founder, fundraiser, and manager of the Stamford Theatre, which opened in 1914. It became a popular venue for touring performers and for new shows, before they debuted in New York. She also lectured on creativity, saying "One of the great faults of the present generation is that too few make use of their gray matter; I mean that they do not seem to realize that they have something within themselves, and do not need to depend wholly upon outside matters for amusement. And a person who always has to be amused or entertained cannot be happy, for he hasn't the creative spirit."

paragraph: Emily Wakeman Hartley ran unsuccessfully for the Connecticut state senate in 1922. She retired from managing the theatre in 1927.

paragraph: Section::::Personal life and legacy.

paragraph: In 1902, Emily Wakeman married Randolph Hartley, a librettist, publicist, and opera critic; his grandfather was poet and editor Rufus Wilmot Griswold. They had a son, Randolph Wakeman Hartley (born in 1909, when Emily was 37 years old). They lived in Cos Cob, Connecticut. Emily Wakeman Hartley was widowed in 1931 and died in 1935, from a heart attack, aged 62 years.

paragraph: In 1987, an Emily Wakeman Hartley Theater Series began in Stamford, named in her memory.

paragraph: Section::::External links.

paragraph: BULLET::::- Two photographs of Emily Wakeman Hartley tending a garden, from the Museum of the City of New York.

paragraph: BULLET::::- Emily Wakeman's listing on IBDB.

wikidata_label: Emily Wakeman Hartley

wikipedia_title: Emily Wakeman Hartley


text:
American
University of Nebraska
University of Chicago
E. H. Moore
University of California at Berkeley
Decatur, Illinois
Jevons
American Mathematical Society
prime number
prime factorization
Lehmer sieve
Derrick Henry Lehmer

categories: 19th-century American mathematicians,University of Chicago alumni,20th-century American mathematicians,University of Nebraska–Lincoln alumni,Number theorists,1938 deaths,1867 births

paragraph: Derrick Norman Lehmer

paragraph: Derrick Norman Lehmer (27 July 1867 – 8 September 1938) was an American mathematician and number theorist.

paragraph: He was educated at the University of Nebraska, obtaining a bachelor's degree in 1893 and master's in 1896. Lehmer was awarded his Ph.D. from the University of Chicago in 1900 for a thesis "Asymptotic Evaluation of Certain Totient-Sums" under the supervision of E. H. Moore.

paragraph: He was appointed instructor in mathematics at the University of California at Berkeley in 1900 and married Clara Eunice Mitchell on 12 July 1900 in Decatur, Illinois. He was promoted to professor at Berkeley in 1918 and continued to teach there until retiring in 1937.

paragraph: In 1903, he presented a factorization of Jevons' number (8,616,460,799) at the San Francisco Section of the American Mathematical Society, December 19, 1903.

paragraph: He published tables of prime numbers and prime factorizations, reaching 10,017,000 by 1909. He developed a variety of mechanical and electro-mechanical factoring and computational devices, such as the Lehmer sieve, built with his son Derrick Henry Lehmer.

paragraph: Section::::References.

paragraph: BULLET::::- Albert H. Beiler, "Recreations in the theory of numbers", Dover, 1964; chap.XX

description: American mathematician

wikidata_label: Derrick Norman Lehmer

wikipedia_title: Derrick Norman Lehmer