text: ukiyo-e

text: printmaker

text: Edo period

text: Edo

text: woodblock print

text: The Great Wave off Kanagawa

text: Mount Fuji

text: Fine Wind, Clear Morning

text: Richard Lane

text: Hōreki

text: old calendar

text: artisan

text: Edo

text: shōgun

text: concubine

text: lending library

text: Katsukawa Shunshō

text: ukiyo-e

text: Kabuki

text: Ōi

text: Kanō school

text: surimono

text: Buddhist

text: Daruma

text: Shōgun Ienari

text: Takizawa Bakin

text: Hokusai Manga

text: Hongan-ji Nagoya Betsuin

text: Daruma

text: Sensei

text: Nagoya City Museum

text: Thirty-six Views of Mount Fuji

text: A Tour of the Waterfalls of the Provinces

text: Oceans of Wisdom

text: Andō Hiroshige

text: Obuse

text: Shinano Province

text: Nagano Prefecture

text: Kaei era

text: Seikyō-ji

text: erotic art

text: Shunga

text: ukiyo-e

text: woodblock

text: samurai

text: merchant

text: chonin

text: sankin-kōtai

text: The Tale of Genji

text: ukiyo-e

text: Thirty-six Views of Mount Fuji

text: Edo period

text: art name

text: Mount Fuji

text: Nichiren

text: Buddhism

text: North Star

text: The Tale of the Bamboo Cutter

text: manga

text: Sesshū Tōyō

text: Chinese painting

text: Japonism

text: Art Nouveau

text: Jugendstil

text: Impressionism

text: Claude Monet

text: Pierre-Auguste Renoir

text: Degas

text: Gauguin

text: Klimt

text: Franz Marc

text: August Macke

text: Manet

text: van Gogh

text: Hermann Obrist

text: Hugo Award

text: Roger Zelazny

text: 24 Views of Mt. Fuji, by Hokusai

text: mindfulness

text: Lane, Richard

text: OCLC 5246796

text: Lane, Richard

text: Michener, James A.

text: Hokusai-Museum in Obuse, Japan

text: Hokusai website

text: Hokusai complete works

text: Ukiyo-e Prints by Katsushika Hokusai

text: Hokusai's works at Tokyo Digital Museum

categories: Japanese erotic artists,Ukiyo-e artists,Japanese printmakers,1849 deaths,1760 births,Japanese portrait painters,18th-century Japanese artists,Buddhist artists,Katsukawa school,Landscape artists,Katsushika Hokusai,19th-century Japanese artists

paragraph: Hokusai

paragraph: Katsushika Hokusai (, ; , ; October 31, 1760 – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series which includes the internationally iconic print, "The Great Wave off Kanagawa".

paragraph: Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically "The Great Wave" print and "Fine Wind, Clear Morning", that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, "Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series". While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition.

paragraph: Section::::Early life and artistic training.

paragraph: Hokusai's date of birth is unclear, but is often stated as the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, or October 31, 1760) to an artisan family, in the Katsushika district of Edo, Japan. His childhood name was Tokitarō. It is believed his father was the mirror-maker Nakajima Ise, who produced mirrors for the shōgun. His father never made Hokusai an heir, so it is possible that his mother was a concubine. Hokusai began painting around the age of six, perhaps learning from his father, whose work on mirrors included a painting of designs around mirrors.

paragraph: Hokusai was known by at least thirty names during his lifetime. While the use of multiple names was a common practice of Japanese artists of the time, his number of pseudonyms exceeds that of any other major Japanese artist. Hokusai's name changes are so frequent, and so often related to changes in his artistic production and style, that they are used for breaking his life up into periods.

paragraph: At the age of 12, his father sent him to work in a bookshop and lending library, a popular institution in Japanese cities, where reading books made from wood-cut blocks was a popular entertainment of the middle and upper classes. At 14, he worked as an apprentice to a wood-carver, until the age of 18, when he entered the studio of Katsukawa Shunshō. Shunshō was an artist of ukiyo-e, a style of woodblock prints and paintings that Hokusai would master, and head of the so-called Katsukawa school. Ukiyo-e, as practised by artists like Shunshō, focused on images of the courtesans and Kabuki actors who were popular in Japan's cities at the time.

paragraph: After a year, Hokusai's name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints, a series of pictures of Kabuki actors published in 1779. During the decade he worked in Shunshō's studio, Hokusai was married to his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time. He fathered two sons and three daughters with these two wives, and his youngest daughter Ei, also known as Ōi, eventually became an artist.

paragraph: Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art, including European styles he was exposed to through French and Dutch copper engravings he was able to acquire. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival Kanō school. This event was, in his own words, inspirational: "What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō's hands."

paragraph: Hokusai also changed the subjects of his works, moving away from the images of courtesans and actors that were the traditional subjects of ukiyo-e. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This change of subject was a breakthrough in ukiyo-e and in Hokusai's career. "Fireworks in the Cool of Evening at Ryogoku Bridge in Edo" (1790) dates from this period of Hokusai's life.

paragraph: Section::::Height of career.

paragraph: The next period saw Hokusai's association with the Tawaraya School and the adoption of the name "Tawaraya Sōri". He produced many brush paintings, called "surimono", and illustrations for "kyōka ehon" (illustrated book of humorous poems) during this time. In 1798, Hokusai passed his name on to a pupil and set out as an independent artist, free from ties to a school for the first time, adopting the name Hokusai Tomisa.

paragraph: By 1800, Hokusai was further developing his use of ukiyo-e for purposes other than portraiture. He had also adopted the name he would most widely be known by, Katsushika Hokusai, the former name referring to the part of Edo where he was born and the latter meaning, 'north studio'. That year, he published two collections of landscapes, "Famous Sights of the Eastern Capital" and "Eight Views of Edo". He also began to attract students of his own, eventually teaching 50 pupils over the course of his life.

paragraph: He became increasingly famous over the next decade, both due to his artwork and his talent for self-promotion. During a Tokyo festival in 1804, he created a portrait of the Buddhist priest Daruma said to be long using a broom and buckets full of ink. Another story places him in the court of the Shōgun Ienari, invited there to compete with another artist who practised more traditional brush stroke painting. Hokusai's painting, created in front of the Shōgun, consisted of painting a blue curve on paper, then chasing across it a chicken whose feet had been dipped in red paint. He described the painting to the Shōgun as a landscape showing the Tatsuta River with red maple leaves floating in it, winning the competition.

paragraph: 1807 saw Hokusai collaborate with the popular novelist Takizawa Bakin on a series of illustrated books. The two did not get along due to artistic differences, and their collaboration ended during work on their fourth book. The publisher, given the choice between keeping Hokusai or Bakin on the project, opted to keep Hokusai, emphasizing the importance of illustrations in printed works of the period.

paragraph: Hokusai paid close attention to the production of his work in books. Two instances are documented in letters he wrote to the publishers and block cutters involved in the production of his designs in "Toshisen Ehon", a Japanese edition of an anthology of Chinese poetry. Hokusai writes to the book’s publisher that the blockcutter Egawa Tomekichi, with whom Hokusai had previously worked and whom he respected, had strayed from Hokusai’s style in the cutting of certain heads. Hokusai also wrote directly to another block cutter involved in the project, Sugita Kinsuke, stating that he disliked the Utagawa-school style in which Kinsuke had cut the figure’s eyes and noses and that amendments would need to be made for the final prints to be true to Hokusai’s style. In his letter, Hokusai includes illustrated examples of both his style of illustrating eyes and noses and the Utagawa–school style. The publisher agreed to make these alterations, even with hundreds of copies of the book already printed. To correct these details the already existing cut blocks would be corrected by use of the Umeki technique. The sections to be corrected would be removed and a prepared piece of wood inserted, into which the blockcutter would cut the revised design. Use of the Umeki technique can be detected by fine break marks bordering the inserted block. Copies in print of both the original woodblock and those made of Hokusai’s requested revisions survive, printed in 1833 and 1836 respectively.

paragraph: In 1811, at the age of 51, Hokusai changed his name to "Taito" and entered the period in which he created the "Hokusai Manga" and various "etehon", or art manuals. These "etehon", beginning in 1812 with "Quick Lessons in Simplified Drawing", served as a convenient way to make money and attract more students. "Manga" (meaning random drawings) included studies in perspective. The first book of Hokusai's "manga", sketches or caricatures that influenced the modern form of comics known by the same name, was published in 1814. Together, his 12 volumes of manga published before 1820 and three more published posthumously include thousands of drawings of animals, religious figures, and everyday people. They often have humorous overtones and were very popular at the time.

paragraph: On October 5, 1817, he painted at the Hongan-ji Nagoya Betsuin in Nagoya the "Big Daruma" on paper, measuring 18 × 10.8 metres, impressing many onlookers. For this feat he received the name ""Darusen"" (a shortened form of "Daruma Sensei"). Although the original was destroyed in 1945, promotional handbills from that time survived and are preserved at the Nagoya City Museum. Based on studies, a reproduction of the large painting was done at a large public event on 23 November 2017 to commemorate the 200-year anniversary of the painting, using the same size and techniques and material as the original.

paragraph: In 1820, Hokusai changed his name yet again, this time to "Iitsu," a change which marked the start of a period in which he secured fame as an artist throughout Japan. His most famous work, "Thirty-six Views of Mount Fuji", including the famous "Great Wave off Kanagawa", was produced in the early 1830s. The results of Hokusai's perspectival studies in "Manga" can be seen here in "The Great Wave off Kanagawa" where he uses what would have been seen as a western perspective to represent depth and volume. It proved so popular that Hokusai later added ten more prints to the series. Among the other popular series of prints he published during this time are "A Tour of the Waterfalls of the Provinces", "Oceans of Wisdom" and "Unusual Views of Celebrated Bridges in the Provinces". He also began producing a number of detailed individual images of flowers and birds, including the extraordinarily detailed "Poppies" and "Flock of Chickens".

paragraph: Section::::Later life.

paragraph: The next period, beginning in 1834, saw Hokusai working under the name "Gakyō Rōjin Manji" (The Old Man Mad About Art). It was at this time that Hokusai produced "", another significant landscape series.

paragraph: In the postscript to this work, Hokusai writes:

paragraph: In 1839, a fire destroyed Hokusai's studio and much of his work. By this time, his career was beginning to fade as younger artists such as Andō Hiroshige became increasingly popular. At the age of 83, Hokusai traveled to Obuse in Shinano Province (now Nagano Prefecture) at the invitation of a wealthy farmer, Takai Kozan where he stayed for several years. During his time in Obuse, he created several masterpieces, included the "Masculine Wave" and the "Feminine Wave". Hokusai never stopped painting and completed "Ducks in a Stream" at the age of 87.

paragraph: Constantly seeking to produce better work, he apparently exclaimed on his deathbed, "If only Heaven will give me just another ten years ... Just another five more years, then I could become a real painter." He died on May 10, 1849 (18th day of the 4th month of the 2nd year of the Kaei era by the old calendar), and was buried at the Seikyō-ji in Tokyo (Taito Ward).

paragraph: Section::::Shunga.

paragraph: Hokusai also executed erotic art, called "Shunga" in Japanese. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. Translated literally, the Japanese word "shunga" means "picture of spring" or "spring".

paragraph: Shunga was enjoyed by both men and women of all classes. Superstitions and customs surrounding shunga suggest as much; in the same way that it was considered a lucky charm against death for a samurai to carry shunga, it was considered a protection against fire in merchant warehouses and the home. From this, we can deduce that samurai, chonin, and housewives all owned shunga. All three of these groups would suffer separation from the opposite sex; the samurai lived in barracks for months at a time, and conjugal separation resulted from the sankin-kōtai system and the merchants' need to travel to obtain and sell goods.

paragraph: Records of women obtaining shunga themselves from book lenders show that they were consumers of it. It was traditional to present a bride with ukiyo-e depicting erotic scenes from "The Tale of Genji". Shunga might have served as sexual guidance for the sons and daughters of wealthy families.

paragraph: Section::::Works and influences.

paragraph: Hokusai had a long career, but he produced most of his important work after age 60. His most popular work is the ukiyo-e series "Thirty-six Views of Mount Fuji", which was created between 1826 and 1833. It actually consists of 46 prints (10 of them added after initial publication).

paragraph: In addition, Hokusai is responsible for the 1834 , a work which "is generally considered the masterpiece among his landscape picture books". His ukiyo-e transformed the art form from a style of portraiture focused on the courtesans and actors popular during the Edo period in Japan's cities into a much broader style of art that focused on landscapes, plants, and animals.

paragraph: Both Hokusai's choice of art name and frequent depiction of Mount Fuji stem from his religious beliefs. The name means "North Studio (room)", an abbreviation of or "North Star Studio". Hokusai was a member of the Nichiren sect of Buddhism, who see the North Star as associated with the deity .

paragraph: Mount Fuji has traditionally been linked with eternal life. This belief can be traced to "The Tale of the Bamboo Cutter", where a goddess deposits the elixir of life on the peak. As Henry Smith expounds: "Thus from an early time, Mt. Fuji was seen as the source of the secret of immortality, a tradition that was at the heart of Hokusai's own obsession with the mountain."

paragraph: The largest of Hokusai's works is the 15-volume collection , published in 1814. The work is crammed with a collection of nearly 4,000 sketches of animals, people, objects, etc. Despite the name, the sketches can not really be considered the precedent to modern manga, as the style and content of "Hokusai's Manga" is different from the story-based comic-book style of modern manga.

paragraph: Section::::Works and influences.:Influences on art and culture.

paragraph: Hokusai himself was influenced by Sesshū Tōyō and other styles of Chinese painting. His influences stretched across the globe to his western contemporaries in nineteenth-century Europe with Japonism, which started with a craze for collecting Japanese art, particularly ukiyo-e, of which some of the first samples were to be seen in Paris, when in about 1856, the French artist Félix Bracquemond first came across a copy of the sketchbook Hokusai Manga at the workshop of his printer. He influenced Art Nouveau, or Jugendstil in Germany, and the larger Impressionism movement, with themes echoing his work appearing in the work of Claude Monet and Pierre-Auguste Renoir. According to the Brooklyn Rail: "many artists collected his woodcuts: Degas, Gauguin, Klimt, Franz Marc, August Macke, Manet, and van Gogh." Hermann Obrist's whiplash motif, or "Peitschenhieb", which came to exemplify the new movement, is visibly influenced by Hokusai's work.

paragraph: Hokusai inspired the Hugo Award-winning short story by science fiction author Roger Zelazny, "24 Views of Mt. Fuji, by Hokusai", in which the protagonist tours the area surrounding Mount Fuji, stopping at locations painted by Hokusai. A 2011 book on mindfulness closes with the poem "Hokusai Says" by Roger Keys, preceded with the explanation that "[s]ometimes poetry captures the soul of an idea better than anything else."

paragraph: In the 1985 Encyclopaedia Britannica, Richard Lane speculates Hokusai as "since the later nineteenth century [having] impressed Western artists, critics and art lovers alike, more, possibly, than any other single Asian artist."

paragraph: Section::::References.

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

paragraph: BULLET::::- Nagata, Seiji (1995). "Hokusai: Genius of the Japanese Ukiyo-e". Kodansha International, Tokyo.

paragraph: BULLET::::- Smith, Henry D. II (1988). "Hokusai: One Hundred Views of Mt. Fuji". George Braziller, Inc., Publishers, New York. .

paragraph: BULLET::::- Weston, Mark (1999). "Giants of Japan: The Lives of Japan's Most Influential Men and Women". New York: Kodansha International. .

paragraph: BULLET::::- Ray, Deborah Kogan (2001). "Hokusai: The Man Who Painted a Mountain". Frances Foster Books, New York.

paragraph: Section::::Further reading.

paragraph: Section::::Further reading.:General biography.

paragraph: BULLET::::- Bowie, Theodore (1964). "The Drawings of Hokusai." Indiana University Press, Bloomington.

paragraph: BULLET::::- Forrer, Matthi (1988). "Hokusai" Rizzoli, New York. .

paragraph: BULLET::::- Forrer, Matthi; van Gulik, Willem R., and Kaempfer, Heinz M. (1982). "Hokusai and His School: Paintings, Drawings and Illustrated Books." Frans Halsmuseum, Haarlem.

paragraph: BULLET::::- Hillier, Jack (1955). "Hokusai: Paintings, Drawings and Woodcuts." Phaidon, London.

paragraph: BULLET::::- Hillier, Jack (1980). "Art of Hokusai in Book Illustration." Sotheby Publications, London. .

paragraph: BULLET::::- Lane, Richard (1989). "Hokusai: Life and Work." E.P. Dutton. .

paragraph: BULLET::::- van Rappard-Boon, Charlotte (1982). "Hokusai and his School: Japanese Prints c. 1800–1840 (Catalogue of the Collection of Japanese Prints, Rijksmuseum, Part III)." Rijksmuseum, Amsterdam.

paragraph: Section::::Further reading.:Specific works of art.

paragraph: For readers who want more information on specific works of art by Hokusai, these particular works are recommended.

paragraph: BULLET::::- Hillier, Jack, and Dickens, F.W. (1960). "Fugaku Hiyaku-kei (One Hundred Views of Fuji by Hokusai)". Frederick, New York.

paragraph: BULLET::::- Kondo, Ichitaro (1966). Trans. Terry, Charles S. "The Thirty-six Views of Mount Fuji by Hokusai". East-West Center, Honolulu.

paragraph: BULLET::::- Michener, James A. (1958). "The Hokusai Sketch-Books: Selections from the 'Manga". Charles E. Tuttle, Rutland.

paragraph: BULLET::::- Morse, Peter (1989). "Hokusai: One Hundred Poets". George Braziller, New York. .

paragraph: BULLET::::- Narazaki, Muneshige (1968). Trans. Bester, John. "Masterworks of Ukiyo-E: Hokusai – The Thirty-Six Views of Mt. Fuji". Kodansha, Tokyo.

paragraph: Section::::Further reading.:Art monographs.

paragraph: Monographs dedicated to Hokusai art works:

paragraph: BULLET::::- Goncourt, Edmond de (2014). "Essential Hokusai." Bournemouth, Parkstone International (released in September). .

paragraph: BULLET::::- Goncourt, Edmond de (2014). "Hokusai Mega Square." Bournemouth, Parkstone International (released in September). .

paragraph: Section::::External links.

paragraph: BULLET::::- Hokusai-Museum in Obuse, Japan

paragraph: BULLET::::- Hokusai website

paragraph: Section::::External links.:Prints.

paragraph: BULLET::::- Hokusai complete works

paragraph: BULLET::::- Ukiyo-e Prints by Katsushika Hokusai

paragraph: BULLET::::- Hokusai prints at the Museum of Fine Arts, Boston

paragraph: BULLET::::- Hokusai's works at Tokyo Digital Museum

paragraph: Section::::External links.:Biographies.

paragraph: BULLET::::- Biography of Katsushika Hokusai, British Museum

alias: der vom Zeichnen besessen ist Der Mensch

alias: הוקוסי קאטסושיקה

description: Japanese artist

enwikiquote_title: Hokusai

wikidata_label: Katsushika Hokusai

wikipedia_title: Hokusai


text:
Ziegfeld Follies
John Robert Powers
Ellis Island
Florida State College for Women
Tallahassee, Florida

paragraph: Babs Shanton

paragraph: Georgia "Babs" Shanton (June 17, 1912 - 1947) was a Puerto Rican-American performer with the Ziegfeld Follies and a singer with the Lucky Strike Dance Orchestra. She was a model for The John Robert Powers firm, a "Powers Girl" in the early 1930's appearing in many print advertisements.

paragraph: Section::::Personal life.

paragraph: Shanton was born in Puerto Rico to George and Margaret Shanton. She came to the United States at the age of 10, arriving at Ellis Island on November 27, 1922. She attended the Florida State College for Women in Tallahassee, Florida. She was married to Marshall Heminway. They had a son, Marshall, and lived in New York City. She later married Townshend Martin in 1941 and they had two sons Michael and Alan.

wikidata_label: Babs Shanton

wikipedia_title: Babs Shanton


text: ancient Egypt

text: 18th dynasty

text: Thebes

text: Vizier

text: Thutmosis III

text: Amenhotep II

text: User

text: Hatshepsut

text: tomb

text: Sheikh Abd el-Qurna

text: Theban Necropolis

text: Egyptian New Kingdom

text: Installation of the Vizier

text: High Priest

text: Annu

text: Theban Tomb 100

text: The Tomb of Rekhmire

categories: Viziers of the Eighteenth Dynasty of Egypt,Ancient Egyptian priests

paragraph: Rekhmire

paragraph: Rekhmire was an ancient Egyptian noble and official of the 18th dynasty who served as "Governor of the Town" (Thebes) and Vizier during the reigns of Thutmosis III and Amenhotep II. He was the nephew of Vizier User, who took office at the time of the fifth year of Queen Hatshepsut’s reign. User's official titles included mayor of the city, vizier, and prince. Rekhmire is noted for constructing a lavishly decorated tomb for himself in Sheikh Abd el-Qurna, part of the Theban Necropolis, containing lively, well preserved scenes of daily life during the Egyptian New Kingdom. His tomb is also important as it contains a full copy of a text detailing the duties of the office of the vizier, known as "The Installation of the Vizier".

paragraph: He was also High Priest of Annu or Heliopolis. The cause of his political and personal downfall remains unclear. It is suspected that he fell into disgrace and was deposed. His tomb was Theban Tomb 100.

paragraph: Section::::See also.

paragraph: BULLET::::- Theban Tomb 100

paragraph: Section::::External links.

paragraph: BULLET::::- The Tomb of Rekhmire

paragraph: BULLET::::- Regulation laid upon the vizier Rekhmire

paragraph: BULLET::::-

description: ancient Egyptian official, was vizier of Egypt during the reigns of Thutmose III and Amenhotep II

wikidata_label: Rekhmire

wikipedia_title: Rekhmire


text:
American
heavy metal
thrash metal
Exodus
Evan McCaskey
Kirk Hammett
Metallica
Gary Holt
Tempo of the Damned
Gary Holt
Jeff Hanneman
Slayer
Shovel Headed Kill Machine
Ibanez
Jackson
Joe Satriani
Bonded by Blood
Pleasures of the Flesh
Fabulous Disaster
Impact Is Imminent
Force of Habit
Tempo of the Damned

categories: Exodus (American band) members,20th-century American guitarists,1963 births,Living people,American heavy metal guitarists

paragraph: Rick Hunolt

paragraph: Richard Edward "Rick" Hunolt (born July 1, 1963) is an American heavy metal guitarist.

paragraph: He is best known for being the longtime guitarist in thrash metal band Exodus. He joined the band in 1983, replacing Evan McCaskey who had been hired to replace original guitarist Kirk Hammett who left to join Metallica. He subsequently performed on all their albums in the 1980s and 1990s, sharing leads with original member Gary Holt (together known as the "H-team") until the band's hiatus in 1994. He performed with the band again during their reunions in 1997 and 2001.

paragraph: Shortly after the 2004 "Tempo of the Damned" album, he left Exodus in order to spend more time with his family. Hunolt reunited with Exodus in the summer of 2012 for their European tour, but did not officially rejoin; he filled in for Gary Holt, who filled in for Jeff Hanneman in Slayer.

paragraph: The song "Deathamphetamine" from the album "Shovel Headed Kill Machine" was written about Hunolt.

paragraph: Rick Hunolt used Ibanez and Jackson guitars in the 1980s and 1990s. Prior to his years spent with Exodus, Hunolt was a student of guitarist Joe Satriani.

paragraph: Section::::Discography.

paragraph: BULLET::::- "Bonded by Blood" (1985)

paragraph: BULLET::::- "Pleasures of the Flesh" (1987)

paragraph: BULLET::::- "Fabulous Disaster" (1989)

paragraph: BULLET::::- "Impact Is Imminent" (1990)

paragraph: BULLET::::- "Force of Habit" (1992)

paragraph: BULLET::::- "Tempo of the Damned" (2004)

description: American musician

wikidata_label: Rick Hunolt

wikipedia_title: Rick Hunolt


text:
Melanesia
Vanuatu
archaeologist
World Heritage List
Eretoka
Efate
Lelepa
Eretoka
UNESCO World Heritage Sites
Vanuatu A to Z
"Roy Mata"
Encyclopædia Britannica
"Roymata - Ancient King of Vanuatu"

categories: Vanuatuan chiefs,Deaths by poisoning,13th-century rulers,People murdered in Vanuatu,Vanuatuan murder victims,History of Vanuatu

paragraph: Roy Mata

paragraph: Roimata was a powerful 13th century Melanesian chief from what is now Vanuatu. His elaborate grave, containing the bodies of over 25 members of his retinue, was discovered by French archaeologist Jose Garranger in 1967 and inscribed on the World Heritage List in 2008. Garranger was able to locate the grave on Eretoka island by analyzing local folklore. According to legend, when Roy Mata conquered the land, his first goal was to unite the tribes.

paragraph: His reign is reputed to have been a peaceful one. Roy Mata was fatally poisoned by his brother. His body was not buried in his homeland and his name was not used in future generations because the locals feared his spirit.

paragraph: In 2008, three sites associated with Roy Mata, on the islands of Efate, Lelepa and Eretoka, were made UNESCO World Heritage Sites.

paragraph: Section::::References.

paragraph: BULLET::::1. Vanuatu A to Z Retrieved August 25, 2006.

paragraph: BULLET::::2. "Roy Mata", Encyclopædia Britannica

paragraph: BULLET::::3. "Roymata - Ancient King of Vanuatu", Vanuatu Tourism Office

description: politician

wikidata_label: Roy Mata

wikipedia_title: Roy Mata


text:
bog body
bog
Jutland
Denmark
pre-Roman Iron Age
peat
anaerobic
skeleton
radiocarbon dating
sarcophagus
St. Nicolai Church
Vejle
Queen Gunnhild of Norway
Jomsvikinga Saga
Harald Bluetooth
King Frederick VI of Denmark-Norway
sarcophagus
Tollund Man
archaeologist
J. J. A. Worsaae
archaeological stratigraphy
Iron Age
radiocarbon dating
Iron Age
transept
supine position
tannin
CT-scan
Miranda Aldhouse-Green
Cardiff University
University of Århus
millet
blackberries
Germany
Netherlands
Ireland
Pre-Roman Iron Age
Roman Iron Age
Tollund Man
Grauballe Man
Elling Woman
Huldremose Woman
Borremose Woman
Steen Steensen Blicher
Bog body
Borremose bodies
Clonycavan Man
Grauballe Man
Lindow Man
Lindow Woman
Old Croghan Man
Tollund Man
Weerdinge Men
Windeby I
Yde Girl
"Tales from the Bog"
University of California, Berkeley
"Bog-bodies-links"
"The Perfect Corpse"

categories: Archaeology of Denmark,5th-century BC women,Year of birth unknown,Bog bodies,Germanic archaeological artifacts,Pre-Roman Iron Age,5th-century BC deaths

paragraph: Haraldskær Woman

paragraph: The Haraldskær Woman (or Haraldskjaer Woman) is a bog body of a woman found naturally preserved in a bog in Jutland, Denmark, and dating from about 490 BCE (pre-Roman Iron Age). Workers found the body in 1835 while excavating peat on the Haraldskær Estate. The anaerobic conditions and acids of the peat bog contributed to the body's excellent preservation. Not only was the intact skeleton found, but so were the skin and internal organs. Scientists settled disputes about the age and identity of this well preserved body in 1977, when radiocarbon dating determined conclusively that the woman's death occurred around the 5th century BCE.

paragraph: The Haraldskær Woman's body is on permanent display in an ornate glass-covered sarcophagus inside St. Nicolai Church in central Vejle, Denmark.

paragraph: Section::::Mistaken identity.

paragraph: After discovery of the body, early theories of her identity centered on the persona of Queen Gunnhild of Norway, who lived around 1000 CE. Most of the bog bodies recovered indicate the victim died from a violent murder or ritualistic sacrifice. These theories are consistent with the body being put into a bog as opposed to burial in dry earth.

paragraph: According to the "Jomsvikinga Saga", Harald Bluetooth of Denmark ordered Queen Gunnhild be drowned in a bog. Based upon the belief of her royal personage, King Frederick VI of Denmark-Norway commanded an elaborately carved sarcophagus to hold her body.

paragraph: This careful treatment of the Haraldskær Woman's remains explains the excellent state of conservation of the corpse; conversely, Tollund Man, a later discovery, was not properly conserved and most of the body has been lost, leaving only the head as original remains in his display.

paragraph: In 1842, the young Danish archaeologist J. J. A. Worsaae disputed the identification of the Haraldskær Woman with Gunnhild. A pioneer in archaeological stratigraphy, Worsaae presented evidence the Haraldskær Woman dated from the Iron Age. Later radiocarbon dating confirmed the body was not Gunnhild, but rather a woman of the early Iron Age who lived about 490 BCE. Though no one proved the Haraldskær Woman has any royal lineage, her body lies in state in a display in the north transept of Saint Nicolai Church.

paragraph: Section::::Details.

paragraph: Excavators found the body of the Haraldskær Woman in a supine position in an excellent state of preservation. She was naked and her clothes, consisting of a leather cape and three woolen garments, had been placed on top of her. Hurdles of branches and wooden poles pinned the body down. The complete skin envelope and the internal organs were both intact. The body had a lancing wound to the knee joint area, where some object (possibly one of the sharp poles) penetrated to some depth. Her skin was deeply bronzed with a robust skin tone due to tannins in the peat, and all the body joints were preserved with overlying skin in a state as if she had died only recently. Doctors determined she had been about 50 years old when she died and in good health without signs of degenerative diseases (such as arthritis) which are typically found in human remains of that age.

paragraph: In 1979, doctors at Århus Hospital undertook a further forensic examination of the Haraldskær Woman. By this time, the body had desiccated, shrunken, and the skin was leathery, severely wrinkled and folded. A CT-scan of the cranium more accurately determined her age to be about 40 at the time of her death. The body height now measured only , but doctors used the original 1835 descriptions to estimate she would have stood about .

paragraph: In 2000, Lone Hvass of the Elsinore Museum, Miranda Aldhouse-Green of Cardiff University, and the Department of Forensic Science at the University of Århus performed a re-examination of the Haraldskær Woman. Forensic analysis revealed stomach contents of unhusked millet and blackberries. Her neck had a faint groove as if someone applied a rope for torture or strangulation. The scientists concluded bog acids caused the swelling of the knee joint and that the woman was probably already dead before the branches pinned her down. Because of her careful placement, and since cremation was the prevailing mode of interment during that period in Jutland, the examiners guess the Haraldskær Woman was a victim of ritual sacrifice.

paragraph: Section::::Relation to other bog bodies.

paragraph: The principal locations where bog bodies have been discovered are the Northern European countries of Germany, the Netherlands, the United Kingdom, Ireland, and especially Denmark. The oldest of these bodies dates to about 8000 BCE, although the majority of specimens in Denmark are from the Pre-Roman Iron Age to Roman Iron Age era (about 500 BC to 400 CE). As of 2006, more than 700 ancient bodies have been discovered in these sites, although other estimates have placed the number in the thousands. It is difficult for scientists to ascertain a precise number because many of the bodies have been lost or destroyed. Before archaeologists began actively searching for bog bodies, the bodies were discovered mostly during the routine extraction of peat, and then reburied or discarded. After the discovery that systematic conservation of Iron Age bodies was attributable to the acidic anaerobic environs, major excavations have occurred in Jutland. Other bog bodies recovered on the Jutland peninsula that have undergone as extensive an analysis as the Haraldskær Woman include Tollund Man, Grauballe Man, Elling Woman, Huldremose Woman and the Borremose Woman.

paragraph: Section::::Literary references.

paragraph: Danish author Steen Steensen Blicher, an amateur archaeologist and one of the first to visit the site, made the first literary reference to the Haraldskær Woman. In 1836, he published his novella "Gravhøjen" which was a parody about a mistaken archaeological find. However, by 1841 Blicher seemed to have changed his mind about the Haraldskær Woman's identity when he wrote the poem "Dronning Gunhild", a lament for the dead queen in the bog. In 1846, the Danish playwright Jens Christian Hostrup wrote his comedy, "A Sparrow Doing a Crane Dance", ("En Spurv i Tranedans"), in which the ghost of Queen Gunnhild gives a magical ring to a scheming tailor and makes everyone blind to his actions. Hostrup's play indirectly satirized the theory that the Haraldskær Woman was Queen Gunnhild, and became the first major public endorsement of Worsaae’s hypothesis.

paragraph: Section::::See also.

paragraph: BULLET::::- Bog body

paragraph: BULLET::::- Borremose bodies

paragraph: BULLET::::- Clonycavan Man

paragraph: BULLET::::- Grauballe Man

paragraph: BULLET::::- Lindow Man

paragraph: BULLET::::- Lindow Woman

paragraph: BULLET::::- Old Croghan Man

paragraph: BULLET::::- Tollund Man

paragraph: BULLET::::- Weerdinge Men

paragraph: BULLET::::- Windeby I

paragraph: BULLET::::- Yde Girl

paragraph: Section::::External links.

paragraph: BULLET::::- "Tales from the Bog", "illuminations" magazine, University of California, Berkeley

paragraph: BULLET::::- "Bog-bodies-links" A collection of links to bog body articles at Stefan's Florilegium

paragraph: BULLET::::- "The Perfect Corpse" Nova series for PBS television, 2008

description: Iron age bog body from Denmark

wikidata_label: Haraldskær Woman

wikipedia_title: Haraldskær Woman


text:
Latvian-American
turntablist
producer
House of Pain
Limp Bizkit
La Coka Nostra
House of Pain
Danny Boy
Non Phixion
Ill Bill
Slaine
Leor
Latvian-Jewish
Riga
Soviet Union
rock
Italy
visa
Brighton Beach
Jersey City, New Jersey
hip hop
breakdancing
graffiti
beatboxer
turntables
mixer
Everlast
Ice-T
Rhyme Syndicate
Danny Boy
House of Pain
self-titled debut album
DJ Muggs
Limp Bizkit
Jacksonville, Florida
nu metal
Twitter
Hollywood
will.i.am
Ol' Dirty Bastard
Chester Bennington
Kurupt
Cypress Hill
Redman
Tha Alkaholiks
Adil Omar
Heltah Skeltah
Pharoahe Monch
Chino XL
Diamond D
Dilated Peoples
Yung Berg
Method Man
Streetlife
Talib Kweli
Bun B
Diena
Laima Vaikule
Russian
Latvian
Everlast
Forever Everlasting
Funkdoobiest
Which Doobie U B?
Sugar Ray
Lemonade and Brownies
Funkdoobiest
Brothas Doobie
Sepultura
Roots
Tura Satana
All Is Not Well
Soulfly
Soulfly
Videodrone
Videodrone
Powerman 5000
Tonight the Stars Revolt!
Biohazard
Mata Leão
Coal Chamber
Chamber Music
Dope
Felons & Revolutionaries
Rob Zombie
American Made Music to Strip By
Run-DMC
Crown Royal
Kurupt
Rob Zombie
The Sinister Urge
Dope
Life
Shihad
Pacifier
Slaine
The White Man Is the Devil Vol 1
Street Drum Corps
Street Drum Corps
DMC
Checks Thugs and Rock N Roll
Dead Celebrity Status
Blood Music
Jamie Kennedy
Stu Stone
Blowin' Up
Evanescence
The Open Door
Ill Bill
Street Drum Corps
We Are Machines
Ill Bill
The Hour of Reprisal
Adil Omar
The Mushroom Cloud Effect
Vinnie Paz
God of the Serengeti
La Coka Nostra
To Thine Own Self Be True
Official Twitter Page
Official Facebook Page
Official VK page
Official Myspace Page
Lethal Dose Records

categories: Latvian record producers,House of Pain members,Latvian emigrants to the United States,1972 births,Latvian Jews,Latvian musicians,Jewish heavy metal musicians,Limp Bizkit members,Soviet emigrants to the United States,Jewish hip hop record producers,Living people,People from Riga

paragraph: DJ Lethal

paragraph: Leor Dimant (, ; born December 18, 1972) better known as DJ Lethal, is a Latvian-American turntablist and producer and is best known as a member of the groups House of Pain and Limp Bizkit. As of November 2014, Lethal is touring Europe with La Coka Nostra with other former House of Pain member Danny Boy O'Connor, Non Phixion member Ill Bill and Boston rapper/actor Slaine.

paragraph: Section::::Early life.

paragraph: Leor Dimant was born to a Latvian-Jewish family in Riga, when it was part of the Soviet Union. His first contact with music was through his father Grisha Dimant (1951–2007), who, along with his friends, played guitar in a rock band.

paragraph: In 1976 when Dimant was four, he and his family emigrated to Italy, where they remained for a year until they obtained a visa. His parents chose to move to the New York area. There, his father performed in various Russian clubs and restaurants, mostly in Brighton Beach.

paragraph: Dimant and his parents lived in Jersey City, New Jersey for some time. They moved to Los Angeles in 1987, where his father got a job at a new Russian restaurant. His first introduction to hip-hop was in Jersey City, when his school held a talent show with several students performing a rap song, and Dimant was amazed. Once he moved to Los Angeles, he quickly became interested in hip hop culture, including breakdancing and graffiti. Before learning to DJ, he started off as a beatboxer. He later practiced DJing using his friend's turntables and mixer.

paragraph: Section::::Career.

paragraph: Section::::Career.:Everlast and House of Pain.

paragraph: In the late 1980s, Dimant became friends with a rapper who, at that time, dated rapper Everlast. When Everlast was about to go on a European tour with Ice-T and Rhyme Syndicate, he mentioned that he would like to hear Dimant beatbox, and they met. Everlast was impressed by his beatboxing skills, and he invited Dimant to be his DJ on the upcoming tour. Dimant, who was only 16 at the time, decided to do so and dropped out of school.

paragraph: After the tour, in 1990, Everlast's first solo album, including a track featuring scratching by Dimant, was released to both critical and commercial failure.

paragraph: Following that, Everlast and Dimant, now known as DJ Lethal, decided to start a group, and with the addition of Everlast's high school friend Danny Boy, House of Pain was formed. The group's 1992 self-titled debut album went multi-platinum and is best known for the DJ Muggs-produced hit single "Jump Around" and the DJ Lethal-produced "Shamrocks and Shenanigans". A second album was released in 1994.

paragraph: In 1996, on the eve of the release of the group's third album, produced by Everlast and DJ Lethal, things began to go sour. DJ Lethal claims it started to become a hassle, and simply was not fun anymore. The day before the album came out, the group broke up.

paragraph: Section::::Career.:Limp Bizkit.

paragraph: On House of Pain's final tour, Limp Bizkit, an up-and-coming band from Jacksonville, Florida was hired as a supporting act. DJ Lethal and the band became friends, and later, Limp Bizkit hired him to do some work on their recordings, eventually asking him if he wanted to join them. DJ Lethal accepted the offer, and the band became one of the most popular nu metal groups during the late 90s and early 2000s, selling over 40 million records worldwide.

paragraph: DJ Lethal wanted his contributions to the band recordings to be more original than typical DJs in bands at the time. "There are a couple of other rock bands that have DJs and they're just like, [mimics a chirp scratch] 'Hey, what's going on? Let me spin around a couple of times and show off that I can spin two records.' So I definitely knew I didn't want to be just another DJ in a rock band. I wanted to be another instrument—a part of the band, like another guitar player."

paragraph: On March 17, 2018, five years after his departure from the band, DJ Lethal reunited with Limp Bizkit on stage during a concert in New Zealand. He later announced through Twitter that he had officially rejoined Limp Bizkit.

paragraph: Section::::Career.:Features.

paragraph: Besides the work with his groups, DJ Lethal is producing records in his Hollywood based studio, working for artists such as Scott Harris, and is also preparing his long-delayed solo album, which is set to feature will.i.am, Ol' Dirty Bastard, Chester Bennington, Kurupt, Cypress Hill, Redman, Tha Alkaholiks, Adil Omar, Rock of Heltah Skeltah, Pharoahe Monch, Chino XL, Diamond D, Dilated Peoples, Yung Berg, Method Man, Streetlife, Talib Kweli, Bun B and more, along with his La Coka Nostra bandmates.

paragraph: Section::::Personal life.

paragraph: Section::::Personal life.:Relationship with Latvia.

paragraph: In a 2009 interview with the Latvian newspaper "Diena", Dimant professed to still feeling "Latvian" despite his many years in the USA. This connection stems from the fact that he was born there, and has a grandmother, other relatives, and many friends of the family there. He mentions Laima Vaikule as an important family friend who encouraged him to maintain contacts with the country of his birth.

paragraph: During his early years growing up in Riga, Dimant spoke mainly Russian at home and at school. He says his parents could speak Latvian, but did not want their son to learn it, so that they could have private conversations without him being able to understand. Nevertheless, Dimant can still recall several phrases in Latvian, such as ""Nevajag viņam!"" ('He doesn't need [it] !').

paragraph: BULLET::::- Everlast – "Forever Everlasting" (1989)

paragraph: BULLET::::- Funkdoobiest – "Which Doobie U B?" (1993)

paragraph: BULLET::::- Sugar Ray – "Lemonade and Brownies" (1995)

paragraph: BULLET::::- Funkdoobiest – "Brothas Doobie" (1995)

paragraph: BULLET::::- Sepultura – "Roots" (1996)

paragraph: BULLET::::- Tura Satana (aka Manhole) – "All Is Not Well" (1998)

paragraph: BULLET::::- Soulfly – "Soulfly" (1998)

paragraph: BULLET::::- Videodrone – "Videodrone" (1999)

paragraph: BULLET::::- Powerman 5000 – "Tonight the Stars Revolt!" (1999)

paragraph: BULLET::::- Biohazard – "Mata Leão" (1996)

paragraph: BULLET::::- Coal Chamber – "Chamber Music" (1999)

paragraph: BULLET::::- Dope – "Felons & Revolutionaries" (1999)

paragraph: BULLET::::- Rob Zombie – "American Made Music to Strip By" (1999)

paragraph: BULLET::::- Run-DMC – "Crown Royal" (2001)

paragraph: BULLET::::- Kurupt – "" (2001)

paragraph: BULLET::::- Rob Zombie – "The Sinister Urge" (2001)

paragraph: BULLET::::- Dope – "Life" (2001)

paragraph: BULLET::::- Shihad – "Pacifier" (2002)

paragraph: BULLET::::- Slaine – "The White Man Is the Devil Vol 1" (2005)

paragraph: BULLET::::- Street Drum Corps – "Street Drum Corps" (2006)

paragraph: BULLET::::- DMC – "Checks Thugs and Rock N Roll" (2006)

paragraph: BULLET::::- Dead Celebrity Status – "Blood Music" (2006)

paragraph: BULLET::::- Jamie Kennedy & Stu Stone – "Blowin' Up (Theme music)" (2006)

paragraph: BULLET::::- Main Flow – "The Flowfessionals" (2006)

paragraph: BULLET::::- Evanescence – "The Open Door" (2006)

paragraph: BULLET::::- Ill Bill – "Ill Bill Is the Future Vol. II: I'm a Goon!" (2006)

paragraph: BULLET::::- Street Drum Corps – "We Are Machines" (2008)

paragraph: BULLET::::- Ill Bill – "The Hour of Reprisal" (2008)

paragraph: BULLET::::- Adil Omar – "The Mushroom Cloud Effect" (2012)

paragraph: BULLET::::- Vinnie Paz – "God of the Serengeti" (2012)

paragraph: BULLET::::- La Coka Nostra – "To Thine Own Self Be True" (2016)

paragraph: Section::::External links.

paragraph: BULLET::::- Official Twitter Page

paragraph: BULLET::::- Official Facebook Page

paragraph: BULLET::::- Official VK page

paragraph: BULLET::::- Official Myspace Page

paragraph: BULLET::::- Lethal Dose Records

alias:
Leors Dimants
Leor (Lee) DiMant

description: disc jockey

wikidata_label: DJ Lethal

wikipedia_title: DJ Lethal


text:
Paris
French
poet
Age of the Enlightenment
Jean Racine
Boileau
Académie des Inscriptions
Jansenist
Cardinal de Fleury
Louis XV
Académie Française
Marseille
Provence
Jansenism
tsunami
Lisbon earthquake
Cadiz
Spain
Écouchard-Lebrun
feral child
Marie-Angélique Memmie Le Blanc
Voltaire

categories: 1763 deaths,French poets,1692 births,Members of the Académie des Inscriptions et Belles-Lettres

paragraph: Louis Racine

paragraph: Louis Racine (born 6 November 1692, Paris; died 29 January 1763, Paris) was a French poet of the Age of the Enlightenment.

paragraph: The second son and the seventh and last child of the celebrated tragic dramatist Jean Racine, he was interested in poetry from childhood but was dissuaded from trying to make it his career by the poet Boileau on the grounds that the gift never existed in two successive generations. However, in 1719 Racine became a member of the Académie des Inscriptions and published his first major poem, "La Grâce", in 1722. But, because of the poem's Jansenist inspiration, Cardinal de Fleury, chief minister of Louis XV, blocked the poet's admission to the Académie Française, and instead Racine was induced to accept the post of inspector-general of taxes at Marseille in Provence.

paragraph: For the next 24 years, although he continued to write poetry, Racine worked as a tax inspector in various provincial towns and cities, marrying in 1728. His most important poem, "La Religion", in which he was careful to avoid further accusations of Jansenism, was published in 1742. He eventually retired from government service in 1746, aged 54, and returned to Paris where he devoted himself to his writing.

paragraph: In November 1755, he lost his only son and his daughter-in-law when they were swept away by the tsunami from the Lisbon earthquake while on honeymoon at Cadiz in Spain. This tragedy, commemorated by the French poet Écouchard-Lebrun, is said to have broken Racine's spirit. He sold his large library, gave up writing, and devoted himself now to the practice of religion. It was around this time that Racine wrote his last published work, an essay on the famous feral child of 18th-century France Marie-Angélique Memmie Le Blanc whom he had interviewed and written of in his philosophical poem "L'Épître II sur l'homme" (1747) ("Second Epistle on Man").

paragraph: Louis Racine was characterised by Voltaire, the leading French intellectual of his day, as "le bon versificateur Racine, fils du grand Racine" ("the good versifier Racine, son of the great Racine"). His "Oeuvres complètes" (complete works) were collected in six volumes and published in Paris in 1808. He was said by his contemporaries to have been a very personable, humble man who was sincerely pious and fluent in seven languages.

wikidata_label: Louis Racine

wikipedia_title: Louis Racine


text:
Pagan Dynasty
Burma
Mon
Burman
Theravada Buddhism
Saw Yun
Saw Lu
Shwe Einthi
Kyansittha
Yazakumar
Anawrahta
Primate
Shin Arahan
Tenasserim
Arakan
Pali
Mergui
Letya Min Nan
Buddhagaya
Malaya
Bengal
Nanzhao Kingdom
Thatbyinnyu
Ananda Temple
Shwegugyi Temple
Min Shin Saw
Narathu
Maitreya Buddha
nats
Min Sithu

categories: Assassinated Burmese people,Pagan dynasty,1090 births,1167 deaths,Burmese monarchs

paragraph: Alaungsithu

paragraph: Alaungsithu or Sithu I ( ; also Cansu I; 1090–1167) was king of Pagan Dynasty of Burma (Myanmar) from 1112/13 to 1167. Sithu's reign was a prosperous one in which Pagan was an integral part of in-land and maritime trading networks. Sithu engaged in a massive building campaign throughout the kingdom, which included colonies, forts and outposts at strategic locations to strengthen the frontiers, ordination halls and pagodas for the support of religion, as well as reservoirs, dams and other land improvements to assist the farmers. He also introduced standardized weights and measures throughout the country to assist administration as well as trade. He presided over the beginning of a transition away from the Mon culture toward the expression of a distinctive Burman style.

paragraph: Sithu is remembered a peripatetic king who traveled extensively throughout his realm, built monuments and nurtured Theravada Buddhism with acts of piety.

paragraph: Section::::Early life.

paragraph: Sithu was born Zeyathura Sithu (, ) to Saw Yun (son of King Saw Lu) and Shwe Einthi (daughter of King Kyansittha) on 17 January 1090. (According to "Zatadawbon Yazawin", he was born on 13 December 1089.) The chronicles do not agree on the dates regarding his life and reign. The table below lists the dates given by the four main chronicles.

paragraph: At Sithu's birth, Kyansittha, who thought that he had no son, was so delighted that he crowned the infant as king, and presented the baby to the people saying ""Behold your king! Henceforth, I reign only as his regent."" (It turned out that Kyansittha did have a son by a wife during one of his exiles in the 1070s. That son, Yazakumar, made no claims of the throne.)

paragraph: Section::::Accession.

paragraph: Sithu faced no opposition to the throne after his grandfather, Kyanzittha, died in 1112. He was the great grandson of Anawrahta on his mother's side. His coronation was presided by an aging Primate Shin Arahan who also presided the coronations of the two predecessor kings, and adviser to three previous kings. Upon ascending the throne, Sithu assumed the royal style Sri Tribhuwanaditya Pavarapandita Sudhammaraja Mahadhipati Narapatisithu.

paragraph: Section::::Reign.

paragraph: Section::::Reign.:Administration.

paragraph: The early part of Sithu's reign was spent repressing revolts, especially in Tenasserim and north Arakan. A Pali inscription found at Mergui (Myeik) is evidence that Tenasserim then paid allegiance to the Pagan monarchy. In north Arakan, a usurper (Kahton, lord of Thets) had driven out the rightful heir, who fled to Pagan, where he subsequently died. Pagan's initial attempt to restore the rightful heir Letya Min Nan—a combined land and seaborne invasion—failed but the second attempt in 1118 succeeded. (The Arakanese chronicles report the date as 1103.) Letya Min Nan, in gratitude, repaired the Buddhagaya shrine in the honor of his overlord Sithu.

paragraph: Sithu traveled far and wide throughout his dominions, building many works of merit. These pious pilgrimages form the main theme of the chronicles of his reign. He reportedly sailed as far south as Malaya and Bengal in the west. Like his great-grandfather Anawrahta, he also traveled to Nanzhao Kingdom. There was apparently much disorder during his long absences from the capital.

paragraph: The rulings given at his court, some of which by himself, once existed in a collection, the Alaungsithu Hpyatton.

paragraph: Section::::Reign.:Economy.

paragraph: Sithu's reign was a prosperous one in which Pagan was an integral part of in-land and maritime trading networks. Sithu engaged in a massive building campaign throughout the kingdom, which included colonies, forts and outposts at strategic locations to strengthen the frontiers, ordination halls and pagodas for the support of religion, as well as reservoirs, dams and other land improvements to assist the farmers. He also introduced standardized weights and measures throughout the country to assist administration as well as trade. The standardization provided an impetus for the monetization of Pagan's economy, the full impact of which however would not be felt until later in the 12th century.

paragraph: Section::::Reign.:Culture.

paragraph: The wealth funded the temple building boom that began in his grandfather's reign. However, a noticeable shift from the Mon architecture to a Burman-style architecture began. The temples built during his reign include the last examples of Mon architecture at Pagan as well as the earliest efforts to construct Burman-style temples, the most famous example of which is the Thatbyinnyu. Consecrated in 1144, the temple stands about 500 yards from the Ananda Temple, and with its spire rising to a height of over , it is the tallest of all the Pagan monuments. He also built the Shwegugyi Temple, next to the palace.

paragraph: Section::::Fall out with Min Shin Saw.

paragraph: His eldest son Min Shin Saw was the heir-apparent for most of Sithu's reign. In the 1060s, the king banished Min Shin Saw for the latter's ill treatment of people. Having sent Min Shin Saw a small town about 90 miles north of Pagan, Sithu then appointed the second son Narathu as heir apparent.

paragraph: Section::::Death.

paragraph: In 1167, Sithu fell ill. Narathu, who could not wait to be king, moved the king from the palace to the nearby Shwegugyi Temple. When he regained consciousness, Sithu was furious that he had been set aside. Narathu came in and smothered the king with bedclothes.

paragraph: Sithu is posthumously remembered in Burmese history as Alaungsithu (lit. "Sithu the Maitreya Buddha") for his numerous pious deeds. The devout Buddhist king was also inducted into the pantheon of Burmese animist nats as Min Sithu. (All but one of the nat sprits in the pantheon were murdered.)

description: King of Pagan Dynasty of Burma (Myanmar) from 1112/1113 to 1168

wikidata_label: Alaungsithu

wikipedia_title: Alaungsithu


text:
Pagan dynasty
Burma
Alaungsithu
Min Shin Saw
Dhammayangyi
Sithu I
Yadanabon
Kyansittha
Min Shin Saw
Mandalay
Shwegugyi Temple
Gordon Luce
Htin Aung

categories: Burmese monarchs,Pagan dynasty,1118 births

paragraph: Narathu

paragraph: Narathu (, ; 1118–1171) was king of Pagan dynasty of Burma (Myanmar) from 1167 to 1171. Narahthu ascended the throne after murdering his father King Alaungsithu and his elder brother Min Shin Saw. Narathu built the largest of all the Pagan temples, the Dhammayangyi. Nonetheless, his conduct greatly lowered the prestige of the dynasty, and he was deeply disfavored. The king was assassinated by the mercenaries sent by the chief of Pateikkaya in 1171.

paragraph: Section::::Early life.

paragraph: Narathu was a middle son of King Sithu I and Queen Yadanabon. His mother was a daughter of Dhamma Kyin, a minister at King Kyansittha's court. The chronicles do not agree on the dates regarding his life and reign. The table below lists the dates given by the four main chronicles.

paragraph: Narathu was a senior prince for much of his father's reign, whereas the king's eldest son Min Shin Saw was the heir apparent. However, Min Shin Saw had a major falling out with his father, and was sent to exile at Aung Pinle Lake (near present-day Mandalay). With Min Shin Saw in exile, Narathu now positioned himself to take over the throne. He impressed his father with his management of day-to-day affairs of the kingdom. He soon became the de facto heir apparent at the court.

paragraph: Section::::Accession.

paragraph: In 1167, Sithu fell violently ill, and Narathu ordered the king moved to the Shwegugyi Temple, which Sithu had built in 1131. According to the chronicles, when the king woke up and realized that he had been moved out of the palace, he was furious. Narathu came into the room, and put a blanket over his bedridden father's head.

paragraph: He still needed to deal with Min Shin Saw, who had come down with an army to claim the throne. Narathu readily submitted, personally leading Min Shin Saw's coronation ceremony. After the ceremony, Min Shin Saw was poisoned while eating his first meal as king.

paragraph: Section::::Reign.

paragraph: Narathu's conduct lowered the prestige of the empire, and he was deeply unpopular. Burdened by his guilt, he shut himself in his palace. To atone for the sins, he built the largest of all the Pagan temples, the Dhammayangyi.

paragraph: However, the new king could not control his violent temper, and killed a queen of his with his bare hands in one of his episodes of violence. The queen was a daughter of Pateikkaya, a tributary kingdom in the west in Bengal or near present-day Chin State. The chief of Pateikkaya now sent a group of eight assassins, disguised as Brahmin astrologers in 1171. The eight managed to gain an audience with the king while hiding their swords underneath their robes. They quickly fell the king. When the palace guards rushed in, they all committed suicide.

paragraph: According to a theory proposed by Gordon Luce, Narathu may have been killed by the forces from Ceylon in 1165. His theory has been strongly refuted by Htin Aung as pure conjecture.

description: King of Burma

wikidata_label: Narathu

wikipedia_title: Narathu


text:
Italian
Porto Recanati
Macerata
Ludovico Seitz
Pope Benedict XV
Apostolic Palaces
Pius XII
Academy of St Luke, Rome
Monaldo Leopardi
San Biagio, Pollenza

categories: Italian male painters,Conservator-restorers,20th-century Italian painters,19th-century Italian painters,1877 births,19th-century male artists,1948 deaths

paragraph: Biagio Biagetti

paragraph: Biagio Biagetti (21 July 1877 – 2 April 1948) was an Italian painter and art-restorer, mainly working with sacred subjects.

paragraph: Section::::Biography.

paragraph: He was born in Porto Recanati and died in Macerata. He trained under Ludovico Seitz.

paragraph: In 1921, Pope Benedict XV appointed Biagetti to be Artistic Director for the Paintings Gallery and the Apostolic Palaces, a position he maintained through the papacy of Pius XII. There he worked on restorations of various works, including frescoes. He also worked on new mosaics and restorations. He was also a member of the Academy of St Luke, Rome. He retired in Recanati, in 1945 he was appointed to help with post-war Reconstruction. He also restored the old Academy of poetic "Disuguali", founded by Monaldo Leopardi. He painted one of the chapels in San Biagio, Pollenza. His paintings can be seen also in Loreto, Macerata, Jesi, Montelupone, Porto Recanati, Padova, Treviso, Parma, Udine, Lendinara, and Rome.

description: Italian painter

wikidata_label: Biagio Biagetti

wikipedia_title: Biagio Biagetti


text:
Roman Kingdom
King Romulus
Rome
first ruler
divinity
senate
late-republican
Livy
"From the Founding of the City"
army
Palus Caprae
nobles
commoners
colonist
Alba
Quirinus
Julia (gens)
Resurrection

paragraph: Proculus Julius

paragraph: Proculus Julius is a figure in the legendary history of the Roman Kingdom. His reported visitation by King Romulus, Rome's founder and first ruler, shortly after the king's disappearance convinces the people of Rome to accept Romulus' divinity and the claims by the senate that he had been taken up by the gods in a whirlwind.

paragraph: Section::::Livy's account.

paragraph: In the late-republican historian Livy's "From the Founding of the City", Romulus is attending a public review of the army at Palus Caprae when a sudden, violent storm envelopes him in mist. When it clears, the King is gone. The nobles sitting hear him claimed that he had been carried into the sky by a divine force. The commoners present hail their now lost king and proclaim him a god. Despite this, suspicion immediately grows that the nobles had killed and dismembered him. Proculus is described by Livy as shrewd. He tells the people that at dawn, a vision of Romulus descended from the sky and told him that Rome and Roman might would rule the world. Livy expresses some surprise that this claim was able to so easily mollify the suspicions of both the plebs and the army.

paragraph: Section::::Plutarch's account.

paragraph: Plutarch tells a more detailed tale of Romulus' death. He lists several alternative stories, and then the tale of his disappearance at the assembly. Proculus was a friend of the king. He was a Roman colonist from the city of Alba. Before testifying to the Forum, he swore a sacred oath and then told the assembled that Romulus had descended from the sky in front of him. Proculus tells the assembly that he had asked Romulus why he had left them as he did, leaving so many in mourning and suspicions about his disappearance. Romulus explains that it was the will of the gods that he leave. He came to Earth to build a city destined to be the greatest on earth and now, his work was done. Rome, with "self-restraint" and "valor" will be the most dominant force on earth. Finally he tells Proculus that he will always watch over them as Quirinus. Because of his character and the oath, and, Plutarch adds, a divine force that came over the people, they abandoned their suspicion and anger.

paragraph: Section::::See also.

paragraph: BULLET::::- Julia (gens)

paragraph: BULLET::::- Resurrection

wikidata_label: Julius Proculus

wikipedia_title: Proculus Julius


text: Slovenia

text: gymnast

text: Yugoslavia

text: 1928 Summer Olympics

text: Miroslav Cerar

text: Brežice

text: Sokol

text: Ljubljana

text: King Alexander

text: 1928 Summer Olympics

text: Amsterdam

text: Edvard Antosiewicz

text: Dragutin Ciotti

text: Stane Derganc

text: Anton Malej

text: Janez Porenta

text: Jože Primožič

text: Leon Štukelj

text: horse vault

text: parallel bars

text: horizontal bar

text: rings

text: pommel horse

text: 1932 Summer Olympics

text: Los Angeles

text: 1936 Summer Olympics

text: Berlin

text: rings

text: Luxembourg

text: Rafael Ban

text: Peter Šumi

text: Stane Žilič

text: Prague

text: Stjepan Boltižar

text: Miroslav Forte

text: Josip Kujundžić

text: Janez Pristov

text: Miloš Skrbinšek

text: Josip Vadnav

text: pole vault

text: Krvavec

text: World War II

text: Viktor Murnik

text: Miroslav Cerar

text: Tokyo

text: Mexico City

text: Elan

text: Bloudek Award

categories: Olympic bronze medalists for Yugoslavia,Yugoslav male artistic gymnasts,Medalists at the 1928 Summer Olympics,2001 deaths,Gymnasts at the 1928 Summer Olympics,Olympic medalists in gymnastics,1906 births,Slovenian male artistic gymnasts,Olympic gymnasts of Yugoslavia

paragraph: Boris Gregorka

paragraph: Boris Gregorka (2 August 1906 – 19 March 2001) was a Slovenian gymnast, competing for Yugoslavia. He won a bronze medal at the 1928 Summer Olympics. After retiring from competitive career, he was the coach of a double Olympic gold medallist Miroslav Cerar.

paragraph: Section::::Biography.

paragraph: Gregorka was born in Brežice. At the age of seven, his parents introduced him to the Sokol athletics movement in Ljubljana, where he later achieved several successes. Gregorka was rather tall for a gymnast, 181 cm. This made him best-suited for pommel horse, which was also his best discipline. With his Sokol team, Gregorka was the team winner in all five national competitions for "The Sword of King Alexander" award.

paragraph: Gregorka competed at two Olympics. He was a member of the Yugoslavian delegation at the 1928 Summer Olympics in Amsterdam; he won a bronze medal with the men's all-around team, together with Edvard Antosiewicz, Dragutin Ciotti, Stane Derganc, Anton Malej, Janez Porenta, Jože Primožič, and Leon Štukelj. In addition, he competed individually in all the men's disciplines. He finished 21st in the individual all-around, 37th on the horse vault, 34th on the parallel bars, 38th on the horizontal bar, 37th on the rings, and 41st on the pommel horse. Yugoslavia did not send a gymnastic team to the 1932 Summer Olympics in Los Angeles but Gregorka again participated at the 1936 Summer Olympics in Berlin. There, he finished 78th in the individual all-around, 6th in the team all-around, 90th in the floor exercise, 50th on the horse vault, 86th on the parallel bars, 68th on the horizontal bar, 80th on the rings, and 62nd on the pommel horse.

paragraph: In addition to Olympic appearances, Gregorka competed at three World Artistic Gymnastics Championships. At the 1930 World Artistic Gymnastics Championships in Luxembourg, Gregorka was a member of the all-around team that won a bronze medal, together with Antosiewicz, Malej, Primožič, Štukelj, Rafael Ban, Peter Šumi, and Stane Žilič. The competition was marked by the fatal accident of Malej after his routine on rings. At the 1938 World Artistic Gymnastics Championships in Prague, Gregorka was again a member of the bronze medal-winning team at the all-around team event, together with Primožič, Stjepan Boltižar, Miroslav Forte, Josip Kujundžić, Janez Pristov, Miloš Skrbinšek, and Josip Vadnav.

paragraph: In addition to gymnastics, Gregorka was active in other sports as well. Several times, he became the national champion in pole vault and broke three national records. In winter, Gregorka practiced ice skating, Alpine skiing, cross-country skiing, and ski jumping. After winning a skiing competition in Krvavec, Gregorka received a medal carved out of a fresh potato.

paragraph: Gregorka started coaching junior teams at Sokol already in the late 1920s but fully committed to the coaching career after World War II. Sokol was disbanded and reorganized as "Partizan Narodni dom". Gregorka adhered to the principles of his former coach Viktor Murnik. He led the national team at several European and World Championships and at the Olympics. He was the coach of Miroslav Cerar who won three Olympic medals, including two gold in pommel horse at the games in Tokyo and Mexico City. In addition, Gregorka was a sport referee and served as a member of organization committees for several competitions, including the 1970 World Artistic Gymnastics Championships that took place in Ljubljana. He also published several works related to gymnastics and worked as a counselor to the sports equipment manufacturer Elan.

paragraph: For his achievements both as a sportsman and as a coach, Gregorka received several decorations. Among those were the Bloudek Award in 1967 and the Silver Order of Freedom of the Republic of Slovenia. Following the death of Leon Štukelj, Gregorka briefly became the oldest living Slovenian Olympian. He died in Ljubljana, at the age of 94.

description: judge (1906-2001)

wikidata_label: Boris Gregorka

wikipedia_title: Boris Gregorka


text: Modern Movement

text: Kathleen Scott

text: Adrienne Gorska

text: Le Corbusier

text: Jean Badovici

text: Roquebrune-Cap-Martin

text: Enniscorthy

text: Francis Stuart, 10th Earl of Moray

text: Baroness Gray

text: Kensington, London

text: Slade School

text: Philip Wilson Steer

text: Henry Tonks

text: Frederick Brown

text: Kathleen Bruce

text: Académie Colarossi

text: Académie Julian

text: Art Deco

text: Rue du Faubourg Saint-Honoré

text: James Joyce

text: Ezra Pound

text: Elsa Schiaparelli

text: Jean Badovici

text: Adrienne Gorska

text: Menton

text: Margarete Schütte-Lihotzky

text: Frankfurt Kitchen

text: Le Corbusier

text: Joseph Rykwert

text: bisexual

text: Romaine Brooks

text: Loie Fuller

text: Marie-Louise Damien

text: Natalie Barney

text: Damia

text: "Dragons" armchair

text: Yves Saint Laurent

text: Pierre Bergé

text: Official Eileen Gray Website

categories: 1878 births,20th-century Irish people,19th-century Irish people,Anglo-Irish people,British women artists,1976 deaths,Irish furniture designers,Alumni of the Slade School of Art,Irish architects,Irish expatriates in France,Burials at Père Lachaise Cemetery,British women architects,Modernist designers,Académie Colarossi alumni,Modernist architects,Bisexual women,Alumni of the Académie Julian,People from Enniscorthy,LGBT artists from Ireland,Bisexual artists,Irish people of Scottish descent

paragraph: Eileen Gray

paragraph: Eileen Gray (born Kathleen Eileen Moray Smith; 9 August 1878 – 31 October 1976) was an Irish architect and furniture designer and a pioneer of the Modern Movement in architecture. Over her career, she was associated with many notable European artists of her era, including Kathleen Scott, Adrienne Gorska, Le Corbusier, and Jean Badovici, with whom she was romantically involved. Her most famous work is the house known as E-1027 in Roquebrune-Cap-Martin, France.

paragraph: Section::::Early life.

paragraph: Gray was born Kathleen Eileen Moray Smith on 9 August 1878, near Enniscorthy, in County Wexford, Ireland. She was the youngest of five children in a Protestant Anglo-Irish family.

paragraph: Her father, James MacLaren Smith, was a Scottish landscape painter. He encouraged Gray's interest in painting and drawing. Although he was a minor figure, James corresponded with major artists of the day.

paragraph: Her parents’ marriage broke up when she was eleven and her father left Ireland to live and paint in Europe.

paragraph: Gray's mother, Eveleen Pounden, was a granddaughter of Francis Stuart, 10th Earl of Moray. She became the 19th Baroness Gray in 1895 after the death of her uncle. Although the couple was already separated by this point, Gray's father changed his name to Smith-Gray by royal licence and the four children were from then on known as Gray.

paragraph: Gray split her upbringing between Brownswood House in Ireland and the family's home in Kensington, London.

paragraph: Both Gray's brother and father died in 1900.

paragraph: Section::::Education.

paragraph: Gray briefly attended a school in Dresden, Germany but was mainly educated by governesses.

paragraph: Gray's serious art education began in 1900 at the Slade School in London. Gray was a registered fine arts student at Slade from 1900 to 1902. Although fine arts education was typical for a young woman of Gray's class, Slade was an unusual choice. Known as a bohemian school, the classes at Slade were generally co-educational which was usual for the time. Gray was one of 168 female students in a class of 228.

paragraph: Gray's teachers at Slade included Philip Wilson Steer, Henry Tonks and Frederick Brown.

paragraph: While at Slade, Gray met furniture restorer Dean Charles in 1901. Charles was Gray's first introduction to lacquering and she took lessons in the technique from his company in Soho.

paragraph: In 1902, Gray moved to Paris with Kathleen Bruce and Jessie Gavin. They enrolled at the Académie Colarossi, an art school popular with foreign students, but soon switched to the Académie Julian.

paragraph: In 1905, Gray returned to London to be with her ill mother. For the next two years, she studied lacquering with Dean Charles before returning to Paris. When she returned to Paris, Gray began training with Seizo Sugawara. Sugawara was from Jahoji, a village in northern Japan famous for its lacquer work, and he was in Paris to restore the lacquer pieces Japan had sent to the Exposition Universale. Gray was so dedicated to learning the trade that she suffered the so-called lacquer disease, a painful rash on her hands, but that did not stop her from working.

paragraph: In 1910, Gray opened a lacquer workshop with Sugawara. By 1912, she was producing pieces to commission for some of Paris's richest clients.

paragraph: Gray served as an ambulance driver at the beginning of World War I before returning to England to wait out the war with Sugawara.

paragraph: Section::::Interior design.

paragraph: After the war Gray and Sugawara returned to Paris. In 1917, Gray was hired to redesigning the Rue de Lota apartment of society hostess Juliette Lévy. Also known as Madame Mathieu Levy, Juliette owned the fashion house and millinery shop.

paragraph: The Rue de Lota apartment has been called "the epitome of Art Deco." A 1920 issue of Harper’s Bazaar describes the Rue de Lota apartment as ‘thoroughly modern although there is much feeling for the antique’. The furniture included some of Gray's best known designs – the Bibendum Chair and the Pirogue Day Bed. The Bibendum chair was a take on the Michelin Man with tire like shapes sitting on a chromed steel frame. The Pirogue Day Bed was gondola-shaped and finished in patinated bronze lacquer.

paragraph: The critical and financial success of the project prompted Gray to open her own shop in 1922. Jean Désert was located on the fashionable Rue du Faubourg Saint-Honoré in Paris. The shop was named after an imaginary male owner “Jean” and Gray's love of the North African desert. Gray designed the facade of the shop herself. Jean Désert sold the abstract geometric rugs designed by Gray and woven in Evelyn Wyld's workshops. Clients included James Joyce, Ezra Pound and Elsa Schiaparelli.

paragraph: Early on Gray used luxurious materials like exotic woods, ivory and furs. In the mid-1920s, her pieces became simpler and more industrial, reflecting her growing interest in the work of Le Corbusier and other Modernists.

paragraph: Jean Désert closed due to financial losses in 1930.

paragraph: Section::::Architecture.

paragraph: By 1921, Gray was romantically involved with Romanian architect and writer Jean Badovici who was 15 years her junior. He encouraged her growing interest in architecture. From 1922/1923 to 1926 Gray created an informal architectural apprenticeship for herself as she never received any formal training as an architect. She studied theoretical and technical books, took drafting lessons, and arranged to have Adrienne Gorska take her along to building sites. She also traveled with Badovici to study key buildings and learned by reworking architectural designs.

paragraph: In 1926, she started work on a new holiday home near Monaco to share with Badovici. Because a foreigner in France couldn’t wholly own property, Gray bought the land and put it in Badovici’s name, making him her client on paper. Construction of the house took three years and Gray remained on site while Badovici visited occasionally.

paragraph: The house was given the enigmatic name of E-1027. It was code for the lovers' names; the E standing for Eileen, the 10 for J, meaning Jean, the 2 for B standing for Badovici and the 7 for G standing for Gray. E-1027 is routinely described as a masterpiece.

paragraph: E-1027 is a white cuboid built on rocky land on raised on pillars. According to Frances Stonor Saunders, E-1027 was formulated on Le Corbusier's "Five Points of the New Architecture" because it is an open plan house which stands on pillars with horizontal windows, an open facade and a roof accessible by staircase. However, Gray was critical of the avant-garde movement's focus on the exterior of buildings, writing "The interior plan should not be the incidental result of the facade; it should led to a complete harmonious, and logical life." According to architecture critic Rowan Moore, E-1027 "grows from furniture into a building." By this point, Gray was fascinated by lightweight, functional, multi-purpose furniture which she called "camping style". She created a tea trolley with a cork surface, to reduce the rattling of cups, and positioned mirrors so a visitor could see the back of their head. At the entrance of E-1027 Gray created a celluloid niche for hats with net shelves to allow a clear view without the risk of dust settling.

paragraph: When E-1027 was finished, Badovici devoted an edition of his magazine to it and announced himself as its joint architect. This claim was disproven by Jennifer Goff, a curator at the National Museum of Ireland. According to Goff's research all extant plans of the house were in Gray’s hand alone and “Badovici’s role was firstly client and secondly consultant architect.”

paragraph: Gray and Badovici broke up and in 1931 Gray started work on a new house, Tempe à Pailla, above the nearby town of Menton. The name Tempe à Pailla is translated into English as "Time and Hay" and references a Provencal proverb that say both are needed for figs to ripen. It was a small, two bedroom house with a large terrace. Much of the furniture was transformable, including expandable wardrobes and a dining banquette that both folded for storage and could be turned into an occasional table. With Tempe à Pailla, Gray moved away from Le Corbusier's free plan ideal and created more separate spaces while maximizing the house's panoramic views. Gray's design also maximized airflow and natural light with features such as shuttered windows and skylights. Gray's multi-level kitchen was influenced by Margarete Schütte-Lihotzky's Frankfurt Kitchen.

paragraph: Le Corbusier often stayed at E-1027 and although he admired it, in 1938/1939 he vandalized its walls with Cubist murals of naked women. This violated Gray’s express wish that E-1027 be free of any decoration. Rowan Moore has called it an “act of naked phallocracy” by a man asserting “his dominion, like a urinating dog, over the territory”.

paragraph: Section::::World War II.

paragraph: During World War II, Gray was interned as a foreign national, her houses were looted and many of her drawings and models were destroyed by bombing. German soldiers used the walls of E-1027 for target practice.

paragraph: Section::::Later life.

paragraph: Renewed interest in Gray's work began in 1967 when historian Joseph Rykwert published an essay about her in the Italian design magazine Domus. After the publishing of the article many "students began to ring at her door" as eager to learn from the now famous designer.

paragraph: At a Paris auction of 1972, Yves Saint Laurent bought ‘Le Destin’ and revived interest in Gray's career.

paragraph: The first retrospective exhibition of her work, titled ‘Eileen Gray: Pioneer of Design’, was held in London in 1972. A Dublin exhibition followed the next year. At the Dublin exhibit, the 95 year old Gray was given an honorary fellowship by the Royal Institute of the Architects of Ireland.

paragraph: In 1973 Gray signed a contract to reproduce the Bibendum chair and many of her pieces for the first time. They remain in production.

paragraph: Eileen Gray died on Halloween 1976. She is buried in the Père Lachaise cemetery in Paris, but because her family omitted to pay the licence fee her grave is not identifiable.

paragraph: Section::::Personal life.

paragraph: Gray was bisexual. She mixed in the lesbian circles of the time, being associated with Romaine Brooks, Loie Fuller, Marie-Louise Damien, and Natalie Barney.

paragraph: Gray's intermittent relationship with the singer Damia ended in 1938, after which they never saw each other again, although both lived into their nineties in the same city. Gray also had for some time an intermittent relationship with Jean Badovici, the Romanian architect and writer.

paragraph: He had written about her design work in 1924 and encouraged her interest in architecture. Their romantic involvement ended in 1932.

paragraph: Having never lived in Ireland during her adult life, in her old age she reportedly stated, "I am without roots, but if I have any, they are in Ireland".

paragraph: Section::::Posthumous.

paragraph: Gray's achievements were restricted during her lifetime. According to Reyner Banham, "[Eileen Gray's work] was, also, in its day, part of a personal style and philosophy of design which was, by the look of things, too rich for the punditry to take. And if the punditry didn't publish you, particularly in the great canon-defining compendia of the thirties, forties and fifties you dropped off the record, and ceased to be a part of the universe of scholarly discourse."

paragraph: The National Museum of Ireland has a permanent exhibition of her work in the Collins Barracks site.

paragraph: In February 2009, Gray's "Dragons" armchair made by her between 1917 and 1919 (acquired by her early patron Suzanne Talbot and later part of the Yves Saint Laurent and Pierre Bergé collection) was sold at auction in Paris for €21.9 million (US$28.3 million), setting an auction record for 20th-century decorative art.

paragraph: A biopic on Gray's life called "The Price of Desire" opened in 2016.

paragraph: Section::::External links.

paragraph: BULLET::::- Official Eileen Gray Website

paragraph: BULLET::::- Friends of E.1027, non-profit organization dedicated to the restoration and preservation of E.1027

paragraph: BULLET::::- for a brief comparison between Gray's Bibendum chair and Le Corbusier's LC2 chair

paragraph: BULLET::::- Official website of Marco Antonio Orsini's feature-length documentary, "Gray Matters"

paragraph: BULLET::::- Official website of Mary McGuckian's feature drama on the life of Gray, "The Price of Desire"

alias:
Kathleen Eileen Moray Gray
Kathleen Eileen Gray
Eileen Moray Smith
Eileen Kathleen Moray Gray
Kathleen Eileen Moray Smith

description: Irish architect and designer (1878-1976)

wikidata_label: Eileen Gray

wikipedia_title: Eileen Gray


text: German

text: Russia

text: Fyodor Petrovich Litke

text: Imperial Academy of Sciences

text: Kosrae crake

text: Kosrae starling

text: Eduard Rüppell

text: Kittlitz's plover

text: Kittlitz's murrelet

text: Kittlitz's rail

text: Kittlitz's thrush

text: 1. Heft

text: Band 1

text: Band 2

text: Stadtbibliothek Mainz

categories: 1799 births,German ornithologists,1874 deaths,German zoologists,German botanists,Barons of Germany

paragraph: Heinrich von Kittlitz

paragraph: Friedrich Heinrich, Freiherr von Kittlitz (16 February 1799 – 10 April 1874) was a German artist, naval officer, explorer and naturalist. He was a descendant of a family of old Prussian nobility ("Freiherr" meaning "independent lord" - ranking with a baron).

paragraph: Kittlitz sailed round the world between 1826 and 1829 on the Russian "Senjawin" expedition, under the leadership of Captain Fyodor Petrovich Litke. He provided the museum of the Imperial Academy of Sciences in St. Petersburg with 754 specimens of 314 bird species, including species that subsequently became extinct. Among them are the Kosrae crake ("Porzana monasa") and Kosrae starling ("Aplonis corvina") which are known only from his specimens. He published "Twenty-four Views of the Vegetation of the Coasts and Islands of the Pacific" (1844).

paragraph: Kittlitz travelled to North Africa in 1831 with his friend Eduard Rüppell, but had to return to Germany due to poor health. It was during his time in Egypt whilst waiting for a boat that he collected specimens of the bird which became known as Kittlitz's plover.

paragraph: Kittlitz's murrelet, Kittlitz's rail, Kittlitz's thrush and Kittlitz's plover are all named for him.

paragraph: Section::::Works.

paragraph: BULLET::::- "Kupfertafeln zur Naturgeschichte der Vögel", Frankfurt 1832, 1. Heft

paragraph: BULLET::::- "24 Vegetationsansichten von den Küstenländern und Inseln des Stillen Ozeans", mit Text, Wiesbaden 1845–1852

paragraph: BULLET::::- "Vegetationsansichten aus den westlichen Sudeten", Frankfurt 1854

paragraph: BULLET::::- "Naturszenen aus Kamtschatka"

paragraph: BULLET::::- "Bilder vom Stillen Ozean"

paragraph: BULLET::::- "Denkwürdigkeiten einer Reise nach dem russischen Amerika, nach Mikronesien und durch Kamtschatka", Gotha 1858, Band 1, Band 2

paragraph: BULLET::::- "Psychologische Grundlage für eine neue Philosophie der Kunst", Berlin 1863

paragraph: BULLET::::- "Schlußfolgerungen von der Seele des Menschen auf die Weltseele", Mainz 1873

paragraph: BULLET::::- "Ornithologisches Tagebuch. Handschrift mit Aquarellmalereien. 4 Bände" (1816-1823).Wissenschaftliche Stadtbibliothek Mainz, Sammlung Moyat, Sign.: Moyat 658

paragraph: Section::::See also.

paragraph: BULLET::::- European and American voyages of scientific exploration

description: German artist and scientist

wikidata_label: Heinrich von Kittlitz

wikipedia_title: Heinrich von Kittlitz


text:
melodic death metal
At the Gates
The Haunted
Tomas Lindberg
The Red in the Sky Is Ours
With Fear I Kiss the Burning Darkness
Terminal Spirit Disease
Slaughter of the Soul
Suicidal Final Art
At War with Reality
To Drink from the Night Itself
Demo '97
The Haunted
The Haunted Made Me Do It
Live Rounds in Tokyo
Caught on Tape
One Kill Wonder
Revolver
The Dead Eye
Versus
Unseen
Exit Wounds
Strength in Numbers (The Haunted album)
Warwick
Yamaha
BC Rich
Rickenbacker
TC Electronics
Pro Co RAT
EBS
Marshall
The Haunted homepage
At the Gates homepage

categories: Swedish heavy metal bass guitarists,21st-century bass guitarists,At the Gates members,The Haunted (Swedish band) members,Living people,1973 births

paragraph: Jonas Björler

paragraph: Jonas Björler (born 26 February 1973) is the bass player of the melodic death metal bands, At the Gates and The Haunted. He was formerly in the bands Demolition, Infestation and Terror. He is also a qualified accountant.

paragraph: Section::::Demolition.

paragraph: BULLET::::- "Hordes of Evil" (demo) (1987)

paragraph: Section::::Infestation.

paragraph: BULLET::::- "When Sanity Ends" (demo) (1990)

paragraph: Section::::At the Gates.

paragraph: Björler was the original drummer of the band due to being the drummer of the previous band Infestation, but it was soon discovered that he wasn't able to drum for the band and became their bassist instead. Along with Tomas Lindberg and Adrian Erlandsson, he is one of the original members left in the band.

paragraph: Section::::At the Gates.:At the Gates Discography.

paragraph: BULLET::::- "Gardens of Grief" (EP) (1991)

paragraph: BULLET::::- "The Red in the Sky Is Ours" (1992)

paragraph: BULLET::::- "With Fear I Kiss the Burning Darkness" (1993)

paragraph: BULLET::::- "Terminal Spirit Disease" (1994)

paragraph: BULLET::::- "Slaughter of the Soul" (1995)

paragraph: BULLET::::- "Suicidal Final Art" (compilation) (2001)

paragraph: BULLET::::- "At War with Reality" (2014)

paragraph: BULLET::::- "To Drink from the Night Itself" (2018)

paragraph: Section::::Terror.

paragraph: BULLET::::- "Demo '94" (1994)

paragraph: Section::::The Haunted.

paragraph: Formed after the split-up of At the Gates in 1996. Jonas is a founding member together with Patrik Jensen and Adrian Erlandsson.

paragraph: Section::::The Haunted.:The Haunted Discography.

paragraph: BULLET::::- "Demo '97" (1997)

paragraph: BULLET::::- "The Haunted" (1998)

paragraph: BULLET::::- "The Haunted Made Me Do It" (2000)

paragraph: BULLET::::- "Live Rounds in Tokyo" (2001)

paragraph: BULLET::::- "Caught on Tape" (2002) DVD

paragraph: BULLET::::- "One Kill Wonder" (2003)

paragraph: BULLET::::- "Revolver" (2004)

paragraph: BULLET::::- "The Dead Eye (2006)

paragraph: BULLET::::- "Versus" (2008)

paragraph: BULLET::::- "Unseen" (2011)

paragraph: BULLET::::- "Exit Wounds" (2014)

paragraph: BULLET::::- "Strength in Numbers (The Haunted album)" (2017)

paragraph: Section::::Equipment.

paragraph: Section::::Equipment.:Basses.

paragraph: BULLET::::- Warwick Corvette Standard (Current)

paragraph: BULLET::::- Warwick Streamer (Current)

paragraph: BULLET::::- Yamaha 5 stringed (At the Gates)

paragraph: BULLET::::- BC Rich (At the Gates)

paragraph: BULLET::::- Rickenbacker Model 4000 (At the Gates)

paragraph: Section::::Equipment.:Effects.

paragraph: BULLET::::- TC Electronics Polytune

paragraph: BULLET::::- Pro Co RAT distortion

paragraph: Section::::Equipment.:Amplifiers.

paragraph: BULLET::::- Heads

paragraph: BULLET::::- EBS TDE 650 (Current)

paragraph: BULLET::::- EBS Fafner (Current)

paragraph: BULLET::::- Marshall (At the Gates)

paragraph: BULLET::::- Cabinets

paragraph: BULLET::::- EBS 8x10" Neodynium (Current)

paragraph: Section::::Equipment.:Misc.

paragraph: BULLET::::- Dunlop Tortex picks .88

paragraph: BULLET::::- Ernie Ball strings

paragraph: Section::::External links.

paragraph: BULLET::::- The Haunted homepage

paragraph: BULLET::::- At the Gates homepage

description: Swedish musician

wikidata_label: Jonas Björler

wikipedia_title: Jonas Björler


text:
Ariki
King of Rapa Nui
Easter Island
Picpus
Policarpo Toro
Gannet
Rapa Nui
Picpus
Kerekorio Manu Rangi
tuberculosis
Jean-Baptiste Dutrou-Bornier
Alexander Ariipaea Salmon
Tepano Jaussen
Hippolyte Roussel
Maurata
tattoo
Policarpo Toro
Chile
Rapa Nui language
Spanish language
Chilean flag
Rapanui flag
political unrest
Simeon Riro Kāinga
History of Easter Island

categories: Roman Catholic monarchs,Converts to Roman Catholicism,Rapanui monarchs,1850s births,History of Easter Island

paragraph: Atamu Tekena

paragraph: Atamu Tekena or Atamu te Kena, full name Atamu Maurata Te Kena ʻAo Tahi (c. 1850 – August 1892) was the penultimate ‘Ariki or King of Rapa Nui (i.e. Easter Island) from 1883 until his death. He was appointed as the ruler in 1883 by the French Picpus missionaries in the island to represent their interest after a two decade interval in the native kingship caused by the disruptions of Westernization. Although a member of the Miru clan, traditionally associated with the native kingship, he was not a royal of the traditional patrilineal line of kings. In 1888, he signed a treaty of annexation ceding Easter Island to Chile in a ceremony officiated by Captain Policarpo Toro. His name is translated as "Adam the Gannet".

paragraph: Section::::Life and reign.

paragraph: He was born around 1850 as an extended member of the Miru clan, traditionally associated with the native kingship ("ariki mau").

paragraph: Due to Peruvian slave raiding and the decimation of the native Rapa Nui population by introduced diseases, the population of Easter Island had dropped to 110 individuals by 1877. In 1864, the French Picpus missionaries established themselves on the island and converted many of the Rapa Nui people to Christianity. The last recognized "‘ariki mau" Kerekorio Manu Rangi died in a tuberculosis epidemic in 1867.

paragraph: After this social upheaval, a Council of State was established under the leadership of French adventurer and sheep rancher Jean-Baptiste Dutrou-Bornier who asserted more and more control and expelled the Catholic missionaries. He installed his wife as the unrecognized "Queen" of the island and unsuccessfully petitioned France for protectorate status.

paragraph: Dutrou-Bornier was assassinated in 1876 and the Roman Catholic mission returned. His business interest was inherited by the Anglo-Jewish-Tahitian Prince Alexander Ariipaea Salmon who managed a sheep ranch which constituted much of the land on the island. Salmon ruled in all but name. The reestablished mission set up a new native government based on the indigenous district councils of Tahiti. At the instigation of Bishop Tepano Jaussen of Tahiti, Atamu was appointed by Father Hippolyte Roussel as King in 1883 to represent their interest alongside two "to‘opae" (councillors) and two judges. He adopted the additional name Maurata after the "ariki mau" who died during the Peruvian slave raids. Unlike his predecessors, Atamu was not considered a member of the traditional royal patrilineal line and held little political power.

paragraph: He married Ana Eva Hei Vehi (Uka ʻa Hei ʻa ʻArero), sometimes known as "Queen Eva", who was one of the last Rapa Nui people to have been tattooed in the traditional ways. They had six children including their eldest son Atamu “Hango” Tekena Hei.

paragraph: Section::::Life and reign.:Annexation to Chile.

paragraph: In 1887, Captain Policarpo Toro was sent by the government of Chile to purchase Salmon's sheep ranch and negotiate the annexation the island from the Catholic mission authority in Tahiti. Toro landed in Easter Island the following year and on 9 September 1888, Atamu and eleven chiefs signed a treaty of annexation ceding the island to Chile. During the annexation ceremony, Atamu gave Toro a handful of grass to feed his livestock and took a handful of dirt and put it in his jacket, staking his people's sovereign claim to the land.

paragraph: Historian Lorenz Gonschor questions the authenticity of the annexation treaty due to the ambiguity of the bilingual versions. The Rapa Nui language version only made Chile the island's protector while the Spanish language version ceded the island's sovereignty in perpetuity. Despite the fact missionaries had been educating the islanders for more than twenty years, none of the chiefs signed their names to the document and merely wrote "+" next to their names. The treaty was also never ratified by Chile. Gonschor noted:

paragraph: During the annexation ceremony, King Atamu Tekena gave Toro a bunch of grass while he put a handful of soil in his pocket, underlining his understanding of giving to Chile only the right to use the land, but not the land itself. It is also said that the Chilean flag was hoisted beneath the Rapanui flag on the same flagpole, thus acknowledging the sovereign status of the island's native government.

paragraph: Captain Toro set up a colony with his brother Pedro Pablo Toro as the agent of colonization. The Rapa Nui people seemed oblivious to the take over; they believed they had only become a protectorate and still retain their independence. This Chilean colony co-existed and consulted with the native government and Atamu and his chiefs retained their titles. The colony was temporarily abandoned in 1892 after political unrest in Chile prompted many colonists to return to the mainland. Atamu died on August 1892. After his death, the Rapa Nui people elected Simeon Riro Kāinga as the next king.

paragraph: Section::::See also.

paragraph: BULLET::::- History of Easter Island

wikidata_label: Atamu Tekena

wikipedia_title: Atamu Tekena


text: Scottish

text: Llavallol

text: Cathedral of St. John the Baptist

text: St. Andrew's

wikipedia_title: St. Andrew's Presbyterian Church (denomination)

categories: 1835 deaths,1791 births,Scottish architects,Place of birth missing,Scottish emigrants to Argentina,Scottish painters

paragraph: Richard Adams (architect)

paragraph: Richard Adams (1791–1835) was a Scottish painter and architect, who built the Anglican Cathedral of St. John the Baptist of Buenos Aires.

paragraph: Section::::Biography.

paragraph: He was born in Scotland, and arrived in Buenos Aires in 1825, along with a group of Scottish settlers. His first job in Argentina was the construction of housing for the settlers in the Santa Catalina, (now Llavallol).

paragraph: Richard Adams was the architect of the Cathedral of St. John the Baptist, the first Anglican temple of South America. He also built the Presbyterian Church of St. Andrew's for the Scottish community of Argentina.

paragraph: Section::::External links.

paragraph: BULLET::::- mnba.gob.ar

paragraph: BULLET::::- museosvivos.educ.ar

description: painter (1791-1835)

wikidata_label: Richard Adams

wikipedia_title: Richard Adams (architect)