text: "melancholic post-Situationist"

text: conceptual art

text: Dr James Fox

text: BBC Four

text: Chapelhall

text: Sylvia Plath

text: Ted Hughes

text: Philip Larkin

text: High Windows

text: Edinburgh College of Art

text: undergraduate degree

text: Master of Fine Arts

text: Scottish Arts Council

text: Andrew Nairne

text: Museum of Fine Arts in Houston Texas

text: Dazed & Confused

text: William Blake

text: Bethnal Green

text: Edgware Road

text: Venice Biennale

text: The Kochi-Muziris Biennale

text: Philip Larkin

text: Guy Debord

text: May 1968

text: Situationist

text: Roland Barthes

text: Jean Baudrillard

text: Edinburgh College of Art

text: Jenny Holzer

text: Felix Gonzalez-Torres

text: Julius Meinl

text: World Poetry Day

text: Dazed & Confused

text: Museum of Fine Arts in Houston Texas

text: Berlin

text: London

text: Greta Bellamacina

text: Situationist International

text: Visual poetry

text: Martin Firrell

categories: Scottish contemporary artists,Scottish sculptors,Alumni of the Edinburgh College of Art,Scottish male sculptors,Living people

paragraph: Robert Montgomery (artist)

paragraph: Robert Montgomery (born 1972) is a Scottish-born, London-based poet, artist and sculptor known for his site-specific installations created from light and text, as well as his 'fire poems'. Montgomery works in a "melancholic post-Situationist" tradition, primarily in public spaces. He is regarded as a leading figure in the conceptual art world.

paragraph: Some of his most famous public forms of poetry have been his white text on a black background pasted onto billboards around London as part of his belief that art and poetry should be taken out of the gallery and into the wider, everyday world be it on a billboard or a bus shelter. When asked by Dr James Fox in BBC Four's "Who's Afraid of Conceptual Art?" about what it was about the medium of words, rather than pictures that appealed to him, Montgomery replied "I think there's a certain slowness to words. I think we probably live in an age of accelerated image and we're bombarded with hundreds of images a day and in that context words can be a moment of quiet or pause."

paragraph: He said, "The point of art, is to touch the hearts of strangers, without the trouble of ever having to meet them. But, if you can touch their hearts from a distance and help a little bit from your quiet studio then it's very nice."

paragraph: Section::::Early career and education.

paragraph: Robert Montgomery was born in 1972 in the village of Chapelhall, Scotland, to David and Janette Montgomery.

paragraph: Alongside his parents, Montgomery credits his high-school art teacher John McKerrell, who taught him art and art history. In an interview he said that "John McKerrell was a proper Dead Poets Society inspiring, amazing teacher who is kind of a genius...he taught me about art from top to bottom. He comes to my parents' house for Christmas dinner. He's still my best mate in Prestwick."

paragraph: Another inspirational teacher was Mr Enoch Currie, who introduced him to celebrated poets such as Sylvia Plath and Ted Hughes. Montgomery recalls reading Philip Larkin's High Windows "when I was in third year and I still think a lot about the way Larkin writes when I write my billboards and text pieces."

paragraph: Aged 16, Montgomery was accepted to study fine art at the Edinburgh College of Art. McKerrell later helped him to get through his first year exams at Edinburgh.

paragraph: Montgomery left with a first undergraduate degree in painting and later obtained a Master of Fine Arts. While still a student he and John Ayscough applied for a grant from the Scottish Arts Council for their project, Aerial '94. They were awarded £40,000, but the grant was not intended for students, and was nearly withdrawn. Andrew Nairne (then Visual Director at the Scottish Arts Council) supported the aspiring artists, as a result the project went forward with the help of the grant.

paragraph: From 1995 to 1997, Montgomery was the Core Program Artist in Residence at the Museum of Fine Arts in Houston Texas.

paragraph: In his early career, Montgomery experimented with creating minimalist sculptures with elaborate poetic titles. Eventually, Montgomery dropped the sculptures all together and began to focus on the combination of verbal and visual presentation. In his initial works, Montgomery wrote poems on the sides of buses and on walls with spray paint, wanting to follow closely in the footsteps of graffiti artists who made the city a "free space of diverse voices."

paragraph: In 1999, Montgomery moved to London in 1999, where he worded for the magazine "Dazed & Confused".

paragraph: Section::::Work.

paragraph: Often installed unauthorised amid industrial and urban sites, Montgomery's installations address universal themes such as power, love, and human kindness with sparse language and dramatic visuals. These text-based conceptual pieces categorised as recycled sunlight pieces, billboard pieces, fire poems, woodcut panels, and watercolors. Montgomery's cryptic and emotionally resonant poetry comments on contemporary life and affirms his personal and philosophical beliefs, which he describes as "melancholic post-Situationist", a 20th-century antiauthoritarian Marxist movement.

paragraph: Montgomery's famous black and white poems pasted on London billboards has, occasionally, provoked run-ins with the police. He was once put into the back of a police van after he pasted his poem for William Blake on a billboard in Bethnal Green. Montgomery recalled; "But I got into a conversation about literature and one of the police officers really engaged with it. I guess it was a lucky experience. I think most people wouldn't be averse to having a poem at the end of street instead of another Diet Coke ad."

paragraph: One of his most famous and personal light pieces, "People You Love", was written as a result of the sudden death of a close friend from art school called Sean Watson who died as a result of being hit by a car on the Edgware Road in 2004. This was the first real experience of grief Montgomery had felt in his adult life, hitting him badly. One night he had a dream that Watson was there and alive, when he woke up the following morning he says that he woke up happier than he'd gone to bed, which led him to thinking that "maybe this is what ghosts are, maybe ghosts are a positive thing."

paragraph: Montgomery showed at the 2011 Venice Biennale and was selected to represent the UK at the first biennale in India - The Kochi-Muziris Biennale – in December 2012. He has also had solo exhibitions at venues in Europe and in Asia, including major outdoor light installations on the site of the old US Air Force base at Tempelhof. The first monograph of his work was published by Distanz, Berlin in 2015.

paragraph: Section::::Work.:Process and inspiration.

paragraph: Montgomery was initially inspired by the graffiti artists of East London, the poetry of Philip Larkin, the philosophy of Guy Debord, and the French student protesters of May 1968. Montgomery became interested in the Situationist tradition while following the writing of Roland Barthes and Jean Baudrillard during his time at Edinburgh College of Art. Montgomery also cites lyricists as important influencers, as his poems often mirror the tone and structure commonly used by song writers. He often writes with a certain melancholy, stating that he is fascinated by the sentiment as the creation of beauty from sadness. Montgomery describes his process as being random and unpredictable: "You quite often get stuff at like 2 o'clock in the morning and kind of see what you've got. I quite like that process". In selecting a platform for his art, Montgomery was inspired by Jenny Holzer and Felix Gonzalez-Torres' use of billboard space.

paragraph: In early 2016, Montgomery became a supporter for Julius Meinl with their 'Pay with a Poem' concept for World Poetry Day, whereby customers could, for one day only, have coffee at one of their branches and instead of money could pay for it by writing a poem; encouraging them to think about poetry as a form of self expression.

paragraph: Section::::Work.:Publications.

paragraph: Robert Montgomery's "Echos of Voices in the High Towers" was published by Mono Kultur in 2012. The Book is A2 in size, folding out to A1 in size, divided into three parts, and serves as a complete publication of Montgomery's work.

paragraph: On first arriving in London, Montgomery became involved in the monthly style magazine Dazed & Confused, a magazine where he is still an associate publisher.

paragraph: in 2016, Montgomery and his partner, Greta Bellamacina, launched their own publishing company called New River Press, dedicated to pushing the boundaries of what poetry means today particularly for a younger audience "we want to launch a place for poetry that doesn't exist yet."

paragraph: Section::::Exhibitions.

paragraph: Montgomery's work has been featured in a variety of galleries, publications, and public locations. His work is in the permanent collection at the Museum of Fine Arts in Houston Texas and the Anna Jill Lupertz Gallery in Berlin.

paragraph: Section::::Personal life.

paragraph: Montgomery lives in London.. He prefers to spend his time in cities, transferring between London, Paris, New York, and Berlin.

paragraph: After being in a long-term relationship with frequent collaborator and fellow poet Greta Bellamacina, the two married in July 2017. To celebrate, Montgomery created a wedding fire poem which read, "SALVAGE PARADISE. LOVE IS THE WEATHER. DAYDREAMS FOREVER" before being set alight. Likewise, Bellamacina wrote him a fire poem reading "ETERNAL WINDOW HYMNS". The two met when Bellamacina was editing a book of love poetry and put one of Montgomery's poems in the book. She later said that "it was refreshing to meet someone through their words, you can find out a lot about the person." In 2015, Bellamacina gave birth to their first child, a son, Lorca. In 2019, she gave birth to their second child.

paragraph: Section::::See also.

paragraph: BULLET::::- Situationist International

paragraph: BULLET::::- Visual poetry

paragraph: BULLET::::- Martin Firrell

description: Scottish sculptor and poet

wikidata_label: Robert Montgomery

wikipedia_title: Robert Montgomery (artist)


text:
Dean of the Arches
Trinity Hall, Cambridge
John Wynne
Court of Arches
Sir James Marriott
Royal Society

categories: 1729 births,English lawyers,English judges,1815 deaths,Masters of Trinity Hall, Cambridge

paragraph: William Wynne (judge)

paragraph: Sir William Wynne (1729–1815) was an English judge and academic, Dean of the Arches 1788 to 1809, and Master of Trinity Hall, Cambridge from 1803.

paragraph: Section::::Life.

paragraph: The son of John Wynne and his wife Anne Pugh, he matriculated at Trinity Hall, Cambridge in 1747, graduating LL.B. in 1752, LL.D. in 1757. He became a Fellow of the college in 1755.

paragraph: Wynne was admitted as an advocate of the Court of Arches in 1757, where his practice was largely on marriage and probate matters. He contested unsuccessfully the 1764 election for the Master of his college, losing out to Sir James Marriott. In 1788 he was knighted and became Dean of the Arches. In 1803 he was elected Master, and made improvements in the College. He was elected a Fellow of the Royal Society in 1794.

description: English judge and academic

wikidata_label: William Wynne

wikipedia_title: William Wynne (judge)


text: English

text: abbot

text: Old English

text: hagiography

text: homilies

text: biblical commentaries

text: Peter Hunter Blair

text: Bede

text: Benedictine

text: Old Minster

text: Winchester

text: Saint Æthelwold

text: Dunstan

text: abbey

text: Abingdon

text: English Benedictine Reform

text: abbey of Cerne

text: Cerne Abbas

text: Dorset

text: Alphege

text: ealdorman

text: Æthelmær the Stout

text: Æthelweard

text: Benjamin Thorpe

text: Ælfric Society

text: Malcolm Godden

text: Peter Clemoes

text: Early English Text Society

text: Christian

text: Sigeric

text: Archbishop of Canterbury

text: Latin

text: Gregory the Great

text: Alfred

text: fathers

text: John Earle

text: Blickling Homilies

text: Eucharist

text: Protestant Reformation

text: transubstantiation

text: Ælfric Bata

text: hagiography

text: alliterative

text: W. W. Skeat

text: On False Gods

text: Genesis

text: Hexateuch

text: Old English Hexateuch

text: Cura Pastoralis

text: Wulfsige

text: Sherborne

text: diocese

text: Eynsham

text: Æthelwold

text: De consuetudine monachorum

text: monastic

text: Wulfgeat of Ylmandun

text: William L'Isle

text: archbishop of York

text: Bede

text: Viking

text: Cotton Fire

text: homily on Judith

text: Ælfric of Abingdon

text: Archbishop of Canterbury

text: Ælfric of Abingdon

text: John Bale

text: Humphrey Wanley

text: Elizabeth Elstob

text: Edward Rowe Mores

text: G. J. Thorkelin

text: Henry Spelman

text: Putta

text: Archbishop of York

text: Henry Wharton

text: William of Malmesbury

text: Malmesbury

text: Bishop of Crediton

text: Old English Hexateuch

text: Ælfric’s Preface to Genesis: A Translation

text: Weidmannsche Buchhandlung

text: scans available online

text: Interrogationes Sigewulfi

text: The life of Oswald (in Latin), pg. 399 ff.

categories: English religious writers,Abbots of Eynsham,Anglo-Saxon writers,Christian hagiographers,955 births,Medieval linguists,10th-century Latin writers,Grammarians of Latin,English sermon writers,11th-century English writers,English abbots,1010 deaths,10th-century English writers

paragraph: Ælfric of Eynsham

paragraph: Ælfric of Eynsham (; ; ) was an English abbot, as well as a consummate, prolific writer in Old English of hagiography, homilies, biblical commentaries, and other genres. He is also known variously as "Ælfric the Grammarian" ("Alfricus Grammaticus"), "Ælfric of Cerne", and "Ælfric the Homilist". In the view of Peter Hunter Blair, he was "a man comparable both in the quantity of his writings and in the quality of his mind even with Bede himself." According to Claudio Leonardi, he "represented the highest pinnacle of Benedictine reform and Anglo-Saxon literature".

paragraph: Section::::Life and works.

paragraph: Ælfric was educated in the Benedictine Old Minster at Winchester under Saint Æthelwold, who was bishop there from 963 to 984. Æthelwold had carried on the tradition of Dunstan in his government of the abbey of Abingdon, and at Winchester he continued his strenuous support for the English Benedictine Reform. He seems to have actually taken part in the teaching activities of the abbey.

paragraph: Ælfric no doubt gained some reputation as a scholar at Winchester, for when, in 987, the abbey of Cerne (Cerne Abbas in Dorset) was finished, he was sent by Bishop Ælfheah (Alphege), Æthelwold's successor, at the request of the chief benefactor of the abbey, the ealdorman Æthelmær the Stout, to teach the Benedictine monks there. This date (987) is one of only two certain dates we have for Ælfric, who was then in priest's orders. Æthelmaer and his father Æthelweard were both enlightened patrons of learning, and became Ælfric's faithful friends.

paragraph: It was at Cerne, and partly at the desire, it appears, of Æthelweard, that he planned the two series of his English homilies (edited by Benjamin Thorpe, 1844–1846, for the Ælfric Society and more recently by Malcolm Godden and Peter Clemoes for the Early English Text Society), compiled from the Christian fathers, and dedicated to Sigeric, Archbishop of Canterbury (990–994). The Latin preface to the first series enumerates some of Ælfric's authorities, the chief of whom was Gregory the Great, but the short list there given by no means exhausts the authors whom he consulted. In the preface to the first volume he regrets that except for Alfred's translations, Englishmen had no means of learning the true doctrine as expounded by the Latin fathers. John Earle ("Anglo-Saxon Literature", 1884) thinks he aimed at correcting the apocryphal, and to modern ideas superstitious, teaching of the earlier Blickling Homilies.

paragraph: The first series of forty homilies is devoted to plain and direct exposition of the chief events of the Christian year; the second deals more fully with church doctrine and history. Ælfric's teaching on the Eucharist in the "Canons" and in the "Sermo de sacrificio in die pascae" (ibid. ii.262 seq.) was appealed to by the Protestant Reformation writers as a proof that the early English church did not hold the Roman doctrine of transubstantiation.

paragraph: After the two series of homilies, he wrote three works to help students learn Latin, the "Grammar", the "Glossary" and the "Colloquy". In his "Grammar", he translated the Latin grammar into English, creating what is considered the first vernacular Latin grammar in medieval Europe. In his glossary the words are not in alphabetical order, but grouped by topics. Finally, his "Colloquy" was intended to help students to learn how to speak Latin through a conversation manual. It is safe to assume that the original draft of this, afterwards maybe enlarged by his pupil and copyist, Ælfric Bata, was by Ælfric, and represents what his own scholar days were like.

paragraph: A third series of homilies, the "Lives of the Saints," (hagiography) dates from 996 to 997. Some of the sermons in the second series had been written in a kind of rhythmical, alliterative prose, and in the "Lives of the Saints" the practice is so regular that most of them are arranged as verse by their editor W. W. Skeat. Appended to the "Lives of the Saints" there are two homilies, "On False Gods" and "The Twelve Abuses". The first one shows how the Church was still fighting against the ancient religion of Britain, but also against the religion of the Danish invaders.

paragraph: Ælfric was asked by Æthelweard to translate the book of Genesis up to the story of Abraham and Isaac, along with selections from other books of the Hexateuch. Against his better judgment, Ælfric agreed because he knew it would be done regardless of whether he helped or not. This, the "Old English Hexateuch", was revolutionary, for it was the first time that the Bible was translated from Latin into the vernacular, that is, into Old English. To his translation of Genesis, he wrote a preface. This preface was to ensure that the uneducated who might read this translation of the Old Testament would understand that they ought not believe that the practices of the ancient Israelites were still acceptable for Christians. In his preface, Ælfric employs the same writing techniques that King Alfred used in his preface to a translation of the Cura Pastoralis. Also notable is that in his translation of Genesis Ælfric did not just translate it word for word from the Latin, which was common due to the belief that the word order of sacred Scripture was itself sacred. Rather, he translated much of it by its meaning; he recognized that the meaning of what the Bible said was the most important thing to be conveyed, not the word order.

paragraph: There is no certain proof that he remained at Cerne. It has been suggested that this part of his life was chiefly spent at Winchester; but his writings for the patrons of Cerne, and the fact that he wrote in 998 his "Canons" as a pastoral letter for Wulfsige, the bishop of Sherborne, the diocese in which the abbey was situated, afford presumption of continued residence there.

paragraph: 1005 is the other certain date we have for Ælfric, when he left Cerne for nobleman Æthelmær's new monastery in Eynsham, a long eighty-five-mile journey inland in the direction of Oxford. Here he lived out his life as Eynsham's first abbot, from 1005 until his death. After his elevation, he wrote his "Letter to the Monks of Eynsham", an abridgment for his own monks of Æthelwold's "De consuetudine monachorum", adapted to their rudimentary ideas of monastic life; a letter to Wulfgeat of Ylmandun; an introduction to the study of the Old and New Testaments (about 1008, edited by William L'Isle in 1623); a Latin life of his master Æthelwold; two pastoral letters for Wulfstan, archbishop of York and bishop of Worcester, in Latin and English; and an English version of Bede's "De Temporibus".

paragraph: The last mention of Ælfric Abbot, probably the grammarian, is in a will dating from about 1010.

paragraph: Ælfric was a conscientious monk who left careful instructions to future scribes to copy his works carefully because he did not want his works' scholarly, salvation-bringing words marred by the introduction of unorthodox passages and scribal errors. Through the centuries, however, Ælfric's sermons were threatened by the terrorism of Viking axes and the dangerous banality of human neglect when—some seven hundred years after their composition—they nearly perished in London's Cotton Fire that scorched or destroyed close to 1,000 invaluable ancient works.

paragraph: Ælfric was the most prolific writer in Old English. His main theme is God's mercy. He writes, for example: "The love that loves God is not idle. Instead, it is strong and works great things always. And if love isn’t willing to work, then it isn’t love. God’s love must be seen in the actions of our mouths and minds and bodies. A person must fulfil God’s word with goodness." (“For Pentecost Sunday”)

paragraph: He also observes in “For the Sixth Day (Friday) in the Third Week of Lent” and in “For the First Sunday After Pentecost”: "And we ought to worship with true humility if we want our heavenly God to hear us because God is the one who lives in a high place and yet has regard for the deep down humble, and God is always near to those who sincerely call to him in their trouble. . . . Without humility no person can thrive in the Lord."

paragraph: And in the "Fifth Sunday After Pentecost” he reminds us: "Bosses who cannot permit those working under them to know kindness during this life of labour should never themselves enjoy lives of luxury because they could easily be kind to their workers every day. And then they would have some kindness in their souls. God loves kindness.”

paragraph: Contrast this leitmotif of God's mercy with Archbishop Wulfstan's trenchant pulpiteering and thundering sermons. Ælfric by no means expressed the popular opinion of the time. His forward-thinking views toward women (though they were not 'modern' views, by any stretch of the imagination) and his strong stance on 'clǽnnes', or purity, were more extreme than others during that time (see for instance his homily on Judith). This was, no doubt, related to his service under the monastic reformer Saint Æthelwold in the monastery at Winchester.

paragraph: Section::::Identification.

paragraph: Until the end of the nineteenth century, the true identification of Ælfric had been problematic, primarily because Ælfric had often been confused with Ælfric of Abingdon, who served as Archbishop of Canterbury. Though Ælfric had formerly been identified with the archbishop, thanks to the work of Lingard and Dietrich, most modern scholars now identify Ælfric as holding no higher office than abbot of Eynsham. However, in the past, there have been attempts to identify him with three different people:

paragraph: (1) As above, Ælfric was identified with Ælfric of Abingdon (995–1005), Archbishop of Canterbury. This view was upheld by John Bale; by Humphrey Wanley; by Elizabeth Elstob; and by Edward Rowe Mores, "Ælfrico, Dorobernensi, archiepiscopo, Commentarius" (ed. G. J. Thorkelin, 1789), in which the conclusions of earlier writers on Ælfric are reviewed. Mores made him abbot of St Augustine's at Dover, and finally archbishop of Canterbury.

paragraph: (2) Sir Henry Spelman, in his "Concina …" printed the "Canones ad Wulsinum episcopum" and suggested Ælfric Putta or Putto, Archbishop of York, as the author, adding some note of others bearing the name. The identity of Ælfric the grammarian with Ælfric archbishop of York was also discussed by Henry Wharton, in "Anglia Sacra".

paragraph: (3) William of Malmesbury suggested that he was Abbot of Malmesbury and Bishop of Crediton.

paragraph: The main facts of his career were finally elucidated by Eduard Dietrich in a series of articles in the "Zeitschrift für historische Theologie", which formed the basis of subsequent writings on the subject.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Davis, Graeme."The Word Order of Ælfric". Edwin Mellen Press, 1997.

paragraph: BULLET::::- Frantzen, Allen J. "The Literature of Penance in Anglo-Saxon England". New Brunswick: Rutgers University Press, 1983.

paragraph: BULLET::::- Gatch, Milton McC. "Preaching and Theology in Anglo-Saxon England: Ælfric and Wulfstan". Toronto: University of Toronto Press, 1977.

paragraph: BULLET::::- Godfrey, John. "The Church in Anglo-Saxon England". Cambridge: Cambridge University Press, 1962.

paragraph: BULLET::::- Grundy, Lynne. "Books and Grace: Ælfric’s Theology". King's College London Medieval Studies VI. London: King's College, 1991.

paragraph: BULLET::::- Hurt, James. "Ælfric". New York: Twayne Publishers, Inc., 1972.

paragraph: BULLET::::- Lutz, Cora E. "Schoolmasters of the Tenth Century". Archon Books (1977).

paragraph: BULLET::::- White, Caroline L. "Ælfric: A New Study of His Life and Writings: With a Supplementary Classified Bibliography Prepared by Malcolm R. Godden, Yale Studies in English II". 1898. Ed. Albert S. Cook. Hamden: Archon Books, 1974.

paragraph: BULLET::::- Whitelock, Dorothy. “Two Notes on Ælfric and Wulfstan.” 1943. In "History, Law and Literature in 10th-11th Century England", 122-26. London: Variorum Reprints, 1981.

paragraph: BULLET::::- Wilcox, Jonathan, ed. "Ælfric’s Prefaces". Durham Medieval Texts, Number 9. Durham: Durham Medieval Texts, 1994.

paragraph: BULLET::::- Hugh Magennis and Mary Swan (eds.). "A Companion to Ælfric" (Leiden, Brill, 2009) (Brill's Companions to the Christian Tradition, 18).

paragraph: BULLET::::- Withers B. The Illustrated Old English Hexateuch Cotton Claudius Biv. The British Library & University of Toronto Press 2007

paragraph: Section::::Selected bibliography: editions of works by Ælfric.

paragraph: BULLET::::- Homilies

paragraph: BULLET::::- Pope, John C., ed. "Homilies of Ælfric: a Supplementary Collection. Being twenty-one full homilies of his middle and later career for the most part not previously edited, with some shorter pieces, mainly passages added to the second and third Series". 2 volumes. EETS 259, 260. London: Oxford University Press, 1967, 1968.

paragraph: BULLET::::- Clemoes, Peter, ed. "Ælfric’s Catholic Homilies: the First Series Text". EETS. Oxford: Oxford University Press, 1997.

paragraph: BULLET::::- Eliason, Norman and Peter Clemoes, eds. "Ælfric’s First Series of Catholic Homilies. British Museum Royal 7 C". XII fols. 4-218. EETS. Early English Manuscripts in Facsimile 13. Copenhagen: Rosenkilde and Bagger, 1966.

paragraph: BULLET::::- Elstob, Elizabeth. "An English-Saxon Homily on the Birth-day of St. Gregory: anciently used in the English-Saxon Church. Giving an account of the conversion of the English from paganism to Christianity, Translated into Modern English, with notes, etc.". London: W. Bowyer, 1709.

paragraph: BULLET::::- idem. "An English-Saxon Homily on the Birth-day of St. Gregory: anciently used in the English-Saxon Church. Giving an account of the conversion of the English from paganism to Christianity, Translated into Modern English, with notes, etc.". London: W. Bowyer, 1709. Created by Timothy Graham and designed by John Chandler. Kalamazoo, MI: The Board of the Medieval Institute, 2002. [cited 11 October 2004]. http://www.wmich.edu/medieval/research/rawl/elstob/cover.html.

paragraph: BULLET::::- Fausbøll, Else, ed. "Fifty-Six Ælfric Fragments: the Newly-Found Copenhagen Fragments of Ælfric's Catholic Homilies with Facsimiles". Copenhagen: University of Copenhagen, 1986.

paragraph: BULLET::::- Godden, Malcolm, ed. "Ælfric’s Catholic Homilies: Introduction, Commentary, and Glossary". EETS. Oxford: Oxford University Press, 2001.

paragraph: BULLET::::- idem. "Ælfric’s Catholic Homilies: the Second Series Text". EETS. London: Oxford University Press, 1979.

paragraph: BULLET::::- Temple, Winifred M. "An Edition of the Old English Homilies in the British Museum MS. Cotton Vitellius C.v.” 3 volumes. Diss. Edinburgh University, 1952.

paragraph: BULLET::::- Thorpe, Benjamin, ed. and trans. "The Homilies of the Anglo-Saxon Church. The First Part, Containing The Sermones Catholici, or Homilies of Ælfric". In the original Anglo-Saxon, with an English version. 2 volumes. Ælfrices Bocgild. London: Richard and John E. Taylor, 1844, 1846.

paragraph: BULLET::::- Hagiography

paragraph: BULLET::::- Skeat, Walter W. (ed. and tr.). "Ælfric’s Lives of Saints. Being a set of sermons on saints’ days formerly observed by the English Church". 2 volumes. EETS OS 76, 82 and 94, 114. London: N. Trübner & Co., 1881–85, 1890–1900. Reprinted as 2 volumes, 1966.

paragraph: BULLET::::- Griffiths, Bill, ed. and trans. "St Cuthbert: Ælfric's Life of the Saint in Old English with Modern English Parallel". Seaham: Anglo-Saxon Books, 1992.

paragraph: BULLET::::- Needham, G. I., ed. "Ælfric: Lives of Three English Saints". Gen. ed. M. J. Swanton. Exeter Medieval English Texts. 2nd ed. Exeter: University of Exeter, 1984.

paragraph: BULLET::::- Smith, Alexandra. “Ælfric’s Life of St. Cuthbert, Catholic Homily II.X: an edition with introduction, notes, translation, and glossary.” Diss. Queen's University at Kingston, 1972.

paragraph: BULLET::::- Corona, Gabriella, ed. "Ælfric’s Life of Saint Basil the Great: Background and Content". Anglo-Saxon Texts 5. Cambridge: D. S. Brewer, 2006.

paragraph: BULLET::::- Upchurch, Robert, ed. "Ælfric’s Lives of the Virgin Spouses with Modern English Parallel-Text Translations". Exeter Medieval Texts and Studies. University of Exeter Press, 2007.

paragraph: BULLET::::- "Old English Hexateuch"

paragraph: BULLET::::- Crawford, Samuel J., ed. "The Old English Version of the Heptateuch, Ælfric’s Treatise on the Old and New Testament and His Preface to Genesis". EETS OS 160. London: Oxford University Press, 1969.

paragraph: BULLET::::- Hawk, Brandon, W., Ælfric’s Preface to Genesis: A Translation. brandonwhawk.net 30 July 2014.

paragraph: BULLET::::- Correspondence

paragraph: BULLET::::- Fehr, Bernhard, ed. "Die Hirtenbriefe Ælfrics: in Altenglischer und Lateinischer Fassung. 1914. With a supplement to the Introduction by Peter Clemoes". Darmstadt: Wissenschaftliche Buchgesellschaft, 1966.

paragraph: BULLET::::- Jones, Christopher A. "Ælfric's Letter to the Monks of Eynsham". Cambridge: Cambridge University Press, 1999.

paragraph: BULLET::::- Other

paragraph: BULLET::::- Crawford, Samuel J., ed. "Exameron Anglice or The Old English Hexameron". Hamburg: Verlag von Henri Grand, 1921.

paragraph: BULLET::::- Henel, Heinrich, ed. "Ælfric’s De Temporibus Anni". EETS OS 213. 1942. Woodbridge: Boydell and Brewer, 1970.

paragraph: BULLET::::- Zupitza, Julius. "Ælfrics Grammatik und Glossar". Berlin: Weidmannsche Buchhandlung, 1880. scans available online

paragraph: BULLET::::- Throop, Priscilla, trans., "Aelfric's Grammar and Glossary", Charlotte, VT: MedievalMS, 2008.

paragraph: BULLET::::- Garmonsway, G. N., ed. "Colloquy. Ælfric". 2nd ed. 1939. Exeter: University of Exeter, 1999.

paragraph: BULLET::::- Tessmann, Alfred, ed., "Ælfrics ae Bearbeitung der Interrogationes Sigewulfi Presbyteri in Genesim des Alcuin" (Berlin 1891).

paragraph: Section::::Links to original texts.

paragraph: BULLET::::- The homilies, in Anglo-Saxon, with an English version by B.Thorpe.

paragraph: BULLET::::- The life of Oswald (in Latin), pg. 399 ff.

alias:
Ælfric the Grammarian
Alfricus Grammaticus
Ælfric of Cerne
Ælfric the Homilist

description: abbot and author

wikidata_label: Ælfric of Eynsham

wikipedia_title: Ælfric of Eynsham


text: French royal house

text: Edward II of England

text: Thomas, 2nd Earl of Lancaster

text: Lords Ordainers

text: Piers Gaveston

text: Marie de St Pol

text: Pembroke College, Cambridge

text: Westminster Abbey

text: William de Valence

text: Hugh X, Count of La Marche

text: Isabella of Angoulême

text: Henry III

text: King John

text: earldom of Pembroke

text: Joan de Munchensi

text: William Marshal

text: crusade

text: Lord Edward

text: county palatine

text: Pembrokeshire

text: Gloucestershire

text: East Anglia

text: Wexford

text: Poitou

text: Calais

text: Edward I

text: Flanders

text: Battle of Methven

text: Robert the Bruce

text: Loudoun Hill

text: Edward II

text: favourite

text: Piers Gaveston

text: Ordinances

text: Earl of Surrey

text: Warwick

text: Hereford

text: Arundel

text: chivalric codes

text: Battle of Bannockburn

text: Avignon

text: Treaty of Leake

text: Hugh Despenser the Younger

text: Battle of Boroughbridge

text: leper

text: Gravesend

text: Picardy

text: T. F. Tout

text: Treaty of Leake

text: J. R. S. Phillips

text: Dagenham

text: Valence House

text: Raoul de Clermont

text: Picardy

text: Constable of France

text: Marie de St Pol

text: Guy de Châtillon

text: Pembroke College, Cambridge

text: dexter

text: Westminster Abbey

text: Edmund Crouchback

categories: Earls of Pembroke (1247),English people of the Wars of Scottish Independence,1270s births,13th-century English people,1324 deaths,English people of French descent,English generals

paragraph: Aymer de Valence, 2nd Earl of Pembroke

paragraph: Aymer de Valence, 2nd Earl of Pembroke (c. 127523 June 1324) was a Franco-English nobleman. Though primarily active in England, he also had strong connections with the French royal house. One of the wealthiest and most powerful men of his age, he was a central player in the conflicts between Edward II of England and his nobility, particularly Thomas, 2nd Earl of Lancaster. Pembroke was one of the Lords Ordainers appointed to restrict the power of Edward II and his favourite Piers Gaveston. His position changed with the great insult he suffered when Gaveston, as a prisoner in his custody whom he had sworn to protect, was removed and beheaded on the instigation of Lancaster. This led Pembroke into close and lifelong cooperation with the King. Later in life, however, political circumstances combined with financial difficulties would cause him problems, driving him away from the centre of power.

paragraph: Though earlier historians saw Pembroke as the head of a "middle party", between the extremes of Lancaster and the king, the modern consensus is that he remained essentially loyal to Edward throughout most of his career. Pembroke was married twice, and left no legitimate issue, though he did have a bastard son. He is today remembered primarily through his wife Marie de St Pol's foundation of Pembroke College, Cambridge, and for his splendid tomb that can still be seen in Westminster Abbey. He was also an important figure in the wars surrounding the attempted English occupation of Scotland.

paragraph: Section::::Family and early years.

paragraph: Aymer was the son of William de Valence, son of Hugh X, Count of La Marche and Isabella of Angoulême. William was Henry III's half-brother through his mother's prior marriage to King John, and as such gained a central position in the Kingdom of England. He had come to the earldom of Pembroke through his marriage to Joan de Munchensi, granddaughter of William Marshal. Aymer was the third son of his family, so little is known of his birth and early years. He is believed to have been born some time between 1270 and 1275. As his father was on crusade with Lord Edward until January 1273, a date towards the end of this period is more likely. With the death in battle in Wales of his remaining brother William in 1282 (John, the elder brother, was dead in 1277), Aymer found himself heir to the Earldom of Pembroke. William de Valence died in 1296, and Aymer inherited his father's French lands, but had to wait until his mother died in 1307 to succeed to the Earldom. Through inheritance and marriages his lands consisted ofapart from the county palatine in Pembrokeshireproperty spread out across England primarily in a strip from Gloucestershire to East Anglia, in south-east Ireland (Wexford), and French lands in the Poitou and Calais areas.

paragraph: In 1297 he accompanied Edward I on a campaign to Flanders, and seems to have been knighted by this time. With his French connections he was in the following years a valuable diplomat in France for the English King. He also served as military commander in occupied Scotland. In 1298 at Blackearnside, a forest of alders, to the east of the village of Newburgh in Fife, he suffered an ignominious defeat from a force commanded by Wallace, Guardian of Scotland. In 1306 at the Battle of Methven, in a sneak attack, he won the day over Robert the Bruce only to be soundly defeated by Bruce at Loudoun Hill the next year.

paragraph: Section::::Ordinances and Piers Gaveston.

paragraph: Edward I died in 1307 and was succeeded by his son Edward II. The new King at first enjoyed the good will of his nobility, Valence among them. Conflict soon ensued, however, connected especially with the enormous unpopularity of Edward's favourite Piers Gaveston. Gaveston's arrogance towards the peers, and his control over Edward, united the Baronage in opposition to the King. In 1311 the initiative known as the Ordinances was introduced, severely limiting Royal powers in financial matters and in the appointment of officers. Equally important, Gaveston was expelled from the realm, as Edward I had already done once before. Pembroke, who was not among the most radical of the Ordainers, and had earlier been sympathetic with the King, had now realised the necessity of exiling Gaveston.

paragraph: When Gaveston without permission returned from exile later the same year, a Baronial council entrusted Pembroke and the Earl of Surrey, with the task of taking him into custody. This they did on 19 May 1312, but not long after Thomas of Lancaster, acting with the Earls of Warwick, Hereford and Arundel, seized Gaveston and executed him on 19 June. This act had the effect of garnering support for the King, and marginalising the rebellious earls. As far as Pembroke is concerned, the seizing and execution of a prisoner in his custody was a breach of the most fundamental chivalric codes, and a serious affront to his honour. The event must therefore be seen as pivotal in turning his sympathies away from the rebels and towards the King.

paragraph: Section::::Later years.

paragraph: In the following years Pembroke worked closely with the King. He was appointed the King's lieutenant in Scotland in 1314, and was present at the disastrous English defeat at the Battle of Bannockburn, where he helped lead Edward away from the field of battle. In 1317, however, while returning from a papal embassy to Avignon, he was captured by a Jean de Lamouilly, and held for ransom in Germany. The ransom of £10,400 was to cause Pembroke significant financial difficulties for the remainder of his life.

paragraph: Although ostracised because of the murder of Gaveston, Thomas of Lancaster had regained virtual control of royal government in the period after England's defeat at Bannockburn. Proving himself as incapable to rule as Edward, however, he soon grew unpopular. Pembroke was one of the magnates who in the years 1316-18 tried to prevent civil war from breaking out between the supporters of Edward and those of Lancaster, and he helped negotiate the Treaty of Leake in 1318, restoring Edward to power. Peace did not last long, however, as the King by now had taken on Hugh Despenser the Younger as another favourite, in much the same position as Gaveston. Pembroke's attempts at reconciliation eventually failed, and civil war broke out in 1321. In 1322 Lancaster was defeated at the Battle of Boroughbridge, and executed. Pembroke was among the Earls behind the conviction. Also in 1322, Pembroke founded a leper hospital in Gravesend.

paragraph: After Boroughbridge Pembroke found himself in a difficult situation. The opponents of Hugh Despenser and his father had lost all faith in him, but at the same time he found himself marginalised at court where the Despensers' power grew more and more complete. On top of this came his financial problems. On 24 June 1324, while on an embassy to France, he suddenly collapsed and died while lodging somewhere in Picardy.

paragraph: Section::::Legacy.

paragraph: T. F. Tout in 1914, one of the first historians to make a thorough academic study of the period, considered Pembroke the one favourable exception in an age of small-minded and incompetent leaders. Tout wrote of a "middle party", led by Pembroke, representing a moderate position between the extremes of Edward and Lancaster. This "middle party" supposedly took control of royal government through the Treaty of Leake in 1318. In his authoritative study of 1972, J. R. S. Phillips rejects this view. In spite of misgivings with the King's favourites, Pembroke was consistently loyal to Edward. What was accomplished in 1318 was not the takeover by a "middle party", but simply a restoration of royal power.

paragraph: Aymer and his sister Agnes rented one of the old manor houses of Dagenham in Essex, which has been called Valence House ever since; it is now a museum.

paragraph: Aymer married twice; his first marriage, before 1295, was to Beatrice, daughter of Raoul de Clermont, Lord of Nesle in Picardy and Constable of France. Beatrice died in 1320, and in 1321 he married Marie de St Pol, daughter of Guy de Châtillon, Count of St Pol and Butler of France. He never had any legitimate children, but he had an illegitimate son, Henry de Valence, whose mother is unknown. Pembroke's most lasting legacy is probably through his second wife, who in 1347 founded Pembroke College, Cambridge. The family arms are still represented on the dexter side of the college arms. Aymer de Valence was buried in Westminster Abbey, where his tomb can still be seen as a splendid example of late gothic architecture, elaborating on the design of the nearby tomb of Edmund Crouchback.

paragraph: Section::::Sources.

paragraph: BULLET::::- Phillips, J. R. S. Valence, Aymer de, eleventh earl of Pembroke (d. 1324), "Oxford Dictionary of National Biography" (Oxford, 2004).

description: English general

wikidata_label: Aymer de Valence, 2nd Earl of Pembroke

wikipedia_title: Aymer de Valence, 2nd Earl of Pembroke


text: Scottish

text: Victoria Cross

text: British

text: Commonwealth

text: sergeant

text: British Army

text: First World War

text: Marfaux

text: France

text: Monuments to Courage

text: The Register of the Victoria Cross

text: Scotland's Forgotten Valour

categories: British military personnel killed in World War I,1898 births,People from Kirkintilloch,British Army personnel of World War I,Seaforth Highlanders soldiers,British World War I recipients of the Victoria Cross,1918 deaths,Recipients of the Military Medal,British Army recipients of the Victoria Cross

paragraph: John Meikle

paragraph: John Meikle (11 September 1898 – 20 July 1918) was a Scottish recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces.

paragraph: Section::::Details.

paragraph: He was 19 years old, and a sergeant in the 4th Battalion, The Seaforth Highlanders (Ross-shire Buffs, Duke of Albany's), British Army during the First World War when the following deed took place for which he was awarded the VC.

paragraph: On 20 July 1918 near Marfaux, France, Sergeant Meikle, single-handed and armed only with a revolver and a stick, rushed and put out of action a machine-gun which was delaying his company's advance. Shortly afterwards, seizing a rifle and bayonet from a fallen comrade, he charged another machine-gun post, but was killed almost on the gun position. His bravery enabled two other men who followed him to put this gun out of action.

paragraph: Section::::Memorial.

paragraph: A memorial to John Meikle stands in Station Road, Dingwall. The inscription reads: "In memory of Sergt John Meikle V.C M.M late clerk at Nitshill Station who enlisted in H.M. Forces (Seaforth Highlanders) 8th February 1915 during the Great War and was killed in action on 20th July 1918. Erected by his railway comrades".

paragraph: The memorial formerly stood at Nitshill railway station and was unfortunately vandalised many times over the decades. It was moved to Levern Primary School in Nitshill, the local school John had attended and was on display in the school entrance for many years. When the school was to be demolished in 1997 the Head Teacher, Margaret Gallagher, contacted the Railway Authorities to enable the memorial to be saved for posterity. On 18 October 2016 a new memorial funded by the Railway Heritage Trust was unveiled at Nitshill Station by ScotRail Alliance MD Phil Verster with Sgt Meikle's nephews Alan and John Meikle.

paragraph: Section::::References.

paragraph: BULLET::::- Monuments to Courage (David Harvey, 1999)

paragraph: BULLET::::- The Register of the Victoria Cross (This England, 1997)

paragraph: BULLET::::- Scotland's Forgotten Valour (Graham Ross, 1995)

paragraph: BULLET::::- VCs of the First World War - Spring Offensive 1918 (Gerald Gliddon, 1997)

description: Recipient of the Victoria Cross

wikidata_label: John Meikle

wikipedia_title: John Meikle


text: Berea, Ohio

text: Seattle

text: Granville, Ohio

text: BMI

text: Berklee

text: studio musician

text: arranger

text: Aaron Neville

text: Aztec Camera

text: Brian Wilson

text: Carly Simon

text: Chaka Khan

text: Chromeo

text: Diana Krall

text: Diana Ross

text: Donald Fagen

text: Eric Clapton

text: James Taylor

text: Karen Carpenter

text: Madonna

text: Michael Franks

text: Natalie Cole

text: Paul Simon

text: Rihanna

text: Steely Dan

text: Joe Cool

text: Will Lee

text: Christopher Parker

text: Pony Canyon

text: Idina Menzel

text: Working Girl

text: Carly Simon

text: Bright Lights, Big City

text: Donald Fagen

text: Sex and the City

text: Guiding Light

text: Grammy Award

text: Emmy Awards

text: Zen

text: Brooklyn

text: Brett Eldredge

text: James Taylor

text: Billy Porter

text: Rihanna

text: Mary J. Blige

text: Usher

text: Deborah Cox

text: Steely Dan

text: Gaucho

text: Donald Fagen

text: The Nightfly

text: Paul Simon

text: Graceland

text: Phil Collins

text: Madonna

text: Crazy for You

text: Michael Franks

text: Passionfruit

text: Skin Dive

text: The Camera Never Lies

text: Aretha Franklin

text: Nessun Dorma

text: Idina Menzel

text: When You Wish upon a Star

text: Holiday Wishes

text: List of ambient music artists

text: Official site

categories: American jazz pianists,American music arrangers,American jazz composers,American male pianists,American rock keyboardists,American jazz musicians,People from Findlay, Ohio,American soul keyboardists,American jazz keyboardists,People from Granville, Ohio,1952 births,Aztec Camera members,Steely Dan members,American session musicians,American Zen Buddhists,Male jazz composers,Living people,American male composers,American record producers,American rhythm and blues keyboardists,People from Berea, Ohio

paragraph: Rob Mounsey

paragraph: Rob Mounsey (born December 2, 1952) is an American musician, composer, and arranger.

paragraph: Section::::Music career.

paragraph: Mounsey was born in Berea, Ohio, and grew up in Seattle, Washington, spending a few years each in Findlay and Granville, Ohio. At the age of 17, he was awarded a 1970 BMI Student Composer Award for his orchestral work "Ilium, New York, Is Divided into Three Parts". He attended Berklee College of Music in Boston from 1971 to 1975.

paragraph: In 1976, he moved to New York City to become a studio musician, arranger, and producer for a wide range of well-known artists, including Aaron Neville, Aztec Camera, Brian Wilson, Carly Simon, Chaka Khan, Chromeo, Diana Krall, Diana Ross, Donald Fagen, Eric Clapton, James Taylor, Karen Carpenter, Madonna, Michael Franks, Natalie Cole, Paul Simon, Rihanna, Steely Dan, and others. He performed on keyboards in 1981 for Simon and Garfunkel's Concert in the Park.

paragraph: In 1985, he played keyboards in a New-York-based group called Joe Cool with Will Lee, Jeff Mironov and Christopher Parker. They released one album, "Party Animals", on the Pony Canyon label in Japan, followed by a Japanese tour.

paragraph: Mounsey released three solo albums as a recording artist: "Dig" (Sona Gaia, 1990), and two self-released albums on his own Monkeyville label, "Back in the Pool" and "Mango Theory."

paragraph: He toured as musical director and pianist for Idina Menzel in her Pops Symphony tour, for which he created nearly all of the arrangements.

paragraph: He has composed for film and television, including the 1988 Mike Nichols film "Working Girl" (with Carly Simon), the film "Bright Lights, Big City" (with Donald Fagen) and the HBO hit series "Sex and the City". Mounsey wrote two long-running Emmy-winning themes for the television show "Guiding Light". He is a six-time Grammy Award nominee, and a winner of two Emmy Awards. He is a Zen Buddhist who resides in Brooklyn, New York.

paragraph: Section::::Selected credits.

paragraph: BULLET::::- Brett Eldredge, "Glow" (arranger, conductor, pianist, co-producer)

paragraph: BULLET::::- James Taylor, "Before This World" (arranger; number one album)

paragraph: BULLET::::- Billy Porter, "Billy's Back on Broadway" (producer-arranger)

paragraph: BULLET::::- Rihanna, string arrangements (including her hit "Unfaithful").

paragraph: BULLET::::- Mary J. Blige, string arrangements, "Growing Pains"

paragraph: BULLET::::- Usher, string arrangements, "Here I Stand"

paragraph: BULLET::::- Leslie Mendelson, "Swan Feathers" (producer) (Grammy nomination)

paragraph: BULLET::::- Deborah Cox, "Destination Moon" (producer-arranger)

paragraph: BULLET::::- Steely Dan, "Gaucho" (arranger and keyboardist)

paragraph: BULLET::::- Donald Fagen, "The Nightfly" (arranger-keyboards) (Grammy nomination)

paragraph: BULLET::::- Paul Simon, "Graceland" (including uncredited horn arrangement on "You Can Call Me Al")

paragraph: BULLET::::- Phil Collins, "Against All Odds (Take a Look at Me Now)" (piano and all keyboards)

paragraph: BULLET::::- Madonna, "Crazy for You" (arranger)

paragraph: BULLET::::- Michael Franks, "Passionfruit", "Skin Dive", "The Camera Never Lies" (producer)

paragraph: BULLET::::- Aretha Franklin, "Nessun Dorma" (arranger) (Grammy nomination)

paragraph: BULLET::::- Idina Menzel, Pops orchestra arrangements for tours, "When You Wish upon a Star" from "Holiday Wishes" (producer)

paragraph: Section::::See also.

paragraph: BULLET::::- List of ambient music artists

paragraph: Section::::External links.

paragraph: BULLET::::- Official site

description: New York composer, arranger, music producer, pianist, conductor

wikidata_label: Rob Mounsey

wikipedia_title: Rob Mounsey


text: Detroit

text: Southampton

text: Yale University

text: The Yale Record

text: Columbia University

text: McKim, Mead & White

text: Forest Hills Gardens

text: Russell Sage Foundation

text: Ernst May

text: National Academy of Design

text: Connecticut Hall

text: Fulton Building

text: Walnut Grove Cemetery

text: The Boulders

text: Greenwood Lake, New York

text: The Church-in-the-Gardens

text: House of the Redeemer

text: Wereholme

text: Islip, New York

text: Carriage Paths, Bridges and Gatehouses

text: Acadia National Park

text: Acadia National Park, Maine

text: Aldus Chapin Higgins House

text: Russell Sage Foundation Building

text: Holy Trinity Rectory

text: Winter Harbor, Maine

text: Hartford, Connecticut

text: Shore Road Historic District

text: Cold Spring Harbor, New York

text: Atterbury Hill

categories: American architects,Architects from Detroit,Yale University alumni,1956 deaths,Writers from Tucson, Arizona,Columbia Graduate School of Architecture, Planning and Preservation alumni,1869 births,Artists from Detroit,American ecclesiastical architects

paragraph: Grosvenor Atterbury

paragraph: Grosvenor Atterbury (July 7, 1869 in Detroit, MI – October 18, 1956 in Southampton, NY) was an American architect, urban planner and writer. He studied at Yale University, where he was an editor of campus humor magazine "The Yale Record" After travelling in Europe, he studied architecture at Columbia University and worked in the offices of McKim, Mead & White.

paragraph: Much of Atterbury’s early work consisted of weekend houses for wealthy industrialists. Atterbury was given the commission for the model housing community of Forest Hills Gardens which began in 1909 under the sponsorship of the Russell Sage Foundation.

paragraph: For Forest Hills, Atterbury developed an innovative construction method: each house was built from approximately 170 standardized precast concrete panels, fabricated off-site and assembled by crane. The system was sophisticated even by modern standards: panels were cast with integral hollow insulation chambers; casting formwork incorporated an internal sleeve, allowing molds to be "broken" before concrete had completely set; and panels were moved to the site in only two operations (formwork to truck and truck to crane).

paragraph: Atterbury's system influenced the work of mid-1920s European modern architects like Ernst May, who used panelized prefab concrete systems in a number of celebrated experimental housing projects in Frankfurt. In this way Atterbury can be considered a progenitor of the Modern Movement.

paragraph: Atterbury was elected to the National Academy of Design in 1918 as an Associate member, and became a full member in 1940.

paragraph: Atterbury worked on various projects with John D. Rockefeller, Jr., in the 1930's, including what today is Stone Barns Food and Agriculture Center, and the Gatehouse and Entrance Wall to Kykuit Estate, as well as the six stucco houses built for estate employees. The six houses were designed as the core of Pocantico Village that Rockefeller was building as Kykuit was being completed, and to complement the style of the Union Church and Pocantico Hills Central School, which he had completed.

paragraph: Section::::Works.

paragraph: BULLET::::- Stone Barns Center for Food and Agriculture, Pocantico Hills, New York, 1930-33

paragraph: BULLET::::- Six cottages commissioned by John D. Rockefeller, Jr., for estate employees, Kykuit, Pocantico Hills, New York, 1930-33

paragraph: BULLET::::- Kykuit Gate House and Entrance Wall, and Administrative Building, Pocantico Hills, New York, 1930

paragraph: BULLET::::- Connecticut Hall restoration, New Haven, Connecticut, 1905

paragraph: BULLET::::- Renaissance Pittsburgh Hotel (formerly Fulton Building), Pittsburgh, Pennsylvania, 1906

paragraph: BULLET::::- Tenney Memorial Chapel, Walnut Grove Cemetery, Methuen, Massachusetts, 1906

paragraph: BULLET::::- The Boulders, 99 Shore Ave. Greenwood Lake, New York, 1911

paragraph: BULLET::::- The Church-in-the-Gardens, New York City, 1915

paragraph: BULLET::::- Surprise Valley Farm, Newport, Rhode Island, 1914-1916

paragraph: BULLET::::- Industrial village (the pottery houses) for Holston Corporation, 1915-1916

paragraph: BULLET::::- House of the Redeemer, New York City, 1916

paragraph: BULLET::::- Wereholme, Islip, New York, 1917

paragraph: BULLET::::- Carriage Paths, Bridges and Gatehouses, Acadia National Park and vicinity Acadia National Park, Maine, 1919

paragraph: BULLET::::- Aldus Chapin Higgins House, Worcester, Massachusetts, 1921

paragraph: BULLET::::- Sage House (formerly Russell Sage Foundation Building), New York City, 1922 to 1926

paragraph: BULLET::::- Holy Trinity Rectory, a four-storey brick rectory at 341 East 87th Street, Manhattan, 1927 (for $50,000).

paragraph: BULLET::::- Pond Mansion, Tucson, Arizona, 1930

paragraph: BULLET::::- Rockefeller Hall, Winter Harbor, Maine, 1933, commissioned by John D. Rockefeller, Jr. and built by the National Park Service to house Navy personnel in the French Norman Revival-style.

paragraph: BULLET::::- Children's Village of the Hartford Orphan Asylum, 1680 Albany Ave. Hartford, Connecticut

paragraph: BULLET::::- Shore Road Historic District, Shore Rd. Cold Spring Harbor, New York

paragraph: Section::::See also.

paragraph: BULLET::::- Atterbury Hill, Southampton.

paragraph: Section::::External links.

paragraph: BULLET::::- Grosvenor Atterbury papers and photographs, circa 1900-1994. Held by the Department of Drawings & Archives, Avery Architectural & Fine Arts Library, Columbia University.

paragraph: BULLET::::- Designing for High and Low, by Christopher Gray, Oct. 22, 2009, New York Times, www.nytimes.com/2009/10/25/realestate/25scapes.html

description: American architect

wikidata_label: Grosvenor Atterbury

wikipedia_title: Grosvenor Atterbury


text: naturalist

text: painter

text: portrait

text: landscapes

text: protective coloration

text: military camouflage

text: World War I

text: Theodore Roosevelt

text: animal coloration

text: New Hampshire

text: Boston

text: Keene

text: Mount Monadnock

text: Audubon

text: Birds of America

text: taxidermy

text: Chauncy Hall School

text: Ellen Thayer Fisher

text: Brooklyn

text: New York

text: National Academy of Design

text: Lemuel Wilmarth

text: Daniel Chester French

text: Society of American Artists

text: École des Beaux-Arts

text: Henri Lehmann

text: Jean-Léon Gérôme

text: George de Forest Brush

text: Daniel Chester French

text: George Washington Cable

text: Mark Twain

text: Henry James

text: Gladys

text: Moses Yale Beach

text: The New York Sun

text: Dublin, New Hampshire

text: Gladys

text: St Ives, Cornwall

text: Washington, D.C.

text: Earl Cowley

text: Rockwell Kent

text: Clarence King

text: Mariana Van Rensselaer

text: Charles Lang Freer

text: Freer Gallery of Art

text: Metropolitan Museum of Art

text: National Academy of Design

text: Smithsonian American Art Museum

text: Art Institute of Chicago

text: Rockwell Kent

text: Louis Agassiz Fuertes

text: Barry Faulkner

text: William James

text: Gladys

text: Dennis Miller Bunker

text: Thomas Wilmer Dewing

text: Smithsonian Institution

text: disruptive patterning

text: distractive markings

text: masquerade

text: Bates

text: Wallace

text: Poulton

text: countershading

text: peacock

text: flamingo

text: Theodore Roosevelt

text: Spanish–American War

text: seagull

text: World War I

text: Norman Wilkinson

text: dazzle camouflage

text: British War Office

text: battledress

text: khaki

text: ship camouflage

text: Yale University

text: Mt. Monadnock

text: bipolar disorder

text: Theodore Roosevelt

text: panic attacks

text: Dublin Pond

text: sanatorium

text: Wellesley, Massachusetts

text: stroke

text: Smithsonian American Art Museum

text: P. J. O'Rourke

text: Richard Meryman

text: Smithsonian

text: Stevenson Memorial

text: Robert Louis Stevenson

text: "The Sisters"

text: Archives of American Art

text: Smithsonian Institution

text: Archives of American Art

text: Smithsonian Institution

text: Cornwall Record Office

text: Lyman Allyn Art Museum

categories: 20th-century American painters,American alumni of the École des Beaux-Arts,American landscape painters,American male painters,Artists from Boston,People from Keene, New Hampshire,1849 births,People with bipolar disorder,1921 deaths,Camoufleurs,People from Dublin, New Hampshire,19th-century male artists,19th-century American painters

paragraph: Abbott Handerson Thayer

paragraph: Abbott Handerson Thayer (August 12, 1849May 29, 1921) was an American artist, naturalist and teacher. As a painter of portraits, figures, animals and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in the major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

paragraph: During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled "Concealing-Coloration in the Animal Kingdom". First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

paragraph: Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio.

paragraph: Section::::Early life.

paragraph: Thayer was born in Boston to William Henry Thayer and Ellen Handerson. The son of a country doctor, he spent his childhood in rural New Hampshire, near Keene, at the foot of Mount Monadnock. In that rural setting, he became an amateur naturalist (in his own words, he was "bird crazy"), a hunter and a trapper. Thayer closely studied Audubon's "Birds of America", experimented with taxidermy, and made his first artworks: watercolor paintings of animals.

paragraph: At the age of fifteen he was sent to the Chauncy Hall School in Boston, where he met Henry D. Morse, an amateur artist who painted animals. With guidance from Morse, Abbott developed and improved his painting skills, focusing on depictions of birds and other wildlife, and soon began painting animal portraits on commission. He also taught his sister, Ellen Thayer Fisher, techniques that he was learning.

paragraph: At age 18, he relocated to Brooklyn, New York, to study painting at the Brooklyn Art School and the National Academy of Design. studying under Lemuel Wilmarth. He met many emerging and progressive artists during this period in New York, including his future wife, Kate Bloede and his close friend, Daniel Chester French. He showed work at the newly formed Society of American Artists, and continued refining his skills as an animal and landscape painter. In 1875, after having married Kate Bloede, he moved to Paris, where he studied for four years at the École des Beaux-Arts, with Henri Lehmann and Jean-Léon Gérôme, and where his closest friend became the American artist George de Forest Brush. Returning to New York, he established his own portrait studio (which he shared with Daniel Chester French), became active in the Society of American Painters, and began to take in apprentices.

paragraph: Section::::Return to New Hampshire.

paragraph: Life became all but unbearable for Thayer and his wife during the early 1880s, when two of their small children died unexpectedly, just one year apart. Emotionally devastated, they spent the next several years relocating from place to place. Although he was not yet secure financially, Thayer's growing reputation resulted in more portrait commissions than he could accept. Among his sitters were George Washington Cable, Mark Twain, and Henry James. He also made numerous portraits of the three remaining Thayer children, Mary, Gerald, and Gladys, and used them as models for symbolic compositions such as "Angel" (1887) and "Virgin Enthroned" (1891).

paragraph: After her father died, Thayer's wife lapsed into an irreversible melancholia, which led to her confinement in an asylum, the decline of her health, and her eventual death on May 3, 1891, from a lung infection. Soon after, Thayer married their long-time friend, Emmeline "Emma" Buckingham Beach, whose father Moses Yale Beach owned " The New York Sun". He and his second wife spent their remaining years in rural New Hampshire, living simply and working productively. In 1901, they settled permanently in Dublin, New Hampshire, where Thayer had grown up.

paragraph: Eccentric and opinionated, Thayer grew more so as he aged, and his family's manner of living reflected his strong beliefs: the Thayers typically slept outdoors year-round in order to enjoy the benefits of fresh air, and the three children were never enrolled in a school. The younger two, Gerald and Gladys, shared their father's enthusiasms, and became painters. In 1898, Thayer visited St Ives, Cornwall and, with an introductory letter from C. Hart Merrian, the Chief of the US Biological Survey in Washington, D.C., applied to the lord of the Manor of St Ives and Treloyhan, Henry Arthur Mornington Wellesley, the 3rd Earl Cowley, for permission to collect specimens of birds from the cliffs at St Ives. During this latter part of his life, among Thayer's neighbors was George de Forest Brush, with whom (when they were not quarreling) he collaborated on camouflage.

paragraph: Section::::Artistic achievements.

paragraph: It is difficult to categorize Thayer simply as an artist. He was often described in first-person accounts as eccentric and mercurial, and there is a parallel contradictory mixture of academic tradition, spontaneity and improvisation in his artistic methods. For example, he is largely known as a painter of "ideal figures", in which he portrayed women as embodiments of virtue, adorned in flowing white tunics and equipped with feathered angel’s wings. At the same time, he did this using methods that were surprisingly unorthodox, such as purposely mixing dirt into the paint, or (in one instance at least, according to Rockwell Kent) using a broom instead of a brush to lessen the sense of rigidity in a newly finished, still-wet painting.

paragraph: Thayer was largely surrounded by women, be they his family, housekeepers, models or students. Biographer Ross Anderson believed that in his mind "feminine virtue and aesthetic grandeur were inextricably linked"; Thayer felt that the press and even other artists contributed to the degradation of women by emphasizing their sexuality, rather than exalting their moral attributes. When he began to add wings to his figures in the late 1880s, he was making more obvious the transcendent qualities he saw in the female subject: Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures."

paragraph: Thayer's first use of the theme was the painting "Angel". The wings were nailed into a board, in front of which his daughter Mary stood. The poignancy of Thayer's imagery was found wanting by art critic Clarence King, who suggested the use of buckets "to catch the dripping sentiment", yet other critics like Mariana Van Rensselaer were impressed by the serenity of Thayer's vision, and saw a "distinctly modern" approach in his traditional compositions.

paragraph: He survived with the help of his patrons, among them the industrialist Charles Lang Freer. Some of his finest works are in the collections of the Freer Gallery of Art, Metropolitan Museum of Art, National Academy of Design, Smithsonian American Art Museum, and Art Institute of Chicago.

paragraph: Section::::Teaching.

paragraph: Thayer was resourceful in his teaching, which he saw as a useful, inseparable part of his own studio work. Among his devoted apprentices were Rockwell Kent, Louis Agassiz Fuertes, Richard Meryman, Barry Faulkner (Thayer's cousin), Alexander and William James (the sons of Harvard philosopher William James), and Thayer's own son and daughter, Gerald and Gladys. He also had a profound influence on Dennis Miller Bunker, who, while not a formal pupil, was invited to paint alongside the older artist in 1886, and wrote "Thayer's the first great man I ever knew, and I can't quite get used to it."

paragraph: In a letter to Thomas Wilmer Dewing (, in the collection of the Archives of American Art, Smithsonian Institution), Thayer reveals that his method was to work on a new painting for only three days. If he worked longer on it, he said, he would either accomplish nothing or would ruin it. So on the fourth day, he would instead take a break, getting as far from the work as possible, but meanwhile instruct each student to make an exact copy of that three-day painting. Then, when he did return to his studio, he would (in his words) "pounce on a copy and give it a three-day shove again". As a result, he would end up with alternate versions of the same painting, in substantially different finished states.

paragraph: Section::::Camouflage contributions.

paragraph: Thayer is sometimes referred to as the "father of camouflage". While he did not invent camouflage, he was one of the first to write about disruptive patterning to break up an object's outlines, about distractive markings, about masquerade, as when a butterfly mimics a leaf (though here he was anticipated by Bates, Wallace, and Poulton), and especially about countershading.

paragraph: Beginning in 1892, he wrote about the function of countershading in nature, by which forms appear less round and less solid through inverted shading, by which he accounted for the white undersides of animals. This finding is still accepted widely, and is sometimes now called "Thayer’s Law". However, he became obsessed with the idea that all animals are camouflaged, spoiling his case by arguing that conspicuous birds like peacocks and flamingoes were in fact cryptically colored. He was vigorously attacked for this in a long paper by Theodore Roosevelt.

paragraph: Thayer first became involved in military camouflage in 1898, during the Spanish–American War, when he and his friend George de Forest Brush proposed the use of protective coloration on American ships, using countershading. The two artists did obtain a patent for their idea in 1902, titled "Process of Treating the Outsides of Ships, etc., for Making Them Less Visible", in which their method is described as having been modeled on the coloration of a seagull.

paragraph: Thayer and Brush’s experiments with camouflage continued into World War I, both collaboratively and separately. Early during that war, for example, Brush developed a transparent airplane, while Thayer continued his interest in disruptive or high-difference camouflage, which was not unlike what British ship camouflage designer Norman Wilkinson would call dazzle camouflage (a term that may have been inspired by Thayer's writings, which referred to disruptive patterns in nature as "razzle dazzle".)

paragraph: Gradually, Thayer and Brush entrusted their camouflage work to the responsibility of their sons. "Concealing-Coloration in the Animal Kingdom" (1909), which had taken seven years to prepare, was credited to Thayer's son, Gerald. At about the same time, Thayer once again proposed ship camouflage to the U.S. Navy (and was again unsuccessful), this time working not with Brush, but with Brush's son, Gerome (named in honor of his father's teacher).

paragraph: In 1915, during World War I, Thayer made proposals to the British War Office, trying unsuccessfully to persuade them to adopt a disruptively patterned battledress, in place of monochrome khaki, though he was too anxious to attend the meeting in person. Meanwhile, Thayer and Gerome Brush's proposal for the use of countershading in ship camouflage was approved for use on American ships, and a handful of Thayer enthusiasts (among them Barry Faulkner) recruited hundreds of artists to join the American Camouflage Corps.

paragraph: Section::::Later years.

paragraph: Despite rapid changes in the art world in the early 20th century, Thayer's reputation remained strong. Yale University offered him an honorary degree in 1916, and the Carnegie Institute in Pittsburgh mounted an exhibition of his work in 1919 that included over fifty paintings. The view from his home of Mt. Monadnock became a favorite subject, and when the area was threatened with development Thayer campaigned successfully for its preservation.

paragraph: By his own admission, Thayer often suffered from a condition that is now known as bipolar disorder. In his letters, he described it as "the Abbott pendulum", by which his emotions alternated between the two extremes of (in his words) "all-wellity" and "sick disgust". This condition apparently worsened as the controversy grew about his camouflage findings, most notably when they were denounced by former U.S. President Theodore Roosevelt. As he aged, he suffered increasingly from panic attacks (which he termed "fright-fits"), nervous exhaustion, and suicidal thoughts, so much so that he was no longer allowed to go out in his boat alone on Dublin Pond. Thayer continued to paint, but was compelled to stop working for weeks at a time due to nervous exhaustion. In an effort to avert suicidal thoughts, he sought help at a sanatorium in Wellesley, Massachusetts.

paragraph: At age 71, Thayer, disabled by a series of strokes, died quietly at home on May 29, 1921.

paragraph: Section::::Legacy.

paragraph: In October 2008, a documentary film about Thayer's life and work premiered at the Smithsonian American Art Museum. Titled "Invisible: Abbott Thayer and the Art of Camouflage," it featured a wide selection of his drawings and paintings, archival photographs, historic documents, and interviews with humorist P. J. O'Rourke, Richard Meryman, Jr. (whose father was Thayer’s student), camouflage scholar Roy R. Behrens, Smithsonian curator Richard Murray, Thayer’s friends and relatives, and others.

paragraph: Section::::See also.

paragraph: BULLET::::- "Stevenson Memorial", a 1903 painting by Thayer to commemorate the writer Robert Louis Stevenson

paragraph: BULLET::::- "The Sisters", an 1884 oil on canvas painting by Thayer

paragraph: Section::::Unpublished sources.

paragraph: BULLET::::- "Abbott Handerson Thayer And Thayer Family Papers", "Archives of American Art Smithsonian Institution", consisting of Thayer’s correspondence, photographs, and other manuscript material

paragraph: BULLET::::- "Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists", "Archives of American Art, Smithsonian Institution"

paragraph: BULLET::::- Letter from Thayer to the land agent of Earl Cowley, dated June 2, 1898, at the Cornwall Record Office, Ref. No. GHW/12/3/6/1/91/43.

paragraph: Section::::Published sources.

paragraph: BULLET::::- Ross Anderson (1982). "Abbott Handerson Thayer". Syracuse, NY: Everson Museum.

paragraph: BULLET::::- Roy R. Behrens, "The Theories of Abbott H. Thayer: Father of Camouflage" in "Leonardo". Vol 21 No 3 (1988), pp. 291–296.

paragraph: BULLET::::- Roy R. Behrens, "Abbott H. Thayer's Anticipation of a Computer-Based Method of Working" in "Leonardo". Vol 34 No 1 (2001), pp. 19–20.

paragraph: BULLET::::- Roy R. Behrens, "The Meaning of the White Undersides of Animals: Abbott H. Thayer and the Laws of Disguise" in "False Colors: Art, Design and Modern Camouflage" (Bobolink Books, 2002). .

paragraph: BULLET::::- Mary Fuertes Boynton (1952) Abbott Thayer and Natural History. St. Catherine Press

paragraph: BULLET::::- Nancy Douglas Bowditch, "George de Forest Brush" (William Bauhan, 1970).

paragraph: BULLET::::- Barry Faulkner, "Sketches from an Artist’s Life" (William Bauhan, 1973).

paragraph: BULLET::::- Erica E. Hirshler, "Dennis Miller Bunker: American Impressionist". Museum of Fine Arts, Boston, 1994.

paragraph: BULLET::::- Elizabeth Prelinger, "The Gilded Age: Treasures from the Smithsonian American Art Museum". Watson-Guptill, New York, 2000.

paragraph: BULLET::::- Abbott H. Thayer and Gerald H. Thayer, "Concealing Colouration in the Animal Kingdom" (New York: Macmillan, 1909/1918).

paragraph: BULLET::::- Nelson C. White, "Abbott H. Thayer: Painter and Naturalist" (Connecticut Printers, 1951).

paragraph: BULLET::::- Nancy Stula with Nancy Noble, "American Artists Abroad and their Inspiration" (New London: Lyman Allyn Art Museum, 2004).

paragraph: Section::::External links.

paragraph: BULLET::::- Abbott Handerson Thayer exhibition catalogs from The Metropolitan Museum of Art Libraries

paragraph: BULLET::::- "A Painter of Angels Became the Father of Camouflage" article that first appeared in "Smithsonian Magazine"

paragraph: BULLET::::- "Abbott Thayer's Camouflage Demonstrations: Countershading, Disruption and Background Picturing"

paragraph: BULLET::::- Exhibition of paintings by Abbott H. Thayer : Pittsburgh, Carnegie Institute, 1919

alias:
Abbot Handerson Thayer
Abbot Thayer
Abbot H. Thayer
Abbott Thayer
Abbott H. Thayer
A. H. Thayer
Abbott Henderson Thayer
A.H. Thayer
thayer abbott henderson
Thayer

description: American artist

wikidata_label: Abbott Handerson Thayer

wikipedia_title: Abbott Handerson Thayer


text:
ancient Egypt
Mentuhotep II
11th Dynasty
TT319
Deir el-Bahari
Iah
Intef III

categories: Queens consort of the Eleventh Dynasty of Egypt

paragraph: Neferu II

paragraph: Neferu II was the wife and sister of the ancient Egyptian king Mentuhotep II who ruled in the 11th Dynasty, around 2000 BC.

paragraph: Neferu is mainly known from her tomb (TT319) at Deir el-Bahari. The tomb was found badly destroyed but the decorated burial chamber was well preserved and many fragments from the reliefs in the tomb chapel were found. Her main titles were "king's wife" and "king's daughter". The inscriptions in the tomb mention that she was the daughter of a person called Iah, most likely the "king's mother" Iah who was the mother of king Mentuhotep II. She was therefore his sister. It is known that Mentuhotep II was the son of king Intef III who was most likely the father of Neferu.

paragraph: Section::::Literature.

paragraph: BULLET::::- Joyce Tyldesley: "Chronicle of the Queens of Egypt". Thames & Hudson. 2006, , p. 67.

description: ancient Egyptian queen consort

wikidata_label: Neferu II

wikipedia_title: Neferu II


text:
Orientalist
École des Beaux-Arts
Jules Coignet
Camille Roqueplan
Alsace
Auvergne
Normandy
Alsace
Paris Salon
Near East
Algiers
Constantine
Pierre-Édouard
King of Württemberg
Beirut
Damascus
Palmyra
Cairo
bey
Empress Eugénie
Suez Canal
1870 Franco-Prussian War
Lorinda Munson Bryant

categories: 1886 deaths,People from Paris,19th-century French painters,1814 births,French male painters,French orientalists

paragraph: Théodore Frère

paragraph: Charles-Théodore Frère (21 June 1814, Paris – 24 March 1888) was a French Orientalist painter.

paragraph: Section::::Biography.

paragraph: Painter of historical subjects, genre scenes, local scenes, landscapes (with figures) and seascapes; watercolourist and draughtsman. Orientalist.

paragraph: The son of a Paris music publisher, Frère studied at the École des Beaux-Arts under Jules Coignet and Camille Roqueplan.

paragraph: On completing his studies, he travelled throughout France visiting Alsace, Auvergne and Normandy. One of the painter‘s earliest drawings, maybe it‘s even the earliest drawing, he did with pencil on paper - showing a rural french landscape with an old farm, entitled „Schlettstadt 1833“. Since 1920 this town in Alsace is called Sélestat.

paragraph: On returning to Paris, he exhibited "Vue des Environs de Strasbourg" at the 1834 Paris Salon. His exhibits at the Salon in subsequent years were nearly all Orientalist paintings as a result of several journeys to Africa and the Near East. .

paragraph: Charles Théodore Frère exhibited at the Paris Salon from 1834 to 1881, participated in the Expositions Universelles of 1855, 1867 and 1878 in Paris and, up to and including 1887, in the Salon des Artistes Français.

paragraph: He was awarded medals in 1848 and in 1865.

paragraph: After a stay in Algiers in 1836, he left with the army for Constantine which was taken on 13 October 1837, returning to Paris in 1839. Like his younger brother Pierre-Édouard, he was a prolific painter. During his first trip to Algeria, he completed works for the King of Württemberg. Around 1851, he undertook a further journey to the Near East, visiting Malta, Greece, Egypt and Turkey becoming one of the few artists to paint Beirut, Damascus and Palmyra. In 1853, he established a studio in Cairo, becoming the court painter there. The viceroy of Egypt elevated him to the rank of bey.

paragraph: In 1869, he once again travelled to the Egypt, now as a member of Empress Eugénie's party, for the opening of the Suez Canal. She commissioned a series of watercolours which could not be delivered to her owing to the 1870 Franco-Prussian War. Instead they were given to her friend and pupil, the Marquis of Puisaye.

paragraph: His painting "SUNSET ON THE NILE, 1877" has been exhibited at the Paris Salon of 1877 (Cat. Nr. 872), Collection Berko Fine Paintings - Belgium.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Vue de la Ville de Constantine" (1841)

paragraph: BULLET::::- "La Prise de Constantine" (1843)

paragraph: BULLET::::- "Vue de la Mosquée Sidi Abd-Er-Raham"

paragraph: BULLET::::- Bazar A Beyrouth (1857)

paragraph: BULLET::::- "Scène de marché au Caire" (1864)

paragraph: BULLET::::- "Le café Jalata à Constantinople" (1865)

paragraph: BULLET::::- "l’Ile de Philae" (1865)

paragraph: BULLET::::- "Scène de rue au Caire" (1869)

paragraph: BULLET::::- "Jérusalem vue de la vallée de Jéhosafat" (c. 1881)

paragraph: BULLET::::- "Sunset on the Nile" (c. 1877)

paragraph: Section::::Sources and bibliography.

paragraph: BULLET::::- Clarence Cook, "Art et Artistes de notre temps", 1888.

paragraph: BULLET::::- Charles Stranahan, "Histoire de la peinture française", New York, Charles Scriner, 1888, p. 228.

paragraph: BULLET::::- Lorinda Munson Bryant, "Images et peintres français", London, T Fischer Unwin., 1923, p. 111.

paragraph: BULLET::::- J. R. Soubiran, "Le Paysage Provençal et l’École de Marseille avant les Impressionnistes, 1845-1874", Musée de Toulon, 1992, pp. 94–95.

paragraph: BULLET::::- "Dictionnaire Bénézit", Gründ, Paris, 1999.

paragraph: BULLET::::- Marion Vidal-Bué, "L’Algérie des peintres", Éditions Paris-Méditerranée, 2002, pp. 144–7.

paragraph: BULLET::::- Elisabeth Cazenave, "L’Afrique du Nord révélée par les Musées de Province", Edt, Bernard Giovangeli Association Abd el Tif, 2004, p. 49 and p. 483.

paragraph: BULLET::::- Catherine Granger, "L’Empereur et les arts, la liste civile de Napoléon III", Edt de l’École des Chartes, 2005, p. 866.

paragraph: BULLET::::- Ministère de l'Instruction Publique et des Beaux-Arts; Direction des Beaux-Arts, "Salon de 1877; 94e exposition officielle depuis l'année 1673", Paris 1877, Cat. Nr. 872.

alias:
Charles-Théodore Frère
Charles Théodore Frère
Charles Theodore Frere
Charles-Theodore Frere
Charles Théodore Frere
Theodore Frere
T. Frere
Th. Frère
theo frere
Theo Frère
theo. frere
Frere
th.re frere

description: painter

wikidata_label: Théodore Frère

wikipedia_title: Théodore Frère


text:
Spanish
Bilbao
Basque
Mocedades
Pablo Berger
Izaskun
1973 Eurovision Song Contest
Eres Tú
Latin America
El Consorcio
femur
Sergio y Estíbaliz website
El Consorcio website

categories: 1947 births,Basque-language singers,People from Bilbao,Basque singers,Living people

paragraph: Amaya Uranga

paragraph: Amaya Uranga Amezaga (born 18 February 1947) is a Spanish singer from Bilbao, best known for the fifteen years she spent as a member of the Basque folk/pop sextet Mocedades. She is a cousin of director Pablo Berger.

paragraph: Section::::Biography.

paragraph: Uranga formed Mocedades in 1969 with eight members. After numerous group changes, Uranga together with her sister Izaskun, her brother Roberto, and three other male members became the so-called "historic six" members of Mocedades who came second in the 1973 Eurovision Song Contest with the song "Eres Tú", and the band subsequently launched a hugely successful music career in Spain and Latin America.

paragraph: She was lead singer on many of Mocedades' most successful songs, such as the international smash hit "Eres Tú" and "Tómame o Déjame."

paragraph: Section::::Biography.:Solo career.

paragraph: Uranga left Mocedades in 1984 to pursue a solo career, although she failed to surpass her success in Mocedades. In the mid-1990s, Uranga joined a new band called El Consorcio. She has also appeared as herself many times on Spanish-language television shows. Amaya performed from a wheelchair in 2011 after breaking her femur.

paragraph: Section::::External links.

paragraph: BULLET::::- Sergio y Estíbaliz website

paragraph: BULLET::::- El Consorcio website

description: Spanish singer

wikidata_label: Amaya Uranga

wikipedia_title: Amaya Uranga


text:
Ludwig Koch (disambiguation)
Vienna
Austria
painter
sculptor
illustrator
genre painter
Spanish Riding School
school jumps
Academy of Fine Arts in Vienna
Siegmund L'Allemand
August Eisenmenger
portraits
Austro-Hungarian Army
war painter
Italian front
Austro-Hungarian Empire
army of the First Republic
Dorotheum
landscape collections
Josef Hoffmann
Joseph Maria Olbrich
Joseph Urban
United States
U. S. Polo Association
Hietzing cemetery
Friedrich von Beck-Rzikowsky
Museum of Military History, Vienna
Koch article in Time Magazine, 1927

categories: Austrian male painters,1866 births,20th-century Austrian painters,1934 deaths,19th-century Austrian painters

paragraph: Ludwig Koch (painter)

paragraph: "For other people called Ludwig Koch, see Ludwig Koch (disambiguation)".

paragraph: Ludwig Koch (Vienna, 13 December 1866 – 26 November 1934) was an Austrian painter, sculptor and illustrator.

paragraph: Section::::Life.

paragraph: Koch became known mainly as a horse and genre painter. He was a guest at the Spanish Riding School for many years, and recorded many of the school jumps artistically. In addition, he devoted himself to depictions of military history. He studied at the Academy of Fine Arts in Vienna from 1883 to 1891 and was a pupil of Siegmund L'Allemand and August Eisenmenger. Afterwards he was noted for paintings of Austrian military history, he received the special school prize for the painting "General Pappenheim" in 1889. In 1891, at the Viennese annual exhibition, he displayed the painting "Baptism of Fire of the Dragoon Regiment Windisch-Graetz in the Battle of Kolin".

paragraph: Even before 1914, Koch created portraits and uniforms of the Austro-Hungarian Army, which were often reproduced on postcards. He briefly served in the war as a war painter along the Italian front, but had to retire due to a kidney disease. Even after the collapse of the Austro-Hungarian Empire, Koch dedicated many works to the old army, but also created uniforms for the army of the First Republic.

paragraph: In addition to military subjects, the main themes of his genre paintings were scenes of the Viennese and of the imperial house (e.g. oil painting "Ride of the Archduke - Crown Prince Franz Ferdinand to the Maneuver" at the 590th art auction of the Dorotheum Vienna, 1970).

paragraph: Koch published several landscape collections and was an illustrator of many hippological works. One of his most famous works, "The Art of Riding in the Picture" is especially renowned among riders. He was also a member of the so-called "Siebener Club", an art association mainly composed of architects (including Josef Hoffmann, Joseph Maria Olbrich and Joseph Urban).

paragraph: In the 1920s Koch was invited to the United States by the U. S. Polo Association, members of which had heard him spoken of abroad as "the finest painter of horses in the world," to come to the U. S. and make pictures of the International Polo matches. Despite the Association's attempt at promotion, Koch remained relatively unknown and eventually decided to return to Europe.

paragraph: Ludwig Koch was buried in Vienna at the Hietzing cemetery in a dedicated grave (group 39, number 241).

paragraph: Section::::Works (Selection).

paragraph: BULLET::::- "Emperor Karl VI in front of Castle Neugebäude" by Ludwig Koch, 1930. Oil on wood, Berlin

paragraph: BULLET::::- "Portrait Friedrich von Beck-Rzikowsky", 1913. Oil on canvas, 90x70 cm, Museum of Military History, Vienna

paragraph: BULLET::::- "Rider Portrait Oberst Maximilian Ritter von Rodakowski at the top of the Trani-Ulanen in the Battle of Custozza on 24 June 1866", 1908. Oil on canvas, 347x244 cm, Museum of Military History, Vienna

paragraph: BULLET::::- Faded Fanfares, 1932. Oil on canvas, 128x171 cm, Museum of Military History, Vienna

paragraph: BULLET::::- "Oberst Brosch von Aarenau at the top of the Tyrolean Kaiserjäger Nr. 2", 1925. Oil on canvas, 100x70 cm, Museum of Military History, Vienna

paragraph: BULLET::::- "Marching up of the Constitution formed on 1 May 1934 to the Vienna City Hall", Oil on carton, Museum of Military History, Vienna

paragraph: Section::::Further reading.

paragraph: BULLET::::- Heinrich Fuchs: "Die österreichischen Maler des 19. Jahrhunderts". Selbstverlag Dr. Heinrich Fuchs, Vienna, 1972

paragraph: BULLET::::- Liselotte Popelka: "Vom Hurra zum Leichenfeld. Gemälde aus der Kriegsbildersammlung 1914-1918". Vienna, 1981

paragraph: Section::::External links.

paragraph: BULLET::::- Koch article in Time Magazine, 1927

alias:
Ludwig Koch II
Ludwig II Koch
koch ludwig
ludwig koch
l. koch
koch l.

description: Austrian artist

wikidata_label: Ludwig Koch

wikipedia_title: Ludwig Koch (painter)


text:
German
ornithologist
Icelandic bird
white man
Baffin Island
Dresden
Germany
geographer
Paul Kleinert
deacon
Annenkirche
Tharandt Forest
assistant teacher
Dresden-Plauen
scientific paper
German language
Slavonia
wader
waterfowl
Bulgaria
birds of prey
Rhodope Mountains
Balkans
Kingdom of Saxony
Iceland
subspecies
Labrador Peninsula
Killinek (Port Burwell)
egg shell
Friends of Nature
Berlin
Rudolf Virchow
Frederick Augustus III of Saxony
The New York Times
scientific community
Cumberland Sound
Blacklead Island
Inuit
Nettilling Lake
Foxe Channel
Europe
polar bear
trichinosis
Inuit
Foxe Basin
Hantzsch Island
Hantzsch River
Pen Hadow
Royal Geographical Society
University of Saskatchewan

categories: Explorers of the Arctic,German ornithologists,1875 births,People from Dresden,1911 deaths

paragraph: Bernhard Hantzsch

paragraph: Bernhard Adolph Hantzsch (12 January 1875 – June 1911) was a German ornithologist, Arctic researcher, and writer, notable for his discovery of two Icelandic bird subspecies. Hantzsch was the first white man to cross Baffin Island.

paragraph: Section::::Early life.

paragraph: Hantzsch was born in Dresden, Germany the youngest son of the school master and researcher Adolf Hantzsch (1841–1920) and his wife Emma Jencke (1842–1889), niece of Johann Friedrich Jencke (1812–1893), the founder of the Dresden Institute, the first deaf institution. Hantzsch's siblings include the geographer and historian Viktor Hantzsch (1868–1910), the builder Hermann Hantzsch (1870–1945), and the clergyman Paul Kleinert's wife, Bertha Kleinert (1873–1924).

paragraph: He was baptised on 8 February 1875 by the deacon, Dr. Frommhold from Dresden's Anne Church ("Annenkirche"). During the period of 1881 to 1889, he attended the second public school in Dresden.

paragraph: At an early age, Hantzsch spent time in Tharandt Forest for health reasons. He later became an assistant teacher in , a village within the forest, giving him the opportunity to study bird life and developing an ornithological career.

paragraph: While having little inclination to foreign languages in his early years, he later became fluent in Croatian, English, Danish, and Inuit.

paragraph: Section::::Career.

paragraph: After receiving a position in 1897 at a public school in Dresden-Plauen, he was able to continue his bird studies but in more varied terrain. In 1897, Hantzsch published his first scientific paper. Like all his future contributions, it was written in German language, and thus unavailable or overlooked by many ornithologists until recent years.

paragraph: Beginning in 1898, he made trips to Slavonia to study waders and waterfowl, and to Bulgaria in 1901. With the connections he received there, Hantzsch was able to study birds of prey in the Rhodope Mountains and the Balkans.

paragraph: After developing a "Check-List of the Birds of the Kingdom of Saxony, Hantzsch explored Iceland, he left for Iceland to study its birds during the period of 21 April-8 September 1903. There, he developed a scientific systematization of Icelandic birds. He is credited for the discovery of the subspecies "Acanthis Linaria islandica" in 1904, and "Corvus corax islandicus" in 1906. He developed two avifaunal lists of important regions in Europe, such as his 1905 "Contribution to Knowledge of the Avifauna of Iceland".

paragraph: In 1906, Hantzsch conducted research in Canada on the avifauna of the northeastern Labrador Peninsula, working in Killinek (Port Burwell) for several months, and then proceeding southward. He published "Contribution to Knowledge of the Avifauna of Labrador" in 1908. He also did research on egg shells. Hantzsch's research was not restricted to ornithology, and he published "Contribution to Knowledge of Northeastern Labrador" in 1909.

paragraph: Having secured almost 15,000 marks from the Society of Friends of Nature Institution of Berlin, the Rudolf Virchow Foundation of Berlin, and King Frederick Augustus III of Saxony, Hantzsch was prepared to spend three years on Baffin Island. According to "The New York Times", this trip aroused keen interest in the scientific community. He set off in 1909, and encountered disaster when his ship, the "Janthina Agatha", hit ice in Cumberland Sound and sank, losing most of its cargo. Hantzsch and the entire crew found refuge on Blacklead Island. With the assistance of some Inuit, he hauled a boat to Nettilling Lake, reaching it June of the following year. They reached Kokdjuak River at the end of August, and Foxe Channel at the end of September, becoming the first European to cross Baffin Island.

paragraph: Section::::Later years.

paragraph: Suffering from the hardship of his travels, and having eaten polar bear, Hantzsch died of trichinosis on Baffin Island in 1911. His Inuit companions buried him on the shores of Foxe Basin.

paragraph: Section::::Legacy.

paragraph: In 1913, his family established the Bernhard Hantzsch Foundation to assist North Polar region exploration.

paragraph: Hantzsch's Baffin Island zoological collections are located at the Royal Zoological Museum of Berlin. His Saxon ornithology collection and Labrador zoological-anthropological collections are located at the Zoological Anthropological Museum of Dresden. The Slavonian egg collection is located at the Dresden Heimatkundliche Schulmuseum.

paragraph: Hantzsch Island, on the southern tip of Baffin Island, and Hantzsch River on Baffin Island are named in his honor.

paragraph: Dresden's Hantzschstraße is named after Hantzsch and his brother Viktor.

paragraph: Hantzsch was an influence on the British Arctic explorer Pen Hadow, who, after finding and reading a copy of Hantzsch's translated diaries in the Royal Geographical Society library, decided to complete Hantzsch's trip.

paragraph: Section::::Partial bibliography.

paragraph: BULLET::::- (1913). "Observations on the mammals of Baffin's Land". OCLC 70485001

paragraph: BULLET::::- (1929). "Contribution to the knowledge of the avifauna of North-Eastern Labrador". OCLC 31841174

paragraph: BULLET::::- (1930). "Southern Baffin Island: an account of exploration, investigation and settlement during the past fifty years". OCLC 3473816

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Hantzsch, B., & Neatby, L. H. (1977). "My life among the Eskimos: Baffinland journeys in the years 1909 to 1911". Saskatoon, [Sask.]: University of Saskatchewan. OCLC 4497965

description: German ornithologist and Arctic researcher

wikidata_label: Bernhard Hantzsch

wikipedia_title: Bernhard Hantzsch