text: colloquial speech

text: New England

text: Pulitzer Prizes for Poetry

text: Congressional Gold Medal

text: poet laureate

text: Vermont

text: San Francisco, California

text: Tiverton, Devon

text: New Hampshire

text: Samuel Appleton

text: Ipswich, Massachusetts

text: Rev. George Phillips

text: Watertown, Massachusetts

text: The San Francisco Examiner

text: Lawrence, Massachusetts

text: Swedenborgian

text: Dartmouth College

text: Theta Delta Chi

text: carbon arc lamps

text: St. Lawrence University

text: Great Dismal Swamp

text: Virginia

text: Harvard University

text: a farm

text: Derry, New Hampshire

text: Pinkerton Academy

text: Plymouth State University

text: Plymouth, New Hampshire

text: Great Britain

text: Beaconsfield

text: Edward Thomas

text: Dymock poets

text: The Road Not Taken

text: T. E. Hulme

text: Ezra Pound

text: Holt's

text: Franconia, New Hampshire

text: The Frost Place

text: Phi Beta Kappa

text: Amherst College

text: Pulitzer Prizes

text: Bread Loaf School of English

text: Middlebury College

text: Ripton, Vermont

text: National Historic Landmark

text: University of Michigan

text: Ann Arbor

text: The Henry Ford

text: colonial era

text: Bennington College

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text: house

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text: Cambridge

text: Dartmouth College

text: Fairfax, Virginia

text: Lawrence, Massachusetts

text: Amherst College

text: Congressional Gold Medal

text: Edward MacDowell Medal

text: MacDowell Colony

text: inauguration of John F. Kennedy

text: The Gift Outright

text: Stewart Udall

text: Nikita Khrushchev

text: epitaph

text: Jones Library

text: Amherst, Massachusetts

text: Robert Frost Family Collection

text: tuberculosis

text: cancer

text: depression

text: cholera

text: puerperal fever

text: breast cancer

text: heart failure

text: Randall Jarrell

text: Stevens

text: Eliot

text: Modernist poetry

text: Brad Leithauser

text: Acquainted with the Night

text: Stopping by Woods on a Snowy Evening

text: Harold Bloom

text: Joseph Brodsky

text: Richard Ellmann

text: Edwin Arlington Robinson

text: Thomas Hardy

text: W.B. Yeats

text: Poetry Foundation

text: James Radcliffe Squires

text: Helen H. Bacon

text: Bacchae

text: Aeneid

text: Poetry

text: Harriet Monroe

text: Robert Graves

text: Rupert Brooke

text: Thomas Hardy

text: William Butler Yeats

text: John Keats

text: Robert Francis

text: Seamus Heaney

text: Richard Wilbur

text: Edward Thomas

text: James Wright

text: A Further Range

text: A Witness Tree

text: New York Times

text: Sarah Cleghorn

text: Poet laureate

text: Nobel Prize in Literature

text: Fire and Ice

text: George R. R. Martin

text: A Song of Ice and Fire

text: Southern New Hampshire University

text: Manchester, New Hampshire

text: A Boy's Will

text: North of Boston

text: After Apple-Picking

text: The Death of the Hired Man

text: Mending Wall

text: Mountain Interval

text: Birches

text: Out, Out

text: The Oven Bird

text: The Road Not Taken

text: New Hampshire

text: Fire and Ice

text: Nothing Gold Can Stay

text: Stopping by Woods on a Snowy Evening

text: West-Running Brook

text: Acquainted with the Night

text: Paul Johnston

text: Collected Poems of Robert Frost

text: Dartmouth College

text: A Further Range

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text: The Gift Outright

text: A Question

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text: List of poems by Robert Frost

text: Frostiana

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categories: American Poets Laureate,Pulitzer Prize for Poetry winners,Robert Frost,People from Lawrence, Massachusetts,Congressional Gold Medal recipients,Appleton family,1963 deaths,American people of Scottish descent,Phillips family (New England),1874 births,Poets Laureate of Vermont,Plymouth State University people,Dartmouth College alumni,Writers from San Francisco,American male poets,Formalist poets,Harvard University alumni,Burials in Vermont,University of Michigan faculty,Sonneteers,Harvard University faculty,People from Derry, New Hampshire,Members of the American Philosophical Society,Middlebury College faculty,People from Bennington, Vermont,American people of English descent,Writers from New Hampshire,Amherst College faculty,19th-century American poets,Bollingen Prize recipients

paragraph: Robert Frost

paragraph: Robert Lee Frost (March26, 1874January29, 1963) was an American poet. His work was initially published in England before it was published in America. Known for his realistic depictions of rural life and his command of American colloquial speech, Frost frequently wrote about settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes.

paragraph: Frost was honored frequently during his lifetime and is the only poet to receive four Pulitzer Prizes for Poetry. He became one of America's rare "public literary figures, almost an artistic institution." He was awarded the Congressional Gold Medal in 1960 for his poetic works. On July 22, 1961, Frost was named poet laureate of Vermont.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early years.

paragraph: Robert Frost was born in San Francisco, California, to journalist William Prescott Frost, Jr., and Isabelle Moodie. His mother was a Scottish immigrant, and his father descended from Nicholas Frost of Tiverton, Devon, England, who had sailed to New Hampshire in 1634 on the "Wolfrana".

paragraph: Frost was a descendant of Samuel Appleton, one of the early settlers of Ipswich, Massachusetts, and Rev. George Phillips, one of the early settlers of Watertown, Massachusetts.

paragraph: Frost's father was a teacher and later an editor of the "San Francisco Evening Bulletin" (which later merged with "The San Francisco Examiner"), and an unsuccessful candidate for city tax collector. After his death on May 5, 1885, the family moved across the country to Lawrence, Massachusetts, under the patronage of (Robert's grandfather) William Frost, Sr., who was an overseer at a New England mill. Frost graduated from Lawrence High School in 1892. Frost's mother joined the Swedenborgian church and had him baptized in it, but he left it as an adult.

paragraph: Although known for his later association with rural life, Frost grew up in the city, and he published his first poem in his high school's magazine. He attended Dartmouth College for two months, long enough to be accepted into the Theta Delta Chi fraternity. Frost returned home to teach and to work at various jobs, including helping his mother teach her class of unruly boys, delivering newspapers, and working in a factory maintaining carbon arc lamps. He did not enjoy these jobs, feeling his true calling was poetry.

paragraph: Section::::Biography.:Adult years.

paragraph: In 1894, he sold his first poem, "My Butterfly. An Elegy" (published in the November 8, 1894, edition of the "New York Independent") for $15 ($ today). Proud of his accomplishment, he proposed marriage to Elinor Miriam White, but she demurred, wanting to finish college (at St. Lawrence University) before they married. Frost then went on an excursion to the Great Dismal Swamp in Virginia and asked Elinor again upon his return. Having graduated, she agreed, and they were married at Lawrence, Massachusetts on December 19, 1895.

paragraph: Frost attended Harvard University from 1897 to 1899, but he left voluntarily due to illness. Shortly before his death, Frost's grandfather purchased a farm for Robert and Elinor in Derry, New Hampshire; Frost worked the farm for nine years while writing early in the mornings and producing many of the poems that would later become famous. Ultimately his farming proved unsuccessful and he returned to the field of education as an English teacher at New Hampshire's Pinkerton Academy from 1906 to 1911, then at the New Hampshire Normal School (now Plymouth State University) in Plymouth, New Hampshire.

paragraph: In 1912, Frost sailed with his family to Great Britain, settling first in Beaconsfield, a small town outside London. His first book of poetry, "A Boy's Will", was published the next year. In England he made some important acquaintances, including Edward Thomas (a member of the group known as the Dymock poets and Frost's inspiration for "The Road Not Taken"), T. E. Hulme, and Ezra Pound. Although Pound would become the first American to write a favorable review of Frost's work, Frost later resented Pound's attempts to manipulate his American prosody. Frost met or befriended many contemporary poets in England, especially after his first two poetry volumes were published in London in 1913 ("A Boy's Will") and 1914 ("North of Boston").

paragraph: In 1915, during World War I, Frost returned to America, where Holt's American edition of "A Boy's Will" had recently been published, and bought a farm in Franconia, New Hampshire, where he launched a career of writing, teaching, and lecturing. This family homestead served as the Frosts' summer home until 1938. It is maintained today as The Frost Place, a museum and poetry conference site. He was made an honorary member of Phi Beta Kappa at Harvard in 1916. During the years 1917–20, 1923–25, and, on a more informal basis, 1926–1938, Frost taught English at Amherst College in Massachusetts, notably encouraging his students to account for the myriad sounds and intonations of the spoken English language in their writing. He called his colloquial approach to language "the sound of sense."

paragraph: In 1924, he won the first of four Pulitzer Prizes for the book "New Hampshire: A Poem with Notes and Grace Notes". He would win additional Pulitzers for "Collected Poems" in 1931, "A Further Range" in 1937, and "A Witness Tree" in 1943.

paragraph: For forty-two years – from 1921 to 1962 – Frost spent almost every summer and fall teaching at the Bread Loaf School of English of Middlebury College, at its mountain campus at Ripton, Vermont. He is credited as a major influence upon the development of the school and its writing programs. The college now owns and maintains his former Ripton farmstead, a National Historic Landmark, near the Bread Loaf campus. In 1921 Frost accepted a fellowship teaching post at the University of Michigan, Ann Arbor, where he resided until 1927 when he returned to teach at Amherst. While teaching at the University of Michigan, he was awarded a lifetime appointment at the University as a Fellow in Letters. The Robert Frost Ann Arbor home was purchased by The Henry Ford Museum in Dearborn, Michigan and relocated to the museum's Greenfield Village site for public tours. Throughout the 1920s, Frost also lived in his colonial era home in Shaftsbury, VT. The home opened as the Robert Frost Stone House Museum in 2002 and was given to Bennington College in 2017.

paragraph: In 1934, Frost began to spend winter months in Florida. In March 1935, he gave a talk at the University of Miami. In 1940, he bought a plot in South Miami, Florida, naming it "Pencil Pines"; he spent his winters there for the rest of his life. In her memoir about Frost's time in Florida, Helen Muir writes, "Frost had called his five acres "Pencil Pines" because he said he had never made a penny from anything that did not involve the use of a pencil." His properties also included a house on Brewster Street in Cambridge, Massachusetts.

paragraph: Harvard's 1965 alumni directory indicates Frost received an honorary degree there. Although he never graduated from college, Frost received over 40 honorary degrees, including ones from Princeton, Oxford and Cambridge universities, and was the only person to receive two honorary degrees from Dartmouth College. During his lifetime, the Robert Frost Middle School in Fairfax, Virginia, the Robert L. Frost School in Lawrence, Massachusetts, and the main library of Amherst College were named after him.

paragraph: In 1960, Frost was awarded a United States Congressional Gold Medal, ""In recognition of his poetry, which has enriched the culture of the United States and the philosophy of the world,"" which was finally bestowed by President Kennedy in March 1962. Also in 1962, he was awarded the Edward MacDowell Medal for outstanding contribution to the arts by the MacDowell Colony.

paragraph: Frost was 86 when he read at the inauguration of John F. Kennedy on January 20, 1961. Frost originally attempted to read his poem "Dedication", which was written for the occasion, but was unable to read it due to the brightness of the sunlight, so he recited his poem "The Gift Outright" from memory instead.

paragraph: In the summer of 1962, Frost accompanied Interior Secretary Stewart Udall on a visit to the Soviet Union in hopes of meeting Nikita Khrushchev to lobby for peaceful relations between the two Cold War powers.

paragraph: Frost died in Boston on January 29, 1963 of complications from prostate surgery. He was buried at the Old Bennington Cemetery in Bennington, Vermont. His epitaph quotes the last line from his poem, "The Lesson for Today" (1942): "I had a lover's quarrel with the world."

paragraph: One of the original collections of Frost materials, to which he himself contributed, is found in the Special Collections department of the Jones Library in Amherst, Massachusetts. The collection consists of approximately twelve thousand items, including original manuscript poems and letters, correspondence and photographs, as well as audio and visual recordings. The Archives and Special Collections at Amherst College holds a small collection of his papers. The University of Michigan Library holds the Robert Frost Family Collection of manuscripts, photographs, printed items, and artwork. The most significant collection of Frost's working manuscripts is held by Dartmouth.

paragraph: Section::::Biography.:Personal life.

paragraph: Robert Frost's personal life was plagued by grief and loss. In 1885 when he was 11, his father died of tuberculosis, leaving the family with just eight dollars. Frost's mother died of cancer in 1900. In 1920, he had to commit his younger sister Jeanie to a mental hospital, where she died nine years later. Mental illness apparently ran in Frost's family, as both he and his mother suffered from depression, and his daughter Irma was committed to a mental hospital in 1947. Frost's wife, Elinor, also experienced bouts of depression.

paragraph: Elinor and Robert Frost had six children: son Elliot (1896–1900, died of cholera); daughter Lesley Frost Ballantine (1899–1983); son Carol (1902–1940, committed suicide); daughter Irma (1903–1967); daughter Marjorie (1905–1934, died as a result of puerperal fever after childbirth); and daughter Elinor Bettina (died just three days after her birth in 1907). Only Lesley and Irma outlived their father. Frost's wife, who had heart problems throughout her life, developed breast cancer in 1937, and died of heart failure in 1938.

paragraph: Section::::Work.

paragraph: Section::::Work.:Style and critical response.

paragraph: The poet/critic Randall Jarrell often praised Frost's poetry and wrote, "Robert Frost, along with Stevens and Eliot, seems to me the greatest of the American poets of this century. Frost's virtues are extraordinary. No other living poet has written so well about the actions of ordinary men; his wonderful dramatic monologues or dramatic scenes come out of a knowledge of people that few poets have had, and they are written in a verse that uses, sometimes with absolute mastery, the rhythms of actual speech." He also praised "Frost's seriousness and honesty," stating that Frost was particularly skilled at representing a wide range of human experience in his poems.

paragraph: Jarrell's notable and influential essays on Frost include the essays "Robert Frost's 'Home Burial' " (1962), which consisted of an extended close reading of that particular poem, and "To The Laodiceans" (1952) in which Jarrell defended Frost against critics who had accused Frost of being too "traditional" and out of touch with Modern or Modernist poetry. In Frost's defense, Jarrell wrote "the regular ways of looking at Frost's poetry are grotesque simplifications, distortions, falsifications—coming to know his poetry well ought to be enough, in itself, to dispel any of them, and to make plain the necessity of finding some other way of talking about his work." And Jarrell's close readings of poems like "Neither Out Too Far Nor In Too Deep" led readers and critics to perceive more of the complexities in Frost's poetry.

paragraph: In an introduction to Jarrell's book of essays, Brad Leithauser notes that, "the 'other' Frost that Jarrell discerned behind the genial, homespun New England rustic—the 'dark' Frost who was desperate, frightened, and brave—has become the Frost we've all learned to recognize, and the little-known poems Jarrell singled out as central to the Frost canon are now to be found in most anthologies."

paragraph: Jarrell lists a selection of the Frost poems he considers the most masterful, including "The Witch of Coös", "Home Burial", "A Servant to Servants", "Directive", "Neither Out Too Far Nor In Too Deep", "Provide, Provide", "Acquainted with the Night", "After Apple Picking", "Mending Wall", "The Most of It", "An Old Man's Winter Night", "To Earthward", "Stopping by Woods on a Snowy Evening", "Spring Pools", "The Lovely Shall Be Choosers", "Design", and "Desert Places".

paragraph: In 2003, the critic Charles McGrath noted that critical views on Frost's poetry have changed over the years (as has his public image). In an article called "The Vicissitudes of Literary Reputation," McGrath wrote, "Robert Frost ... at the time of his death in 1963 was generally considered to be a New England folkie ... In 1977, the third volume of Lawrance Thompson's biography suggested that Frost was a much nastier piece of work than anyone had imagined; a few years later, thanks to the reappraisal of critics like William H. Pritchard and Harold Bloom and of younger poets like Joseph Brodsky, he bounced back again, this time as a bleak and unforgiving modernist."

paragraph: In "The Norton Anthology of Modern Poetry", editors Richard Ellmann and Robert O'Clair compared and contrasted Frost's unique style to the work of the poet Edwin Arlington Robinson since they both frequently used New England settings for their poems. However, they state that Frost's poetry was "less [consciously] literary" and that this was possibly due to the influence of English and Irish writers like Thomas Hardy and W.B. Yeats. They note that Frost's poems "show a successful striving for utter colloquialism" and always try to remain down to earth, while at the same time using traditional forms despite the trend of American poetry towards free verse which Frost famously said was "'like playing tennis without a net.'"

paragraph: In providing an overview of Frost's style, the Poetry Foundation makes the same point, placing Frost's work "at the crossroads of nineteenth-century American poetry [with regard to his use of traditional forms] and modernism [with his use of idiomatic language and ordinary, every day subject matter]." They also note that Frost believed that "the self-imposed restrictions of meter in form" was more helpful than harmful because he could focus on the content of his poems instead of concerning himself with creating "innovative" new verse forms.

paragraph: An earlier 1963 study by the poet James Radcliffe Squires spoke to the distinction of Frost as a poet whose verse soars more for the difficulty and skill by which he attains his final visions, than for the philosophical purity of the visions themselves. "He has written at a time when the choice for the poet seemed to lie among the forms of despair: Science, solipsism, or the religion of the past century ... Frost has refused all of these and in the refusal has long seemed less dramatically committed than others ... But no, he must be seen as dramatically uncommitted to the single solution ... Insofar as Frost allows to both fact and intuition a bright kingdom, he speaks for many of us. Insofar as he speaks through an amalgam of senses and sure experience so that his poetry seems a nostalgic memory with overtones touching some conceivable future, he speaks better than most of us. That is to say, as a poet must."

paragraph: The classicist Helen H. Bacon has proposed that Frost's deep knowledge of Greek and Roman classics influenced much of his work. Frost's education at Lawrence High School, Dartmouth, and Harvard "was based mainly on the classics." As examples, she links imagery and action in Frost's early poems Birches" (1915) and "Wild Grapes" (1920) with Euripedes' "Bacchae". She cites the certain motifs, including that of the tree bent down to earth, as evidence of his "very attentive reading of "Bacchae", almost certainly in Greek." In a later poem, "One More Brevity" (1953), Bacon compares the poetic techniques used by Frost to those of Virgil in the "Aeneid". She notes that "this sampling of the ways Frost drew on the literature and concepts of the Greek and Roman world at every stage of his life indicates how imbued with it he was."

paragraph: Section::::Work.:Themes.

paragraph: In "Contemporary Literary Criticism", the editors state that "Frost's best work explores fundamental questions of existence, depicting with chilling starkness the loneliness of the individual in an indifferent universe." The critic T. K. Whipple focused on this bleakness in Frost's work, stating that "in much of his work, particularly in "North of Boston", his harshest book, he emphasizes the dark background of life in rural New England, with its degeneration often sinking into total madness."

paragraph: In sharp contrast, the founding publisher and editor of "Poetry", Harriet Monroe, emphasized the folksy New England persona and characters in Frost's work, writing that "perhaps no other poet in our history has put the best of the Yankee spirit into a book so completely." She notes his frequent use of rural settings and farm life, and she likes that in these poems, Frost is most interested in "showing the human reaction to nature's processes." She also notes that while Frost's narrative, character-based poems are often satirical, Frost always has a "sympathetic humor" towards his subjects.

paragraph: Section::::Work.:Influenced by.

paragraph: BULLET::::- Robert Graves

paragraph: BULLET::::- Rupert Brooke

paragraph: BULLET::::- Thomas Hardy

paragraph: BULLET::::- William Butler Yeats,

paragraph: BULLET::::- John Keats

paragraph: Section::::Work.:Influenced.

paragraph: BULLET::::- Robert Francis

paragraph: BULLET::::- Seamus Heaney

paragraph: BULLET::::- Richard Wilbur

paragraph: BULLET::::- Edward Thomas

paragraph: BULLET::::- James Wright

paragraph: Section::::Pulitzer Prizes.

paragraph: BULLET::::- 1924 for "New Hampshire: A Poem With Notes and Grace Notes"

paragraph: BULLET::::- 1931 for "Collected Poems"

paragraph: BULLET::::- 1937 for "A Further Range"

paragraph: BULLET::::- 1943 for "A Witness Tree"

paragraph: Section::::Poet laureate of Vermont.

paragraph: In June 1922 the Vermont State League of Women's Clubs elected Frost as Poet laureate of Vermont. When a "New York Times" editorial strongly criticised the decision of the Women's Clubs, Sarah Cleghorn and other women wrote to the newspaper defending Frost.

paragraph: On July 22, 1961, Frost was named Poet laureate of Vermont by the state legislature through Joint Resolution R-59 of the Acts of 1961, which also created the position.

paragraph: Section::::Nobel prize nominations.

paragraph: Frost was nominated for the Nobel Prize in Literature 31 times.

paragraph: Section::::Legacy.

paragraph: BULLET::::- His poem "Fire and Ice" influenced the title and other aspects of George R. R. Martin's fantasy series "A Song of Ice and Fire".

paragraph: BULLET::::- Robert Frost Hall is an academic building at Southern New Hampshire University in Manchester, New Hampshire.

paragraph: Section::::Selected works.

paragraph: Section::::Selected works.:Poetry collections.

paragraph: BULLET::::- A Boy's Will (David Nutt 1913; Holt, 1915)

paragraph: BULLET::::- "North of Boston" (David Nutt, 1914; Holt, 1914)

paragraph: BULLET::::- "After Apple-Picking"

paragraph: BULLET::::- "The Death of the Hired Man"

paragraph: BULLET::::- "Mending Wall"

paragraph: BULLET::::- "Mountain Interval" (Holt, 1916)

paragraph: BULLET::::- "Birches"

paragraph: BULLET::::- "Out, Out"

paragraph: BULLET::::- "The Oven Bird"

paragraph: BULLET::::- "The Road Not Taken"

paragraph: BULLET::::- "Selected Poems" (Holt, 1923)

paragraph: BULLET::::- "New Hampshire" (Holt, 1923; Grant Richards, 1924)

paragraph: BULLET::::- "Fire and Ice"

paragraph: BULLET::::- "Nothing Gold Can Stay"

paragraph: BULLET::::- "Stopping by Woods on a Snowy Evening"

paragraph: BULLET::::- "Several Short Poems" (Holt, 1924)

paragraph: BULLET::::- "Selected Poems" (Holt, 1928)

paragraph: BULLET::::- "West-Running Brook" (Holt, 1928? 1929)

paragraph: BULLET::::- "Acquainted with the Night"

paragraph: BULLET::::- "The Lovely Shall Be Choosers," "The Poetry Quartos", printed and illustrated by Paul Johnston (Random House, 1929)

paragraph: BULLET::::- "Collected Poems of Robert Frost" (Holt, 1930; Longmans, Green, 1930)

paragraph: BULLET::::- "The Lone Striker" (Knopf, 1933)

paragraph: BULLET::::- "Selected Poems: Third Edition" (Holt, 1934)

paragraph: BULLET::::- "Three Poems" (Baker Library, Dartmouth College, 1935)

paragraph: BULLET::::- "The Gold Hesperidee" (Bibliophile Press, 1935)

paragraph: BULLET::::- "From Snow to Snow" (Holt, 1936)

paragraph: BULLET::::- "A Further Range" (Holt, 1936; Cape, 1937)

paragraph: BULLET::::- "Collected Poems of Robert Frost" (Holt, 1939; Longmans, Green, 1939)

paragraph: BULLET::::- "A Witness Tree" (Holt, 1942; Cape, 1943)

paragraph: BULLET::::- "The Gift Outright"

paragraph: BULLET::::- "A Question"

paragraph: BULLET::::- "The Silken Tent"

paragraph: BULLET::::- "Come In, and Other Poems" (Holt, 1943)

paragraph: BULLET::::- "Steeple Bush" (Holt, 1947)

paragraph: BULLET::::- "Complete Poems of Robert Frost", 1949 (Holt, 1949; Cape, 1951)

paragraph: BULLET::::- "Hard Not To Be King" (House of Books, 1951)

paragraph: BULLET::::- "Aforesaid" (Holt, 1954)

paragraph: BULLET::::- "A Remembrance Collection of New Poems" (Holt, 1959)

paragraph: BULLET::::- "You Come Too" (Holt, 1959; Bodley Head, 1964)

paragraph: BULLET::::- "In the Clearing" (Holt Rinehart & Winston, 1962)

paragraph: BULLET::::- "The Poetry of Robert Frost" (Holt Rinehart & Winston, 1969)

paragraph: Section::::Selected works.:Plays.

paragraph: BULLET::::- "A Way Out: A One Act Play" (Harbor Press, 1929).

paragraph: BULLET::::- "The Cow's in the Corn: A One Act Irish Play in Rhyme" (Slide Mountain Press, 1929).

paragraph: BULLET::::- "A Masque of Reason" (Holt, 1945).

paragraph: BULLET::::- "A Masque of Mercy" (Holt, 1947).

paragraph: Section::::Selected works.:Prose books.

paragraph: BULLET::::- "The Letters of Robert Frost to Louis Untermeyer" (Holt, Rinehart & Winston, 1963; Cape, 1964).

paragraph: BULLET::::- "Robert Frost and John Bartlett: The Record of a Friendship", by Margaret Bartlett Anderson (Holt, Rinehart & Winston, 1963).

paragraph: BULLET::::- "Selected Letters of Robert Frost" (Holt, Rinehart & Winston, 1964).

paragraph: BULLET::::- "Interviews with Robert Frost" (Holt, Rinehart & Winston, 1966; Cape, 1967).

paragraph: BULLET::::- "Family Letters of Robert and Elinor Frost" (State University of New York Press, 1972).

paragraph: BULLET::::- "Robert Frost and Sidney Cox: Forty Years of Friendship" (University Press of New England, 1981).

paragraph: BULLET::::- "The Notebooks of Robert Frost", edited by Robert Faggen (Harvard University Press, January 2007).

paragraph: Section::::Selected works.:Letters.

paragraph: BULLET::::- (Harvard University Press imprint; 811 pages; first volume, of five, of the scholarly edition of the poet's correspondence, including many previously unpublished letters.)

paragraph: BULLET::::- (Harvard University Press imprint; 848 pages; second volume of the series.)

paragraph: Section::::Selected works.:Omnibus volumes.

paragraph: BULLET::::- "Collected Poems, Prose and Plays" (Richard Poirier, ed.) (Library of America, 1995) .

paragraph: Section::::Selected works.:Spoken word.

paragraph: BULLET::::- "Robert Frost Reads His Poetry", Caedmon Records, 1957, TC1060

paragraph: Section::::See also.

paragraph: BULLET::::- List of poems by Robert Frost

paragraph: BULLET::::- Frostiana

paragraph: Section::::Sources.

paragraph: BULLET::::- Burlington Free Press, January 8, 2008. Article: Vandalized Frost house drew a crowd.

paragraph: BULLET::::- "Collected Poems, Prose, & Plays". 10/1995 Library of America. Robert Frost. Edited by Richard Poirier and Mark Richardson. Trade . Robert Frost Biographical Information

paragraph: Section::::External links.

paragraph: BULLET::::- Robert Frost: Profile, Poems, Essays at Poets.org

paragraph: BULLET::::- Robert Frost, profile and poems at the Poetry Foundation

paragraph: BULLET::::- Profile at Modern American Poetry

paragraph: BULLET::::- Robert Frost Collection in Special Collections, Jones Library, Amherst, MA

paragraph: BULLET::::- Robert Frost Collection in Archives and Special Collections, Amherst College, Amherst, MA

paragraph: BULLET::::- Robert Frost at Bread Loaf (Middlebury College)

paragraph: BULLET::::- The Victor E. Reichert Robert Frost Collection from the University at Buffalo Libraries Poetry Collection

paragraph: BULLET::::- Robert Frost Farm in Derry, NH

paragraph: BULLET::::- The Frost Foundation

paragraph: BULLET::::- The Frost Place, a museum and poetry conference center in Franconia, N.H.

paragraph: BULLET::::- Robert Frost reading his poems at Harper Audio (recordings from 1956)

paragraph: BULLET::::- Yale College Lecture on Robert Frost audio, video and full transcripts of Open Yale Courses

paragraph: BULLET::::- Robert Frost Collection at Rauner Special Collections Library, Dartmouth College, Hanover, NH

paragraph: BULLET::::- Robert Frost Declares Himself a "Balfour Israelite" and Discusses His Trip to the Western Wall

description: American poet

enwikiquote_title: Robert Frost

wikidata_label: Robert Frost

wikipedia_title: Robert Frost


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text: pop

text: minimalist

text: conceptual art

text: Walloon

text: De Grootste Belg

text: Flemish

text: Sheila Legge

text: pancreatic cancer

text: Schaerbeek Cemetery

text: Evere

text: The Treachery of Images

text: pipe

text: "automatic"

text: Joan Miró

text: John Baldessari

text: Ed Ruscha

text: Andy Warhol

text: Jasper Johns

text: Jan Verdoodt

text: Martin Kippenberger

text: Duane Michals

text: Storm Thorgerson

text: Luis Rey

text: Pop art

text: LACMA

text: Beck-Ola

text: The Jeff Beck Group

text: The Listening Room

text: Alan Hull

text: Pipedream

text: The Philosopher's Lamp

text: Jackson Browne

text: Late for the Sky

text: The Empire of Light

text: Oregon

text: Oregon

text: Carte Blanche

text: Firesign Theatre

text: Just Folks... A Firesign Chat

text: The Mysteries of the Horizon

text: Styx

text: The Grand Illusion

text: The Blank Check

text: Punch Brothers

text: The Phosphorescent Blues

text: Apple Corps

text: The Beatles

text: Paul Simon

text: Rene and Georgette Magritte with Their Dog after the War

text: Lothar Wolleh

text: Hearts and Bones

text: John Cale

text: HoboSapiens

text: Tom Stoppard

text: After Magritte

text: John Berger

text: Ways of Seeing

text: Douglas Hofstadter

text: Gödel, Escher, Bach

text: L. J. Smith

text: The Forbidden Game

text: filmmaker

text: Marcel Mariën

text: Jean-Luc Godard

text: Alain Robbe-Grillet

text: Bernardo Bertolucci

text: Nicolas Roeg

text: John Boorman

text: Terry Gilliam

text: Ellen Burstyn

text: The Exorcist

text: Toys

text: The Thomas Crown Affair

text: Pierce Brosnan

text: Rene Russo

text: Denis Leary

text: Gary Numan

text: The Pleasure Principle

text: The Fault In Our Stars

text: Markus Schulz

text: Brussels

text: The Empire of Lights

text: Georgette Magritte

text: Irene Hamoir Scutenaire

text: black market

text: The Difficult Crossing

text: The Enchanted Pose

text: The Menaced Assassin

text: The Adulation of Space

text: The False Mirror

text: The Empty Mask

text: The Treachery of Images

text: On the Threshold of Liberty

text: Elective Affinities

text: The Human Condition

text: The Portrait

text: Not to be Reproduced

text: On the Threshold of Liberty

text: Time Transfixed

text: The Palace of Memories

text: The Empire of Light II

text: Portrait of Madame Récamier

text: Golconda

text: The Listening Room

text: Knokke Casino

text: The Empire of Light

text: The Mysteries of the Horizon

text: The Telescope

text: The Son of Man

text: Magritte Museum

text: Royal Museum of Fine Arts of Belgium

text: René Magritte Museum

text: Jette

text: List of Belgian painters

text: Foundation Magritte

text: The biography and works of René Magritte

text: René Magritte Museum

text: Brussels

text: Magritte at Artcyclopedia

text: René Magritte: The Pleasure Principle - Exhibition at Tate Liverpool, UK 2011

text: Musée Magritte Museum

text: Brussels

text: A visit to the Musée Magritte Museum

text: Patricia Allmer, "La Reproduction Interdite: René Magritte and Forgery" in "Papers of Surrealism", Issue 5, Spring 2007.

categories: 1898 births,20th-century Belgian painters,People from Lessines,Belgian surrealist artists,Deaths from cancer in Belgium,Deaths from pancreatic cancer,Belgian artists,Walloon people,Modern painters,Burials at Schaerbeek Cemetery,Belgian agnostics,René Magritte,1967 deaths

paragraph: René Magritte

paragraph: René François Ghislain Magritte (; 21 November 1898 – 15 August 1967) was a Belgian Surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced Pop art, minimalist and conceptual art.

paragraph: Section::::Early life.

paragraph: René Magritte was born in Lessines, in the province of Hainaut, Belgium, in 1898. He was the oldest son of Léopold Magritte, a tailor and textile merchant, and Régina (née Bertinchamps), who was a milliner before she got married. Little is known about Magritte's early life. He began lessons in drawing in 1910. On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt at taking her own life; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. Her body was later discovered a mile or so down the nearby river.

paragraph: According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse. Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte's paintings in 1927–1928 of people with cloth obscuring their faces, including "Les Amants".

paragraph: Section::::Career.

paragraph: Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. From 1916 to 1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. The paintings he produced during the years 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.

paragraph: From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also, it was during that year that the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's "The Song of Love" (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes "saw" thought for the first time."

paragraph: In 1922–23, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, "The Lost Jockey" ("Le jockey perdu"), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

paragraph: On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of images.

paragraph: Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising. He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.

paragraph: During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, "Le Principe du Plaisir" ("The Pleasure Principle") and "La Reproduction Interdite", a painting also known as "Not to Be Reproduced".

paragraph: During the of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium. In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto "Surrealism in Full Sunlight". During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

paragraph: In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.

paragraph: Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.

paragraph: Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of "De Grootste Belg" ("The Greatest Belgian"); in the Flemish version he was 18th.

paragraph: Section::::Personal life.

paragraph: Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and first met Magritte when she was only 13 and he was 15. They met again in Brussels in 1920 and Georgette, who had also studied art, became Magritte's model, muse, and wife. In 1936 Magritte's marriage became troubled when he met a young performance artist, Sheila Legge, and began an affair with her. Magritte arranged for his friend, Paul Colinet, to entertain and distract Georgette, but this led to an affair between Georgette and Colinet. Magritte and his wife did not reconcile until 1940.

paragraph: Magritte died of pancreatic cancer on 15 August 1967, aged 68, and was interred in Schaerbeek Cemetery, Evere, Brussels.

paragraph: Section::::Philosophical and artistic gestures.

paragraph: Magritte's work frequently displays a collection of ordinary objects in an unusual context, giving new meanings to familiar things. The use of objects as other than what they seem is typified in his painting, "The Treachery of Images" ("La trahison des images"), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe ""Ceci n'est pas une pipe"" ("This is not a pipe"), which seems a contradiction, but is actually true: the painting is not a pipe, it is an "image" of a pipe. It does not "satisfy emotionally"—when Magritte was once asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.

paragraph: Magritte used the same approach in a painting of an apple: he painted the fruit and then used an internal caption or framing device to deny that the item was an apple. In these ""Ceci n'est pas"" works, Magritte points out that no matter how naturalistically we depict an object, we never do catch the item itself.

paragraph: Among Magritte's works are a number of surrealist versions of other famous paintings. Elsewhere, Magritte challenges the difficulty of artwork to convey meaning with a recurring motif of an easel, as in his "The Human Condition" series (1933, 1935) or "The Promenades of Euclid" (1955), wherein the spires of a castle are "painted" upon the ordinary streets which the canvas overlooks. In a letter to André Breton, he wrote of "The Human Condition" that it was irrelevant if the scene behind the easel differed from what was depicted upon it, "but the main thing was to eliminate the difference between a view seen from outside and from inside a room." The windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif.

paragraph: Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new."

paragraph: René Magritte described his paintings as "visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable."

paragraph: Magritte's constant play with reality and illusion has been attributed to the early death of his mother. Psychoanalysts who have examined bereaved children have hypothesized that Magritte's back and forth play with reality and illusion reflects his "constant shifting back and forth from what he wishes—'mother is alive'—to what he knows—'mother is dead'."

paragraph: Section::::Artists influenced by Magritte.

paragraph: Contemporary artists have been greatly influenced by René Magritte's stimulating examination of the fickleness of images. Some artists who have been influenced by Magritte's works include John Baldessari, Ed Ruscha, Andy Warhol, Jasper Johns, Jan Verdoodt, Martin Kippenberger, Duane Michals, Storm Thorgerson, and Luis Rey. Some of the artists' works integrate direct references and others offer contemporary viewpoints on his abstract fixations.

paragraph: Magritte's use of simple graphic and everyday imagery has been compared to that of the Pop artists. His influence in the development of Pop art has been widely recognized, although Magritte himself discounted the connection. He considered the Pop artists' representation of "the world as it is" as "their error," and contrasted their attention to the transitory with his concern for "the feeling for the real, insofar as it is permanent." The 2006–2007 LACMA exhibition "Magritte and Contemporary Art: The Treachery of Images" examined the relationship between Magritte and contemporary art.

paragraph: Section::::In popular culture.

paragraph: The 1960s brought a great increase in public awareness of Magritte's work. Thanks to his "sound knowledge of how to present objects in a manner both suggestive and questioning", his works have been frequently adapted or plagiarized in advertisements, posters, book covers and the like. Examples include album covers such as "Beck-Ola" by The Jeff Beck Group (reproducing Magritte's "The Listening Room"), Alan Hull's 1973 album Pipedream which used "The Philosopher's Lamp", Jackson Browne's 1974 album "Late for the Sky", with artwork inspired by "The Empire of Light", Oregon's album "Oregon" referring to "Carte Blanche", the Firesign Theatre's album "Just Folks... A Firesign Chat" based on "The Mysteries of the Horizon", and Styx's album "The Grand Illusion" incorporating an adaptation of the painting "The Blank Check". The Nigerian rapper Jesse Jagz's 2014 album "" has cover art inspired by Magritte's works. In 2015 the band Punch Brothers used "The Lovers" as the cover of their album "The Phosphorescent Blues".

paragraph: The logo of Apple Corps, The Beatles' company, is inspired by Magritte's "Le Jeu de Mourre", a 1966 painting.

paragraph: Paul Simon's song "Rene and Georgette Magritte with Their Dog after the War," inspired by a photograph of Magritte by Lothar Wolleh, appears on the 1983 album "Hearts and Bones".

paragraph: John Cale wrote a song titled "Magritte". The song appears on the 2003 album "HoboSapiens".

paragraph: Tom Stoppard wrote a Surrealist play called "After Magritte".

paragraph: John Berger scripted the book "Ways of Seeing" using images and ideologies regarding Magritte. Douglas Hofstadter's book "Gödel, Escher, Bach" uses Magritte works for many of its illustrations. "The Treachery of Images" was used in a major plot in L. J. Smith's "The Forbidden Game".

paragraph: Magritte's imagery has inspired filmmakers ranging from the surrealist Marcel Mariën to mainstream directors such as Jean-Luc Godard, Alain Robbe-Grillet, Bernardo Bertolucci, Nicolas Roeg, John Boorman and Terry Gilliam.

paragraph: According to Ellen Burstyn, in the 1998 documentary "The Fear of God: 25 Years of "The Exorcist"", the iconic poster shot for the film "The Exorcist" was inspired by Magritte's "L'Empire des Lumières".

paragraph: In the 1992 movie "Toys", Magritte's work was influential in the entire movie but specifically in a break-in scene, featuring Robin Williams and Joan Cusack in a music video hoax. Many of Magritte's works were used directly in that scene.

paragraph: In the 1999 movie "The Thomas Crown Affair" starring Pierce Brosnan, Rene Russo and Denis Leary, the Magritte painting "The Son of Man" was prominently featured as part of the plot line.

paragraph: Gary Numan's 1979 album "The Pleasure Principle" was a reference to Magritte's painting of the same name.

paragraph: In John Green's fictional novel (2012) and movie (2014), "The Fault In Our Stars", the main character Hazel Grace Lancaster wears a tee shirt with Magritte's, "The Treachery of Images", (This is not a pipe.) Just prior to leaving her mother to visit her favorite author, Hazel explains the drawing to her confused mother and states that the author's novel has "several Magritte references", clearly hoping the author will be pleased with the reference.

paragraph: The official music video of Markus Schulz's "Koolhaus" under his Dakota guise was inspired from Magritte's works.

paragraph: A street in Brussels has been named "Ceci n'est pas une rue" (This is not a street).

paragraph: Section::::Magritte Museum.

paragraph: The Magritte Museum opened to the public on 30 May 2009 in Brussels. Housed in the five-level neo-classical Hotel Altenloh, on the Place Royale, it displays some 200 original Magritte paintings, drawings and sculptures including "The Return", "Scheherazade" and "The Empire of Lights". This multidisciplinary permanent installation is the biggest Magritte archive anywhere and most of the work is directly from the collection of the artist's widow, Georgette Magritte, and from Irene Hamoir Scutenaire, who was his primary collector. Additionally, the museum includes Magritte's experiments with photography from 1920 on and the short Surrealist films he made from 1956 on.

paragraph: Another museum is located at 135 Rue Esseghem in Brussels in Magritte's former home, where he lived with his wife from 1930 to 1954. A painting, "Olympia" (1948), a nude portrait of Magritte's wife by Magritte, was stolen from this museum on the morning of 24 September 2009 by two armed men. The stolen work is said to be worth about US$1.1 million. "Olympia" was returned to the museum early January 2012. The thieves returned the painting because they were unable to sell it on the black market due to its fame.

paragraph: Section::::Selected list of works.

paragraph: BULLET::::- 1920 "Landscape"

paragraph: BULLET::::- 1922 "The Station" and "L'Écuyère"

paragraph: BULLET::::- 1923 "Self-portrait", "Sixth Nocturne", "Georgette at the Piano" and "Donna"

paragraph: BULLET::::- 1925 "The Bather" and "The Window"

paragraph: BULLET::::- 1926 "The Lost Jockey", "The Mind of the Traveler", "Sensational News", "The Difficult Crossing", "The Vestal's Agony", "The Midnight Marriage", "The Musings of a Solitary Walker", "After the Water my Butts", "Popular Panorama", "Landscape" and "The Encounter"

paragraph: BULLET::::- 1927 "The Enchanted Pose"

paragraph: BULLET::::- 1927 "Young Girl Eating a Bird", "The Oasis" (started in 1925), "Le Double Secret", "The Meaning of Night", "Let Out of School", "The Man from the Sea", "The Tiredness of Life", "The Light-breaker", "A Passion for Light", "The Menaced Assassin", "Reckless Sleeper", "La Voleuse", "The Fast Hope", "L'Atlantide" and "The Muscles of the Sky"

paragraph: BULLET::::- 1928 "The Lining of Sleep" (started in 1927), "Intermission" (started in 1927), "The Adulation of Space" (started in 1927), "The Flowers of the Abyss", "Discovery", "The Lovers I & II", "The Voice of Space", "The False Mirror", "The Daring Sleeper", "The Acrobat's Ideas", "The Automaton", "The Empty Mask", "Reckless Sleeper", "The Secret Life" and "Attempting the Impossible"

paragraph: BULLET::::- 1929 "The Treachery of Images" (started in 1928), "Threatening Weather" and "On the Threshold of Liberty"

paragraph: BULLET::::- 1930 "Pink Belles, Tattered Skies", "The Eternally Obvious", "The Lifeline", "The Annunciation" and "Celestial Perfections"

paragraph: BULLET::::- 1931 "The Voice of the Air", "Summer" and "The Giantess"

paragraph: BULLET::::- 1932 "The Universe Unmasked"

paragraph: BULLET::::- 1933 "Elective Affinities", "The Human Condition" and "The Unexpected Answer"

paragraph: BULLET::::- 1934 "The Rape"

paragraph: BULLET::::- 1935 "The Discovery of Fire", "The Human Condition", "Revolution", "Perpetual Motion", "Collective Invention" and "The Portrait"

paragraph: BULLET::::- 1936 "Surprise Answer", "Clairvoyance", "The Healer", "The Philosopher's Lamp", "Spiritual Exercises", "Portrait of Irène Hamoir", "La Méditation" and "Forbidden Literature"

paragraph: BULLET::::- 1937 "The Future of Statues", "The Black Flag", "Not to be Reproduced", "Portrait of Edward James" and "Portrait of Rena Schitz", "On the Threshold of Liberty"

paragraph: BULLET::::- 1938 "Time Transfixed", "The Domain of Arnheim" and "Steps of Summer"

paragraph: BULLET::::- 1939 "Victory", "The Palace of Memories"

paragraph: BULLET::::- 1940 "The Return", "The Wedding Breakfast" and "Les Grandes Espérances"

paragraph: BULLET::::- 1941 "The Break in the Clouds"

paragraph: BULLET::::- 1942 "Misses de L'Isle Adam", "L'Ile au Tréson", "Memory", "Black Magic", "Les compagnons de la peur" and "The Misanthropes"

paragraph: BULLET::::- 1943 "The Return of the Flame", "Universal Gravitation" and "Monsieur Ingres's Good Days"

paragraph: BULLET::::- 1944 "The Good Omens"

paragraph: BULLET::::- 1945 "Treasure Island", "Les Rencontres Naturelles" and "Black Magic"

paragraph: BULLET::::- 1946 "L'Intelligence" and "Les Mille et une Nuits"

paragraph: BULLET::::- 1947 "La Philosophie dans le boudoir", "The Cicerone", "The Liberator", "The Fair Captive", "La Part du Feu" and "The Red Model"

paragraph: BULLET::::- 1948 "Blood Will Tell", "Memory", "The Mountain Dweller", "The Art of Life", "The Pebble", " The Lost Jockey", "God's Solon", "Shéhérazade", "L'Ellipse" and "Famine" and "The Taste of Sorrow"

paragraph: BULLET::::- 1949 "Megalomania", "Elementary Cosmogany", and "Perspective, the Balcony"

paragraph: BULLET::::- 1950 "Making an Entrance", "The Legend of the Centuries", "Towards Pleasure", "The Labors of Alexander", "The Empire of Light II", "The Fair Captive" and "The Art of Conversation", "The Survivor"

paragraph: BULLET::::- 1951 "David's Madame Récamier" (parodying the "Portrait of Madame Récamier"), "Pandora's Box", "The Song of the Violet", "The Spring Tide" and "The Smile"

paragraph: BULLET::::- 1952 "Personal Values" and "Le Sens de la Pudeur"

paragraph: BULLET::::- 1953 "Golconda", "The Listening Room" and a fresco, "The Enchanted Domain", for the Knokke Casino, "Le chant des sirènes"

paragraph: BULLET::::- 1954 "The Invisible World", "The Explanation" and "The Empire of Light"

paragraph: BULLET::::- 1955 "Memory of a Journey" and "The Mysteries of the Horizon"

paragraph: BULLET::::- 1956 "The Sixteenth of September"; "The Ready-made Bouquet"

paragraph: BULLET::::- 1957 "The Fountain of Youth"; "The Enchanted Domain"

paragraph: BULLET::::- 1958 "The Golden Legend", "Hegel's Holiday", "The Banquet" and "The Familiar World"

paragraph: BULLET::::- 1959 "The Castle in the Pyrenees", "The Battle of the Argonne", "The Anniversary", "The Month of the Grape Harvest" and "La clef de verre" ("The Glass Key")

paragraph: BULLET::::- 1960 "The Memoirs of a Saint"

paragraph: BULLET::::- 1962 "The Great Table", "The Healer", "Waste of Effort", "Mona Lisa" (circa 1962) and "L'embeillie" (circa 1962)

paragraph: BULLET::::- 1963 "The Great Family", "The Open Air", "The Beautiful Season", "Princes of the Autumn", "Young Love", "La Recherche de la Vérité" and "The Telescope" and " The Art Of Conversation"

paragraph: BULLET::::- 1964 "Le soir qui tombe" ("Evening Falls"), "The Great War", "The Great War on Facades", "The Son of Man" and "Song of Love"

paragraph: BULLET::::- 1965 "Le Blanc-Seing","Carte Blanche", "The Thought Which Sees", "Ages Ago" and "The Beautiful Walk" (circa 1965), "Good Faith"

paragraph: BULLET::::- 1966 "The Shades", "The Happy Donor", "The Gold Ring", "The Pleasant Truth", "The Two Mysteries", "The Pilgrim" and "The Mysteries of the Horizon"

paragraph: BULLET::::- 1967 "Les Grâces Naturelles", "La Géante", "The Blank Page", "Good Connections", "The Art of Living", "L'Art de Vivre" and several bronze sculptures based on Magritte's previous works

paragraph: Section::::See also.

paragraph: BULLET::::- Magritte Museum, part of the Royal Museum of Fine Arts of Belgium.

paragraph: BULLET::::- René Magritte Museum, a museum in Jette in Brussels, in the house where Magritte lived and worked for 24 years, between 1930 and 1954.

paragraph: BULLET::::- List of Belgian painters

paragraph: Section::::References.

paragraph: BULLET::::- Citations

paragraph: BULLET::::- Bibliography

paragraph: BULLET::::- Allmer, Patricia (2017) "This Is Magritte" London: Laurence King.

paragraph: BULLET::::- Allmer, Patricia (2007), 'Dial M for Magritte' in "Johan Grimonprez - Looking for Alfred", eds. Steven Bode and Thomas Elsaesser, London: Film and Video Umbrella.

paragraph: BULLET::::- Allmer, Patricia (2007), 'René Magritte and the Postcard' in "Collective Inventions: Surrealism in Belgium Reconsidered", eds. Patricia Allmer and Hilde van Gelder, Leuven: Leuven University Press.

paragraph: BULLET::::- Allmer, Patricia (2007) 'Failing to Create - Magritte, Artistry, Art History' in "From Self to Shelf: The Artist Under Construction", ed. William May, Cambridge: Cambridge Scholars Publishing.

paragraph: BULLET::::- Allmer, Patricia (2006) 'Framing the Real: Frames and the Process of Framing in René Magritte's Œuvre', in "Framing Borders in Literature and Other Media", eds. Walter Bernhart and Werner Wolf, Amsterdam: Rodopi.

paragraph: BULLET::::- Levy, Silvano (1996) 'René Magritte: Representational Iconoclasm', in "Surrealist Visuality", ed. S. Levy, Keele University Press. .

paragraph: BULLET::::- Levy, Silvano (2012) 'Magritte et le refus de l'authentique', "Cycnos", Vol. 28, No. 1 (July 2012), pp. 53–62. .

paragraph: BULLET::::- Levy, Silvano (2005) 'Magritte at the Edge of Codes', "Image & Narrative", No. 13 (November 2005), http://www.imageandnarrative.be/inarchive/surrealism/levy.htm .

paragraph: BULLET::::- Levy, Silvano (1993) 'Magritte, Mesens and Dada', "Aura", No. 1, 11 pp. 31 41. .

paragraph: BULLET::::- Levy, Silvano (1993) 'Magritte: The Uncanny and the Image', "French Studies Bulletin", No. 46, 3 pp. 15 17. .

paragraph: BULLET::::- Levy, Silvano (1992) 'Magritte and Words', "Journal of European Studies", Vol. 22, Part 4, No. 88, 19 pp. 313 321. .

paragraph: BULLET::::- Levy, Silvano (1992) 'Magritte and the Surrealist Image', "Apollo", Vol. CXXXVI, No. 366, 3 pp 117 119. .

paragraph: BULLET::::- Levy, Silvano (1990) 'Foucault on Magritte on Resemblance', "Modern Language Review", Vol. 85, No.1, 7 pp. 50 56. .

paragraph: BULLET::::- Levy, Silvano (1981) 'René Magritte and Window Display', "Artscribe International", No. 28, 5 pp. 24 28. .

paragraph: BULLET::::- Levy, Silvano (1992) 'This is a Magritte', "The Times Higher Education Supplement", No. 1,028, 17 July 1992, 1 p. 18. .

paragraph: Section::::External links.

paragraph: BULLET::::- Foundation Magritte

paragraph: BULLET::::- The biography and works of René Magritte

paragraph: BULLET::::- René Magritte Museum in Brussels

paragraph: BULLET::::- Magritte at Artcyclopedia

paragraph: BULLET::::- René Magritte: The Pleasure Principle - Exhibition at Tate Liverpool, UK 2011

paragraph: BULLET::::- Musée Magritte Museum at Brussels

paragraph: BULLET::::- A visit to the Musée Magritte Museum

paragraph: BULLET::::- Patricia Allmer, "La Reproduction Interdite: René Magritte and Forgery" in "Papers of Surrealism", Issue 5, Spring 2007.

alias:
René-François-Ghislain Magritte
François Ghislain Magritte
Magritte
René Magritt
Rene Magritt
Rene Magritte
Rene Francois Ghislain Magritte

description: Belgian painter

wikidata_label: René Magritte

wikipedia_title: René Magritte


text:
British
businessman
life peer
Norfolk
British
Hill Samuel
Rolls-Royce
RB211
STC
Beecham
Stanley Hooker

categories: British bankers,2004 deaths,Conservative Party (UK) life peers,1916 births

paragraph: Kenneth Keith, Baron Keith of Castleacre

paragraph: Kenneth Alexander Keith, Baron Keith of Castleacre (30 August 1916 – 1 September 2004) was a British businessman and banker.

paragraph: Keith was invested as a Knight in 1969 and was created a life peer as Baron Keith of Castleacre, of Swaffham in the County of Norfolk in 1980.

paragraph: He presided over the mergers that formed the British merchant bank Hill Samuel, and also chaired Rolls-Royce after the company's receivership and subsequent nationalisation in 1971, helping to organise the recovery of the RB211 project. After retiring from those chairmanships in 1980 he was chairman of STC and of Beecham.

paragraph: "We (Rolls-Royce) added a zero to his stature; he used to think £5 million a lot of money, but after a few weeks on the RB211 he came to understand that £50 million is peanuts." - Stanley Hooker.

description: British banker and politician


text: sycophancy

text: Hašani

text: Bosanska Krupa

text: gymnasium

text: Bihać

text: Banja Luka

text: Sarajevo

text: Karlovac

text: Belgrade

text: University of Belgrade

text: Faculty of Philosophy

text: Bosnian Krajina

text: Partisans

text: World War II

text: Borba

text: Albanian

text: Czech

text: Dutch

text: Macedonian

text: Chinese

text: Polish

text: Romanian

text: Turkish

text: Slovak

text: Russian

text: Bosnia and Herzegovina convertible mark

text: Branko's Bridge

text: suicide bridge

text: Branko Radičević

text: short story

text: Politika

text: World War II

text: Vojvodina

text: Zija Dizdarević

text: Eagles fly early

text: Yugoslav People's Army

text: Yugoslav Communist Party

text: Josip Broz Tito

text: NIN magazine

text: Belgrade Drama Theatre

text: Ivo Andrić

text: apparatchik

text: Italian neorealism

text: The Secret Life of Walter Mitty

text: The Wages of Fear

text: Cervantes

text: Maxim Gorky

text: Miloš Crnjanski

text: Ivan Cankar

text: Miroslav Krleža

text: Isidora Sekulić

text: Oskar Davičo

text: Mihailo Lalić

text: Lika

text: Rakić award

text: Serbian Royal Academy

text: FNRJ

text: NIN award

text: Serbian Academy of Sciences and Arts

text: Grmeč

text: Eagles Fly Early

text: Eagles Fly Early

text: Silent Gunpowder

text: Serbian literature

categories: Yugoslav Partisans members,Bosnia and Herzegovina writers,1915 births,Writers who committed suicide,1984 deaths,People from Krupa na Uni,20th-century poets,University of Belgrade Faculty of Philosophy alumni,Serbian poets,Serbian children's writers,Serbs of Bosnia and Herzegovina,Bosnia and Herzegovina poets,Bosnia and Herzegovina novelists,Serbian novelists,Suicides by jumping in Serbia,20th-century novelists

paragraph: Branko Ćopić

paragraph: Branko Ćopić (; ; 1 January 1915 – 26 March 1984) was a Bosnian Serb and Yugoslav writer. He is today remembered as a favorite writer of the children stories from the school books, but also as a dissident and "heretic" who had to explain himself to the party bureaucracy because of his criticism of the revolution and post-war life, corrupted by the materialism of the "comrades", blossomed bureaucracy and sycophancy, which he despised. Ćopić was one of the rare novelists who lived solely from his writings as, due to his popularity, his books were sold in millions of copies, both in Yugoslavia and abroad.

paragraph: Section::::Biography.

paragraph: Ćopić was a Bosnian Serb born in the village of Hašani near Bosanska Krupa, on 1 January 1915. He attended the junior gymnasium in Bihać, and teacher's colleges in Banja Luka, Sarajevo and Karlovac before moving to Belgrade to study at the University of Belgrade Faculty of Philosophy until his graduation in 1940.

paragraph: Upon the uprising in the Bosnian Krajina in 1941, he joined the Partisans and remained in their ranks until the end of World War II. He was a detachment's political commissar, war correspondent for the Borba and a cultural proletarian. That period of his life influenced much of his literary work as can be seen by the themes he later writes about. At the end of the war he returned to Belgrade where he worked as an editor in couple of magazins until 1949, including the children's magazine "Pionir" ("Pioneer"). From 1951 until his death he was a professional writer.

paragraph: His books have been translated into Albanian, Czech, English, Dutch, Italian, Macedonian, Chinese, Polish, Romanian, Turkish, Slovak, German, French, and Russian, and some of them have been turned into TV series.

paragraph: He was featured on the 0.50 Bosnia and Herzegovina convertible mark bill, which has been withdrawn from circulation and replaced with coins.

paragraph: On 26 March 1984 he committed suicide, jumping off the Branko's Bridge in central Belgrade. The bridge in general gained an infamous reputation as the suicide bridge as some 40 people try to commit suicide jumping of it every year. As the bridge is an extension of the "Brankova" street, named after Branko Radičević, a Serbian romanticist poet, it was named after the street. However, an urban myth developed since then that the bridge was named after Ćopić's jump.

paragraph: Section::::Career.

paragraph: His first published short story was "Smrtno ruvo Soje Čubrilove" ("Death robe of Soja Čubrilova"), printed in 1936 in the Belgrade daily Politika. Politika's editor, Žika Milićević, was known for his strictness and he initially rejected many other Ćopić stories, but he continued to write them and to send them to Milićević until he decided to print them in the newspapers. He promised to Ćopić that he will publish two of his stories each month, if they are good. Before 1941 and outbreak of the World War II in Yugoslavia, Politika published 125 of his stories. Ćopić considered this collaboration with Politika as a "great stimulus" and the "beginning of the serious literary affirmation". He published his first short stories compendium in 1938, and continued to write throughout the war.

paragraph: Already his first collection of short stories, "Pod Grmečom" ("Under the Grmeč"), demonstrated his gift for storytelling. Soon, other compendiums followed, including "Planinci" ("Mountain men"; 1940). He was editor of the "Pioneer" magazine, from 1944 to 1949, and member of the editorial board of "Savremenik" ("Contemporary"). Regional mark of his prose can be recognized in the characters, locations, themes and language of his home region, Bosnian Krajina. His pre-war prose was predominantly lyrical (collections like "Rosa na bajonetima" ("Dew on the bayonets"; 1946), "Sveti magarac i druge priče" ("Holy donkey and other stories"), "Surova škola" ("Cruel school"; 1948)) but after the war, he subordinated the lyrical to the ideological and socially engaged. His short stories were often described as the "stories of a dreamer boy".

paragraph: He published collections of poems "Ognjeno rađanje domovine" ("Fiery birth of a homeland"; 1944) and "Ratnikovo proljeće" ("Warrior's spring"; 1947). Other short story collections include "Borci i bjegunci" ("Fighters and runaways"; 1939) and "Ljubav i smrt" ("Love and death"; 1953). Ćopić enriched the war short stories with humor and comical elements while in the novels "Prolom" ("The break-out"; 1952) and "Gluvi barut" ("Silent gunpowder"; 1957), he gave a broad prose fresco of the first war years in Bosnian Krajina. The turning point in his post-war development was "Doživljaji Nikoletine Bursaća" ("The adventures of Nikoletina Bursać"). Novels "Ne tuguj, bronzana stražo" ("Bronze guards, don't mourn"; 1958) and "Osma ofanziva" ("The eight offensive"; 1966) deal with the state organized colonization of the Krajina's population into the province of Vojvodina.

paragraph: The collection "Bašta sljezove boje" ("The marshmallow color garden"; 1970) opens with a letter which Ćopić wrote to his late friend Zija Dizdarević (1916–42). In it, Ćopić sets the frame of the writing as a salvation from death and dark visions of the horsemen of the apocalypse. He perceives the world from the off-perspective of the good "fools", but despite the quixotic fervor and humor, the sense of sorrow, anxiety, disappointment and anti-utopian situations breaks through. In the follow up, "Dani crvenog sljeza" ("Days of red marshmallow"), it all evolves into the collapse of the social ideals as expensively paid illusions.

paragraph: He was also writing children's poetry and prose. Best known works include "Priče partizanke" ("Partisan stories"), "Nasmejana sveska" ("Smiley notebook"), "U carstvu leptirova i medveda" ("In the realm of butterflies and bears"), "Vratolomne priče" ("Daredevil stories"), "Ježeva kućica" ("Hedgehog's house"), "Doživljaji mačka Toše" ("Adventures of Toscho the Cat"), "Orlovi rano lete" ("Eagles fly early"; 1957).

paragraph: Section::::Social criticism.

paragraph: Using humor and satire, Ćopić targeted what he perceived to be social ills of the fledgling Yugoslav communist society. In 1950, he published "Jeretička priča" ("Heretic Story"), mocking the new phenomena he observed around him such as state-owned company managers, Yugoslav People's Army (JNA) generals, government ministers, as well as their families and in-laws, misusing publicly funded resources including specific instances of government-provided luxurious cars being used by individuals form the above groups in order to be chauffeured to university lectures at faculties they recently enrolled in.

paragraph: He then published another critical work, "Ko s đavolom priče piše" ("He Who Writes Stories with the Devil"). He was reprimanded by the Yugoslav Communist Party (KPJ), while the country's leader Josip Broz Tito publicly criticized the writer in 1950: "He [Ćopić] presented our entire society, top to bottom, as a negative one, thus advocating its termination. Such satire we will not allow and we won't let this go without an answer. He deserves a public response and to say, once for all, that we will not allow enemy satire that works towards breaking our unity. It is up to him personally to own up to his mistakes and to follow the road of our other socialist writers".

paragraph: Because of the story "Izbor druga Sokrata" ("The Election of Comrade Socrates"), published in the NIN magazine, and the novel "Gluvi barut" ("Silent Gunpowder") printed in 1957, he was denounced again. Defending himself in front of the party commission, he stated: "I showed some of our people who were a bit dehumanized under the harsh conditions of the [war] battles, living in belief that they do what's best for the revolution." Though he said he will "fight to stay in the party, cause its nice to be there", he was expelled from it. He opposed the writing of the foreign and right-wing press, which used his criticism of the new system in "Silent gunpowder".

paragraph: His contemporary comedy "Odumiranje medveda" ("Bear's Dying Out") from 1958 caused him further problems with the political establishment. After only several rehearsals, it was banned from the Belgrade Drama Theatre. During all this time when he was criticized and ignored by the authorities, he was regularly visited by author Ivo Andrić.

paragraph: He explained what he was writing in his defense when he was interrogated by the party apparatchiks: "Before you start writing, imagine that 50 years has passed already, that you and those who interrogate you today are not alive anymore, and someone starts to dig in their archives. Write in such a manner that you don't feel ashamed in front of that unknown man from the future."

paragraph: Section::::Personal life.

paragraph: His brother and sister were both killed in World War II. Brother Rajko was killed in 1942 and sister Smiljka in 1943. Ćopić dedicated a poem to her, "Grob u žitu" ("Grave in the grains").

paragraph: Ćopić was an avid reader, a painting lover and praised film and theatre, even penning several screenplays. He liked Italian neorealism, movies like "The Secret Life of Walter Mitty", "The Wages of Fear" and Disney's animated movies. He admired Cervantes, Maxim Gorky, Miloš Crnjanski, Ivan Cankar, Miroslav Krleža, Isidora Sekulić, Oskar Davičo, Mihailo Lalić and called himself "Lički Bosanac" ("Lika Bosnian"). Ćopić said that the loneliness is hard and that life is short so it should be spent in love, concord and understanding.

paragraph: Section::::Accolades.

paragraph: He received numerous awards from his early writing days: Academy of seven arts award (1938), Rakić award (1939), Serbian Royal Academy award (1940), Culture and arts committee award (1947, 1948), FNRJ government award (1949), Trade unions award (1953), Award for the children literature (1956), City of Belgrade October award (1956). In 1958 he received a NIN award for the best novel for "Bronze guards, don't mourn".

paragraph: On 16 December 1965 he became an associate member of the Serbian Academy of Sciences and Arts and was elected to the full membership 7 March 1968.

paragraph: He received Order of Merits for the People with Golden Star (I rank), Order of Merits for the People with Silver Rays (II rank), Order of Brotherhood and Unity with Golden Wreath (I rank) and the Commemorative Medal of the Partisans of 1941.

paragraph: Section::::Assessment.

paragraph: Many of the characters he created were based on the real persons from his home region, on the slopes of the Grmeč mountain. Ćopić himself considered that his life works are three novels: "The marshmallow color garden", "The adventures of Nikoletina Bursać" and "The eight offensive".

paragraph: Section::::Works.

paragraph: Section::::Works.:Novels.

paragraph: BULLET::::- "Prolom" – The Break-out (1952)

paragraph: BULLET::::- "Gluvi barut" – Silent Gunpowder (1957)

paragraph: BULLET::::- "Ne tuguj, bronzana stražo" – Bronze Guards, Don't Mourn (1958)

paragraph: BULLET::::- "Osma ofanziva" – The Eighth Offensive (1966)

paragraph: Section::::Works.:Novels for children.

paragraph: BULLET::::- "Orlovi rano lete" – Eagles Fly Early (1957),

paragraph: BULLET::::- "Slavno vojevanje" – Glorious Combat (1960) and

paragraph: BULLET::::- "Bitka u Zlatnoj dolini" – The Battle of Golden Valley

paragraph: – these three are known as "„Pionirska trilogija“" – The Pioneer Trilogy,

paragraph: BULLET::::- "Magareće godine" – "Donkey" Years (meaning: The Tough Teens);

paragraph: BULLET::::- "Balada o ribaru i mačku" – Ballad of the Fisherman and the Cat

paragraph: BULLET::::- "Glava u klancu noge na vrancu" – Head in the Col Legs on the Horse

paragraph: BULLET::::- "Ježeva kućica" – Hedgehog's House (1949)

paragraph: BULLET::::- "Doživljaji mačka Toše" – Adventures of Toscho the Cat

paragraph: BULLET::::- "Bašta sljezove boje" – The Marshmallow Color Garden

paragraph: Section::::Works.:Films and television series made after Ćopić's writings.

paragraph: BULLET::::- "Živjeće ovaj narod" (1947)

paragraph: BULLET::::- "Major Bauk" (1951)

paragraph: BULLET::::- "Grob u žitu" (1951)

paragraph: BULLET::::- "Nikoletina Bursać (1964)

paragraph: BULLET::::- "Eagles Fly Early" (1966)

paragraph: BULLET::::- "Četrdeset prva" (1971)

paragraph: BULLET::::- "Hajdučka vremena" (1977)

paragraph: BULLET::::- "Mala moja iz Bosanske Krupe" (1978)

paragraph: BULLET::::- "Osma ofanziva", TV-series (1979)

paragraph: BULLET::::- "Bježaćemo čak u Liku" (1979)

paragraph: BULLET::::- "Odumiranje međeda" (1982)

paragraph: BULLET::::- "Smiješne i druge priče" TV-series (1986)

paragraph: BULLET::::- "Razgovori stari" (1986)

paragraph: BULLET::::- "Silent Gunpowder" (1990)

paragraph: BULLET::::- "Magareće godine" (1994)

paragraph: BULLET::::- "Jezeva kucica" (2017)

paragraph: Section::::See also.

paragraph: BULLET::::- Serbian literature

description: Yugoslav writer

wikidata_label: Branko Ćopić

wikipedia_title: Branko Ćopić


text: Gupta Emperor

text: India

text: Gupta era

text: Bhitari pillar inscription

text: Krishna

text: Devaki

text: Pushyamitras

text: Puranas

text: Narmada River

text: Chandragupta I

text: Samudragupta

text: Chandragupta II

text: Lakshmi

text: garland

text: Govindagupta

text: Kumaragupta III

text: Purugupta

text: Indo-Hephthalite

text: Hunas

text: Kidarites

text: Indus River

text: mlechchha

text: Saurashtra

text: Sanskrit

text: K. P. Jayaswal

text: Kathasaritsagara

text: Vikramaditya

text: Budhagupta

text: Narasimhagupta

text: Kumaragupta

text: suvarna

text: Coinage of Skandagupta

categories: 5th-century Indian monarchs,Gupta Empire,Year of birth unknown

paragraph: Skandagupta

paragraph: Skandagupta (died 467) was a Gupta Emperor of northern India. He is generally considered the last of the great Gupta Emperors.

paragraph: Section::::Ascension to the throne.

paragraph: Skandagupta became the Gupta king in year 136 of the Gupta era (c. 455-456 CE). According to the Bhitari pillar inscription, he restored "the fallen fortunes of his family". The inscription states that when he prepared to do so, he spent a night on the bare earth, and then defeated his enemies, who had grown wealthy and powerful. After defeating his enemies, he visited his widowed mother, just like Krishna had visited his mother Devaki; his mother's eyes were "full of tears from joy".

paragraph: Many scholars read the name of the enemies mentioned in the Bhitari inscripton as "Pushyamitras", who according to the Puranas, were a tribe, and probably ruled an area located on the banks of the Narmada River. However, an alternative interpretation of the inscription reads "Yudhyamitras" (a generic term for enemies) instead of "Pushyamitras".

paragraph: According to one theory, the Gupta enemies invaded the Gupta empire during the last years of Kumaragupta's reign, or shortly after his death, and Skandagupta defeated them. According to another theory, the conflict referred to in the Bhitari inscription resulted from a disputed succession to the throne. This theory is based on the following points:

paragraph: BULLET::::- The Junagadh inscription states that after his father's death, Skandagupta became "the ruler of the earth" by his own prowess. This suggests that Skandagupta acquired the throne using force.

paragraph: BULLET::::- Skandagupta's Bhitari inscription lists the chief queens ("mahadevis") of his ancestors Chandragupta I, Samudragupta, and Chandragupta II, but does not mention the chief queen of his father Kumaragupta. This omission may be explained by the assumption that his mother was a junior wife of Kumaragupta rather than the chief queen, and therefore, his claim to the throne was not legitimate.

paragraph: BULLET::::- The Junagadh inscription states that Lakshmi, the goddess of fortune, chose Skandagupta as her husband after rejecting all other sons of his father. Some coins issued by Skandagupta depict Lakshmi offering him an uncertain object, probably a garland or a ring, which seems to be a visual representation of the statement made in the inscription.

paragraph: BULLET::::- The Bhitari inscription makes three mentions of the fallen fortunes of the Gupta family ("kula" or "vamsha"). The mention of "family", rather than the "empire", may be a reference to the disputed succession to the throne. The reading "Yudhyamitras", rather than "Pushyamitras", may be correct, and the enemies referred to in the inscription may be rival claimants to the throne.

paragraph: BULLET::::- Various historical records suggest that multiple people in the Gupta empire assumed sovereign status after Kumaragupta's death. These people include Kumaragupta's brother Govindagupta, his relative Ghatotkacha-gupta, and Prakashaditya (who is known from some gold coins). These people may have been rivals of Skandagupta.

paragraph: Another argument cited in favour of the disputed succession theory is that the records of the subsequent Gupta kings omit Skandagupta's name from the royal genealogy, listing Purugupta's name after that of Kumaragupta. An example is the Bhitari seal of the 6th century king Kumaragupta III. However, this omission may be explained by the fact that these subsequent kings were descendants of Skandagupta's half-brother Purugupta, and the genealogical lists in their records intend to list only their direct ancestors, rather than provide a comprehensive list of the earlier Gupta kings.

paragraph: Section::::Conflict with the Hunas.

paragraph: During Skandagupta's period, the Indo-Hephthalites (known as Hunas in India), probably the Kidarites, invaded India from the northwest, advancing as far as the Indus River.

paragraph: The Bhitari pillar inscription states that Skandagupta defeated the Hunas:

paragraph: The date of the Huna invasion is not certain. The Bhitari inscription mentions it after describing the conflict with the Pushyamitras (or the "Yudhyamitras"), which suggests that it happened later during Skandagupta's reign. However, a possible reference to this conflict in the Junagadh inscription suggests that it may have happened at the beginning of the Skandagupta's reign or during the reign of his father Kumaragupta. The Junagadh inscription, dated to the year 138 of the Gupta era (c. 457-458 CE) mentions Skandagupta's success against the mlechchhas (foreigners):

paragraph: The victory against the mlechchhas happened in or before the year 136 of the Gupta era (c. 455-456 CE), when Skandagupta ascended the throne and when he appointed Parnadatta as the governor of the Saurashtra region, in which Junagadh is located. Since Skandagupta is not known to have fought against any other foreigners, these mlechchhas were probably the Hunas. If this identification is correct, it may be possible that Skandagupta was sent to check the Huna invasion at the frontier, and Kumaragupta died in the capital while this conflict was happening; Skandagupta returned to the capital and overcame rival claimants to ascend the throne.

paragraph: A sentence in the Sanskrit text "Chandra-Vyakarana" (c. 7th century) states "Ajayad-Gupto Hunan", literally, "The Gupta conquered the Hunas". This may be a reference to Skandagupta's victory over the Hunas, although an alternative reading by scholar K. P. Jayaswal has "Jato" instead of "Gupto". A story in the "Kathasaritsagara" (11th century) states that the legendary king Vikramaditya ascended the throne after his father Mahendraditya abdicated it, and inflicted a crushing defeat on the mlechchhas. Since Mahendraditya was a title of Kumaragupta, and Vikramaditya that of Skandagupta, this may be a reference to Skandagupta's victory over the Hunas.

paragraph: Section::::Legacy.

paragraph: The expense of the wars appears to have drained the empire's resources and contributed to its decline, as suggested by the seriously debased coinage issued by Skandagupta.

paragraph: Skandagupta died in 467 and was succeeded by his half-brother Purugupta (467–473 CE), Kumaragupta II (473–476 CE), Budhagupta (476–495? CE) and Narasimhagupta, whose kingdom in the plains of Northern India was continuously attacked by the Hunas.

paragraph: Section::::Coins of Skandagupta.

paragraph: Skandagupta issued five types of gold coins: Archer type, King and queen type, Chhatra type, Lion-slayer type and Horseman type. His silver coins are of four types: Garuda type, Bull type, Altar type and Madhyadesha type. The initial gold coinage was on the old weight standard used by his father Kumaragupta of approximately 8.4 gm. This initial coinage is quite scarce. At some point in his reign, Skandagupta revalued his currency, switching from the old dinar standard to a new suvarna standard that weighed approximately 9.2 gm. These later coins were all only of the Archer type, and this standard and type was followed by all subsequent Gupta rulers.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Singh, Jai Prakash (1976) "History and Coinage of Skandagupta Kramāditya", Varanasi:Department of Ancient Indian History, Culture & Archaeology, Banaras Hindu University.

paragraph: Section::::External links.

paragraph: BULLET::::- The Bhitari Pillar Inscription of Skandagupta

paragraph: BULLET::::- The Bihar Stone Pillar Inscription of Skandagupta

paragraph: BULLET::::- The Junagadh Rock Inscription of Skandagupta

paragraph: BULLET::::- Coinage of Skandagupta

description: Gupta Emperor

wikidata_label: Skandagupta

wikipedia_title: Skandagupta


text: Lord Lieutenant of Merseyside

text: DSO

text: JP

text: Rugby School

text: Rugby, Warwickshire

text: Magdalene College

text: University of Cambridge

text: Bachelor of Arts

text: Royal Artillery

text: Lieutenant

text: John Moores, Jr

text: CBE

text: Sir John Moores

text: LL.D

text: JP

text: Liverpool

text: Chancellor Portrait

categories: People educated at Rugby School,1929 births,Royal Artillery officers,Lord-Lieutenants of Merseyside,Alumni of Magdalene College, Cambridge,People associated with Liverpool John Moores University

paragraph: Henry Egerton Cotton

paragraph: Henry Egerton Cotton (21 July 1929 – 1993), (also known as Henry E. Cotton) served as the Lord Lieutenant of Merseyside from 1989 to 1993. He was also the First Chancellor of Liverpool John Moores University serving in office from 1992 until his death in 1993.

paragraph: Section::::Personal life.

paragraph: Henry Cotton was the son of Colonel Vere Egerton Cotton and Elfreda Moore. On 18 June 1955, he married Elizabeth Peard, daughter of Clifford James Peard, DSO, JP. They had one daughter, Catherine Cotton and one son, Timothy Cotton. Catherine (Kate) Cotton had one daughter, Natalie Psillou.

paragraph: Section::::Personal life.:Education.

paragraph: He was educated at Rugby School, Rugby, Warwickshire, and later graduated from Magdalene College, University of Cambridge in 1952 with a Bachelor of Arts. Henry Cotton was also in the Royal Artillery (Territorial Army) where he gained the rank of Lieutenant.

paragraph: Section::::University Chancellery.

paragraph: In 1992, Henry Cotton was appointed the First Chancellor of Liverpool John Moores University after gaining university status from being a polytechnic, however the institution goes as far back to its foundation as Liverpool Mechanics' School of Arts in 1823, making its claim in the third-oldest university in England debate. He served in office until his death in 1993. He was succeeded by John Moores, Jr, CBE who was the son of Sir John Moores whom the university is named after.

paragraph: A statue of Henry Cotton inscribed ""Henry Egerton Cotton Esq, (1929-1993) LL.D, JP, First Chancellor of the University, 1992-1993"" has been established outside the honourarily named Henry Cotton Building, on the universities City Campus in Liverpool.

paragraph: Section::::External links.

paragraph: BULLET::::- Chancellor Portrait

description: British Army officer

wikidata_label: Henry Egerton Cotton

wikipedia_title: Henry Egerton Cotton


text:
Canadian
1972
1976 Summer Olympics
Pan American Games

categories: Wrestlers at the 1972 Summer Olympics,1948 births,Wrestlers at the 1976 Summer Olympics,Living people,Canadian male sport wrestlers,Olympic wrestlers of Canada,Commonwealth Games medallists in wrestling,People from Lanaudière,Pan American Games competitors for Canada,Wrestlers at the 1974 British Commonwealth Games,Commonwealth Games silver medallists for Canada,Anglophone Quebec people,Sportspeople from Quebec

paragraph: Gordon Bertie

paragraph: Gordon Bertie (born August 20, 1948) is a Canadian retired flyweight freestyle wrestler who won the world cup in 1975, and placed second in 1976. Earlier in 1974 he won a silver medal at the British Commonwealth Games and a bronze at the world championships. Bertie competed at the 1972 and 1976 Summer Olympics and placed sixth in 1972. At the Pan American Games he finished fourth in 1975 and fifth in 1971.

description: Olympic wrestler from Canada

wikidata_label: Gordon Bertie

wikipedia_title: Gordon Bertie


text: Fine Art

text: CalArts

text: Los Angeles

text: Darren Aronofsky

text: Requiem for a Dream

text: The Fountain

text: Todd Solondz

text: Storytelling

text: Paul Schrader

text: Auto Focus

text: Spike Lee

text: 25th Hour

text: Inez van Lamsweerde and Vinoodh Matadin

text: Rupert Sanders

text: Spike Jonze

text: Lance Acord

text: Gus Van Sant

text: Harmony Korine

text: Art Directors Guild

text: AICP

text: Rupert Sanders

text: The Avengers

text: Saturn Award

text: Dawn of the Planet of the Apes

text: Matt Reeves

text: War for the Planet of the Apes

text: Art Directors Guild

text: AICP

text: Requiem for a Dream

text: Storytelling

text: Auto Focus

text: 25th Hour

text: The Final Cut

text: The Fountain

text: Towelhead

text: The Avengers

text: Dawn of the Planet of the Apes

text: The Lion King

text: Film Decor: The Avengers

text: Art Directors Guild Magazine

text: Art Directors Guild Magazine

text: James Chinlund | Movies and Biography

categories: American production designers,Living people,1971 births

paragraph: James Chinlund

paragraph: James Chinlund (born March 17, 1971) was born and raised in New York City. He studied Fine Art at CalArts in Los Angeles, with a focus on sculpture and large scale installation work. After graduating, Chinlund returned to New York and started his career in film, first as a carpenter, before finding opportunities as a Production Designer on music videos and independent films. During this period he first worked with frequent collaborator Darren Aronofsky ("Requiem for a Dream", "The Fountain") in addition to other directors in the New York independent film world including: Todd Solondz ("Storytelling"), Paul Schrader ("Auto Focus") and Spike Lee ("25th Hour"). Over the years James has been active in the worlds of commercials and fashion as well. Collaborators include: Inez van Lamsweerde and Vinoodh Matadin, Rupert Sanders, Spike Jonze, Fredrik Bond, Lance Acord, Gus Van Sant and Harmony Korine. In 2010 he won both the Art Directors Guild and the AICP awards for "Absolut World", a commercial collaboration with director Rupert Sanders. After a short break from features to care for his young daughter, Chinlund returned to the feature world in 2012 to work on "The Avengers" for Marvel which set a record for the highest grossing opening weekend of all time. In 2015 he was nominated for an Art Director’s Guild Award and the Saturn Award for his work on the Fox film "Dawn of the Planet of the Apes" directed by Matt Reeves. Most recently James has completed work on the next film in the Apes series "War for the Planet of the Apes".

paragraph: Section::::Awards.

paragraph: BULLET::::- 2009 Art Directors Guild Award for Excellence in Production Design for a commercial or music video

paragraph: BULLET::::- 2010 AICP Honors for Visual Style

paragraph: Section::::Filmography.

paragraph: BULLET::::- "Saturn" (1999)

paragraph: BULLET::::- "Requiem for a Dream" (2000)

paragraph: BULLET::::- "Lift" (2001)

paragraph: BULLET::::- "Storytelling" (2001)

paragraph: BULLET::::- "Auto Focus" (2002)

paragraph: BULLET::::- "25th Hour" (2002)

paragraph: BULLET::::- "The Final Cut" (2004)

paragraph: BULLET::::- "The Fountain" (2006)

paragraph: BULLET::::- "Towelhead" (2007)

paragraph: BULLET::::- "The Avengers" (2012)

paragraph: BULLET::::- "Dawn of the Planet of the Apes" (2014)

paragraph: BULLET::::- "The Lion King" (2019)

paragraph: Section::::Press.

paragraph: BULLET::::- Avengers deconstructed: Helicarrier, Stark Tower design secrets - LA Times May 24, 2012

paragraph: BULLET::::- Designing The Avengers: The Art of Marvel’s Most Ambitious Movie - io9 May 2, 2012

paragraph: BULLET::::- Brand new Avengers concept art takes us inside S.H.I.E.L.D.'s hardware! - io9 January 7, 2013

paragraph: BULLET::::- Production designer James Chinlund illuminates Puma "Lift" - Boards Magazine March 24, 2009

paragraph: BULLET::::- This Is How You Design the Avengers' Helicarrier - IGN May 24, 2012

paragraph: BULLET::::- Film Decor: The Avengers

paragraph: BULLET::::- Art Directors Guild Magazine

paragraph: Section::::External links.

paragraph: BULLET::::- The Magnet Agency | James Chinlund Portfolio

paragraph: Section::::Sources.

paragraph: BULLET::::- James Chinlund | Movies and Biography

paragraph: BULLET::::- Production Designer: videos featuring James Chinlund

description: Production Designer

wikidata_label: James Chinlund

wikipedia_title: James Chinlund


text:
Swedish
ceramicist
designer
Gothenburg
Gustavsberg porcelain
Stig Lindberg
Kooperativa Förbundet
Åhléns
small scale production
Lisa Larson Sweden website

categories: Swedish women artists,1931 births,20th-century women artists,Swedish ceramists,Living people,20th-century Swedish artists

paragraph: Lisa Larson

paragraph: Lisa Larson (born 1931) is a Swedish ceramicist and designer. She is best known for her sculptures "Small Zoo" (1955), "ABC-girls" (1958), "Africa" (1964) and "Children of the World" (1974–75).

paragraph: Section::::Biography.

paragraph: Larson was born in 1931 in the south of Sweden and studied at College of Crafts and Design in Gothenburg between 1949 and 1954. She was then employed at Gustavsberg porcelain by the artistic director Stig Lindberg. Larson left Gustavsberg in 1980 to work freelance for a number of Swedish companies including "Duka", Kooperativa Förbundet and Åhléns. In 1992, Larson founded the "Gustavsberg Ceramic Studio" with a few of her former colleagues. The studio continues to produce new designs and small scale production still takes place there.

paragraph: Section::::External links.

paragraph: BULLET::::- Lisa Larson Sweden website

description: Swedish ceramicist

wikidata_label: Lisa Larson

wikipedia_title: Lisa Larson