Albert Eugene Gallatin

Albert Eugene Gallatin wrote about, collected, exhibited, and created works of art. Called "one of the great figures in early 20th-century American culture," he was a leading proponent of nonobjective and later abstract and particularly Cubist
art whose "visionary approach" in both collecting and painting left "an enduring impact on the world of modern art."
Early life and education.
Gallatin was born in 1881 into a wealthy and socially prominent family. Showing a youthful interest in art and literature, he began to collect works by Max Beerbohm, Aubrey Beardsley, and James McNeill Whistler while still in his teens. The common element in these purchases was a preference for works that he saw as possessing a harmonious, refined, and decorative nature, rather than a naturalistic or literal one. He appreciated their aesthetic over their narrative content and their intrinsic over their didactic or utilitarian value.
As he collected art, he also began to write about it. For the two decades following the turn of the century, Gallatin produced a constant stream of articles, small monographs, and books of engraved plates. Between 1900 and 1910 most of these concerned Beardsley and Whistler. In examining their drawings and paintings he sought to find out what gave these works enduring value as opposed to superficial and temporary popularity. To him, their excellence showed in elegance of line and quality of design. He also drew attention to what he called a "decorative feeling" in works by these two artists in contrast to what he considered to be the less aesthetic realism of Degas and Millet. He maintained that modern art did not become popular because it was good, but because it scandalized. For example, in 1902 he wrote that Beardsley's drawings attracted notice by their shocking distortion of perspective and proportion and their escape from artistic conventions. Because their true value was not readily apparent, he believed that only connoisseurs along with Beardsley's fellow artists could fully appreciate them. In another article, he called Whistler an artist "whose work must remain more or less incomprehensible to the general public." He also wrote that the best art was created solely for its own sake. He wrote of Whistler's "unflinching devotion to beauty" and freedom from "commercialism, vulgarity, and the spirit of gain." Gallatin said Whistler's subjects were never ugly or lacking taste. In his view, Whistler was not a realist because he never descended to the obvious or commonplace.
When his father died in 1902, Gallatin became head of a family consisting of himself, two sisters, and their mother. As a member of New York's social elite he gave and attended high-profile dinners, dances, weddings, and benefits. His name appeared frequently in the press as a result these activities and also as a result of his pioneering affection for automobiles and motor sport. His inheritance made it unnecessary for him to work for a living and he chose not to follow the lead of other members of his class by engaging in banking, stock brokerage, or other professional occupation. Instead, he continued to collect art and to enhance his reputation as an art connoisseur by his writings.
During the years leading up to the First World War he became increasingly interested in American artists such as illustrator Otho Cushing, "pleinair" painter Frederick Frieseke, and painter of interiors Walter Gay. He also acquired and wrote about artists associated with the Ashcan School—Everett Shinn, William Glackens, Ernest Lawson, and John Sloan as well as other young American artists, including John Marin and Boardman Robinson. While the drawings, paintings, and prints of these artists appear to have little in common with the work of Beardsley and Whistler, he saw in them a similar feeling for form, elegance of line, and "entire freedom from all taint of the academic." Glackens, he wrote, was like Whistler in his originality, his great color sense, and his ability to bring subjects to life. Shinn's paintings revealed to him a "personal expression of the artist's genius" and he also saw in them a "decorative instinct" that he admired in virtually all the art he collected. He was pessimistic about the capacity of museums and government agencies to support young American artists and believed they would be best served by individual art lovers, collectors, and "enlightened" critics.
Gallatin served in World War I as a member of a naval reserve unit and directed two civilian groups: a federal government committee on exhibitions of art propaganda and a municipal committee that encouraged artists to make posters supporting the war effort. This involvement led to a book, "Art and the Great War", (1919) in which Gallatin discussed war-related art in the allied nations, giving many examples of paintings, drawings, posters, caricatures, and prints that he admired. In 1918, with Duncan Phillips and Augustus Vincent Tack, he organized an exhibition, the Allied War Salon of New York. The works in this show were almost all traditionally representational. The exceptions were paintings by a British artist, C.R.W. Nevinson, whose work at this time could be described as a cubist version of futurism. Nevinson's "French Troops Resting" of 1916, was exhibited at the Keppel & Co. galleries in 1919 and was probably included in the 1918 show. It and similar works of his are said to have been Gallatin's first introduction to this aspect of modernism.
Art collecting: 1920s.
In 1916, Gallatin had dismissed modernists in general and cubists in particular as immature. He thought their work to be half-baked, mediocre, and depressing. By the middle of the 1920s, through the influence of Nevinson, of the critic, Clive Bell, and of the authors of articles in "The Arts" magazine, he had thoroughly revised his opinions. Nevinson showed that cubism was not a gimmick, but a technique that emerged naturally from the art of its time. Bell articulated a formalist aesthetic that coincided with Gallatin's belief that art was not good because of its realism, but because the two-dimensional space of the painting, drawing, or print possessed a satisfying composition, line, shape, color, and texture. Pictorial representation, trueness to life, and the illusion of depth were secondary concerns. Bell also voiced an opinion that seems to have been latent in Gallatin's thought as well: good art is well-ordered rather than chaotic and it proceeds from the artist's thought processes and intuitive sense of rightness more than his emotions. William Zorach and other authors of articles in "The Arts" discussed an art of "purely abstract forms and colors" that, through an elimination "of everything not vitally necessary," produced a true art. The difficulty of judging what is a "masterpiece" and what is an "abortion" is no different for abstract than it is for representational art: it takes experience, careful study, and "listening to one's inner response."
In the years between 1920 and 1926 Gallatin became a member of the modernist Société Anonyme and was introduced to the influential artist-critic Jacques Mauny who soon became his friend and advisor. Mauny introduced him to Pablo Picasso and other painters and to the dealer and author, Daniel-Henry Kahnweiler. These men helped further to shape his growing appreciation for cubism and Mauny, in particular, helped him revamp his collection by adding paintings by artists such as Cézanne and Picasso and selling ones that no longer suited his taste. In the mid-1920s Gallatin studied art with the artist and teacher, Robert Henri, and in 1926 produced some small still lifes and mythology-themed paintings which have been described as having "broad areas of open space broken up by clusters of oddly shaped forms." His interest in cubism deepened and he added works to his collection by Georges Braque and Juan Gris.
At least partly in response to articles by Forbes Watson in "The Arts" and Henry McBride in "The Dial", Gallatin began planning for a public gallery based on his collection of modern art. Early in 1927, as a result of a family connection with New York University, he was able first to organize a small show and, in December of that year, to open his Gallery of Living Art in the south study hall of that university's main building on Washington Square. The gallery has been called the first museum devoted exclusively to modern art. (The Phillips Memorial Collection, opened in 1920, might also lay claim to that distinction but for the fact that it was not "exclusively" modernist.) Consisting almost entirely of works from Gallatin's collection and assembled with help from the critic, Henry McBride, there were, at its opening, paintings and works on paper by twenty-four artists, both American and French. In addition to the forty-three of his own, Gallatin included fifteen borrowed works. There was no entry fee and from the beginning it was seen as place for artists to use as well as the general public.
Art collecting: 1930s.
The composition of the Gallery of Living Art was informal and fluid, changing frequently as Gallatin added to his collection or simply wished to revise the display. Somewhat conservative at first, it grew to include major paintings in the cubist, neo-plasticist, and constructivist style by artists such as Picasso, Braque, Gris, Fernand Léger, Piet Mondrian, Jean Hélion, and El Lissitzky as well as ones in the surrealist style by Joan Miró, Jean Arp, and André Masson. Gallatin hung the gallery with the few large paintings occupying wall space by themselves. By the mid-1930s, these large paintings included Picasso's "Three Musicians" (1921), Léger's "The City" (1919), and Miró's "Painting (Fratellini)". Most of the collection consisted of small works making it easy for moderately-sized ones, such as Miró's "Dog Barking at the Moon" (1926) and Mondrian's "Composition with Blue and Yellow" (1932), to attract the viewer's notice. During the 1930s Gallatin continued to receive advice from Jacques Mauny. He also was aided by a succession of friends and acquaintances beginning with Henry McBride (1927–32), followed by Robert Delaunay (1932–33) and then Jean Hélion and George L.K. Morris (1933-ca. 1940). Following his own inclination and their influence, he purged figurative works in favor of abstraction and emphasized non-objective works over ones having identifiable subjects.
In 1936 Gallatin changed the name of the gallery to Museum of Living Art. By this time both the Whitney Museum and the Museum of Modern Art had opened to the public and Gallatin's museum was credited as having the collection that most interested, and influenced, young New York artists such as Arshile Gorky, Philip Guston, Robert Motherwell, and the de Koonings.
In 1938 "Life Magazine" profiled Gallatin and the Museum in a photo spread entitled "Albert Gallatin's Great-Grandson Sponsors a Museum of Abstract Art." The images included a caricature of Gallatin by Léger, a photo of a set of panels in the museum, major works in the collection, and copies of photographs that Gallatin had taken of prominent Parisian artists.
Art work: 1930s-1940s.
In February 1936 Gallatin resumed painting. He had been deliberate and unhurried in his collecting, acquiring first small pieces on paper and, on becoming comfortable with an artist's work, gradually moving on to larger oil paintings. Similarly, he took many months to work up his own easel productions from conception to finished state. The works themselves were uniformly non-objective. At the time critics saw them as cerebral and "euclidean." In 1938, Edward Alden Jewell, the perceptive critic for the "New York Times" called them "pure" and, making an early use of the term, "non-objective" (the quote marks are his). They have since been seen as "sensitively realized abstractions," structural designs of an architectural nature, imbued with "subtle structural strength," and "endlessly inventive." The term "decorative" was also applied to them, both in a pejorative sense and one more in keeping with his own use of the term, which connoted harmony and a higher plane of taste.
In 1936 paintings of his were included in a show at the Galerie Pierre, Paris. Previously exhibited Paul Reinhardt Galleries in New York, it was then called "Five Contemporary American Concretionists" and lacked his work.
He was generally reticent about his work but in 1938 told an interviewer that he tried to strip his painting down to the essentials of art. The statement fits with his writings on the artists whose work he admired. He felt art was best when least connected to things in the world: pure line, color, shape, texture, and tone. In keeping with this attitude, he rarely gave his paintings distinctive names, leaving them untitled or calling them simply "Composition" or "Abstraction."
In 1937 Gallatin joined the American Abstract Artists group (to which Morris already belonged) and began to give it financial support. The group was formed by a loose assembly of artists to help educate the public about abstract art and to hold exhibitions. The following year, at the Georgette Passedoit Gallery in New York, he had his first solo exhibition and also sold a painting, "Composition" (1938), to the Museum of Modern Art. During the summer of that year he made his last trip abroad and thereafter enlarged his collection without traveling.
In 1939 he exhibited with two other members of American Abstract Artists—Morris and Charles G. Shaw—at the gallery of Jacques Seligmann in New York. Since all three were non-objective painters and all were wealthy New Yorkers, they came to be called the "Park Avenue Cubists."
From that time forward, non-objective art in general and Gallatin's art in particular became increasingly accepted within the New York art world. In 1941 he was said to paint with taste, fine touch, and inventive skill. In 1945 Edward Alden Jewell referred to him as an "impressive exponent of this form of abstraction" whose "work is refreshingly individual," "vigorous and expertly painted," and in 1947 he wrote that Gallatin was secure in his position as "uncompromising nonobjectivist" whose work was "all neatness and smooth reasonable decorum." In 1942 Gallatin was referred to as New York's "abstract king" in a profile that appeared in the "Talk of the Town" section of the "New Yorker" magazine.
Later life and work.
During the 1940s Gallatin continued to exhibit his own paintings and organize exhibits of others. In 1942 he put together a show devoted to American women, including Morris's wife, Suzy Frelinghuysen, as well as Alice Trumbull Mason and Esphyr Slobodkina. That same year New York University informed him that he had to close the Museum of Living Art so that the space it occupied could be repurposed as a wartime economy measure. Greatly disappointed, Gallatin accepted an offer from the Philadelphia Museum of Art to provide a home for it. Within a few months 175 works from his collection were moved to Philadelphia and a few were donated to the Berkshire Museum in Pittsfield, Massachusetts, to which Morris and Frelinghuysen were connected. During the remainder of the 1940s, until his death in 1952, he continued to paint, promote, and collect non-objective art. In 1952 was given a one-man retrospective exhibition at the Rose Fried Gallery, New York. On his death he dispersed his remaining works of art to the New-York Historical Society, the Museum of the City of New York, the National Gallery of Art, and his two sisters. At the end of his life the style of painting that he had championed was falling out of favor as abstract-expressionist art achieved its first critical recognition. Since that time it has regained critical attention and public appeal and is seen at least by some as influencing the minimalist and hard-edge artists who came into prominence in the 1960s as well as younger artists such as Sarah Morris and Mai Braun.
Family.
Albert was a common given name in the Gallatin family. Gallatin's great-grandfather was Albert Gallatin (1761-1849), Secretary of the Treasury under presidents Jefferson and Madison and one of founders of New York University. His second son was named Albert Rolaz (1800-1890) and Albert Rolaz's first son, Gallatin's father, was named Albert Horatio. Gallatin had two uncles named Albert, one, surnamed Gallatin, had died before his birth, and the other, surnamed Stevens, died in 1904. Two other uncles, Frederic and James Gallatin had sons named Albert. These two cousins were sometimes confused with Gallatin. Like Gallatin, both lived in New York and both were sufficiently prominent to receive frequent mentions in the local press. Frederic's son was simply Albert (born January 8, 1880, died September 1, 1965). This Albert Gallatin formed a collection of ancient Egyptian art sold to the Metropolitan Museum of Art after his death.
Gallatin's father, Albert Horatio Gallatin, was born March 7, 1839, and died March 25, 1902. A lifelong resident of New York, he was trained in medicine at New York University, served as a surgeon in the Civil War, and became a professor of chemistry at NYU. Gallatin's mother was Louise Bedford Ewing. She was born in Maryland, August 8, 1843, died in New York, December 3, 1922. Gallatin's older sister, Louise, was born May 1880, and died February 8, 1970. She married Charles Merrick Gay, professor of architecture, University of Pennsylvania, and director of the Franklin Institute, Philadelphia, Pennsylvania. Gallatin's younger sister, Cornelia Lansdale Gallatin (February 14, 1884 – March 26, 1973), married Alfred FitzRoy Anderson (July 13, 1882 – November 15, 1965). He was a member of New York society whose charity work involved disabled veterans and repeal of Abolition.
Gallatin himself was born on July 23, 1881, in the country house of his maternal grandmother, Cornelia Lansdale Ewing, which was located in Villanova, Pennsylvania. He attended schools there and in New York, including the Cutler preparatory school and the New York Law School both in New York City. He did not take the bar exam, however, and later said "I don't know why the devil I did it. I think an abstract artist is of more value to the community than a lawyer." As he matured he mixed freely in New York society, frequenting the opera and charity balls. In 1907 he co-founded the Motor-Car Touring Society. He belonged to the Union Club, the Pilgrims Society, the Society of Colonial Wars, and was the sole American member of the French branch of the Society of the Cincinnati. After the United States entered World War I he signed up as an ensign in the Naval Coast Defense Reserve. He also chaired two committees: the Committee on Exhibitions and Pictorial Publicity of the United States Government Committee on Public Information and the Committee on Arts and Decorations of the Mayor's Committee on National Defense. The first dealt with art propaganda and led to the publication of his book, "Art and the Great War" (New York, E.P. Dutton & Company, 1919). The second advised artists on contributing work to the war effort. In December, 1918, Gallatin organized an Allied War Salon under the auspices of both committees. The exhibition took place at the American Art Association, Madison Square South, New York. Duncan Phillips of the American Federation of Arts and Augustus Vincent Tack of the Liberty Loan Committee were co-organizers. It included a large number of paintings, drawings, posters, and other works by the official and unofficial artists of the allied countries. Gallatin was a trustee of New York University and a patron of and donor to numerous art organizations including New York University, the Museum of Modern Art, American Abstract Artists, Museum of the City of New York, and the Berkshire Museum.
Contemporaries said Gallatin was conservative, dandified, patrician, and sophisticated. He dressed elegantly, was tall, sober, and bespectacled. His demeanor was formal and few friends were able to see the side of his personality that was relaxed, humorous, and informal. He was hardworking and firmly dedicated to his life's work. He was said to sleep on a hard, narrow bed, that had belonged to Napoleon's brother Joseph. There was never any scandal attached to his name and he never married.
Collections.
The main source for this list is the web site called Museum Angel.


Recognizable set

In computer science, more precisely in automata theory, a recognizable set of a monoid is a subset that can be distinguished by some morphism to a finite monoid. Recognizable sets are useful in automata theory, formal languages and algebra.
This notion is different from the notion of recognizable language. Indeed, the term "recognizable" has a different meaning in computability theory.
Definition.
Let formula_1 be a monoid, a subset formula_2 is recognized by a monoid formula_3 if there exists a morphism formula_4 from formula_1 to formula_3 such that formula_7, and recognizable if it is recognized by some finite monoid. This means that there exists a subset formula_8 of formula_3 (not necessarily a submonoid of formula_3) such that the image of formula_11 is in formula_8 and the image of formula_13 is in formula_14.
Example.
Let formula_15 be an alphabet: the set formula_16 of words over formula_15 is a monoid, the free monoid on formula_15. The recognizable subsets of formula_16 are precisely the regular languages. Indeed, such a language is recognized by the transition monoid of any automaton that recognizes the language.
The recognizable subsets of formula_20 are the ultimately periodic sets of integers.
Properties.
A subset of formula_1 is recognizable if and only if its syntactic monoid is finite.
The set formula_22 of recognizable subsets of formula_1 is closed under:
Mezei's theorem states that if formula_3 is the product of the monoids formula_25, then a subset of formula_3 is recognizable if and only if it is a finite union of subsets of the form formula_27, where each formula_28 is a recognizable subset of formula_29. For instance, the subset formula_30 of formula_20 is rational and hence recognizable, since formula_20 is a free monoid. It follows that the subset formula_33 of formula_34 is recognizable.
McKnight's theorem states that if formula_1 is finitely generated then its recognizable subsets are rational subsets.
This is not true in general, since the whole formula_1 is always recognizable but it is not rational if formula_1 is infinitely generated.
Conversely, a rational subset may not be recognizable, even if formula_1 is finitely generated.
In fact, even a finite subset of formula_1 is not necessarily recognizable. For instance, the set formula_40 is not a recognizable subset of formula_41. Indeed, if a morphism formula_4 from formula_43 to formula_3 satisfies formula_45, then formula_4 is an injective function, hence formula_3 is infinite.
Also, in general, formula_22 is not closed under Kleene star. For instance, the set formula_33 is a recognizable subset of formula_34, but formula_51 is not recognizable. Indeed, its syntactic monoid is infinite.
The intersection of a rational subset and of a recognizable subset is rational.
Recognizable sets are closed under inverse of morphisms. I.e. if formula_1 and formula_3 are monoids and formula_54 is a morphism then if formula_55 then formula_56.
For finite groups the following result of Anissimov and Seifert is well known: a subgroup "H" of a finitely generated group "G" is recognizable if and only if "H" has finite index in "G". In contrast, "H" is rational if and only if "H" is finitely generated.


Jack Coulter

Jack Coulter (born 1994) is an Irish artist. He is widely known for his paintings and the visceral quality within his work. In 2020, The Financial Times described Coulter as one of the most popular abstract painters emerging today. In 2021, Forbes featured Coulter in their 30 Under 30 list.
Life and work.
Coulter grew up surrounded by abstract art, from an early age he became influenced by post-war Abstract Expressionism and his aunt Christine, who was an abstract printmaker. Whilst still in art school, limited edition prints of his painting 'Halesia' were given to the winners of the GQ Men of The Year Awards. He graduated with a Bachelor of Fine Arts in 2015.
At 21 years old, his painting titled '21' was purchased for the Arts Council Collection of Northern Ireland, the UK's most widely seen collection of modern and contemporary art, making him the collection's youngest artist.
Coulter has synesthesia, a neurological condition which has had a profound effect on his work, other well known synesthete artists include David Hockney, Vincent Van Gogh and Joan Mitchell. In an interview with The Independent, Coulter's earliest memories of this date back to childhood, where he recalled the sound of his own heartbeat resonating pulses of colour. Throughout his teenage years he would frequently paint while listening to jazz musicians such as Miles Davis and Dizzy Gillespie, translating the colours of the sounds onto canvas, with the aural timbres of the music inspiring the pace and motion of his paint strokes.
In June 2016, Coulter collaborated with worldwide music streaming service Deezer, where he produced a 'musical painting' for Glastonbury Festival. His painting attracted worldwide attention and acclaim, it was featured in The Independent, The Guardian, The Irish Times and AOL.
In April 2018, Coulter painted Mendelssohn's Violin Concerto live with London Chamber Orchestra in front of a full audience at Cadogan Hall in London, it was also streamed worldwide. He had a solo article in British Vogue covering the performance.
In 2018 he was commissioned by The Freddie Mercury Estate, depicting one of the iconic Freddie Mercury tracks Mr. Bad Guy on canvas. The piece was then exhibited in 'Bohemian Rhapsody: The Queen Exhibition' in Seoul.
In 2020, Coulter collaborated with Brit Award-winning musician Jack Garratt. He provided album artwork for Garratt’s sophomore album "Love, Death & Dancing" under Island Records.
One of his paintings titled 'Rosegold' was auctioned by The Art of Elysium in Los Angeles through Paddle8 in 2018. He was the youngest artist included and the piece was purchased by Shanola Hampton.
He has also collaborated with Chanel, Alexander McQueen, Burberry, Christian Dior, Calvin Klein, Marc Jacobs and Byredo for Dazed. He was asked to transcribe each brand's scent on canvas.
Coulter's work is owned by many notable individuals and companies such as Paul McCartney, Coca-Cola, Antoni Porowski, Universal Music Group and Harry Styles.
He is the cousin of Academy Award nominated cinematographer Michael Coulter.


Giorgio Griffa

Giorgio Griffa (born in Turin, 29 March 1936) is an Italian abstract painter living and working in Turin.
Biography.
Giorgio Griffa never received a formal art education. He began painting as a child, taking lessons from local painters at the Circolo degli Artisti in Turin.
After completing a degree in law in 1958, Griffa became a practicing lawyer.
In the sixties, Griffa began working as an assistant to the Italian painter Filippo Scroppo, a member of the MAC (Art Concreta) movement and a teacher at the Accademia Albertina in Turin.
Work.
In 1968, Giorgio Griffa abandoned figurative painting in favor of a format of abstract painting that still characterizes his work to this day. Painting with acrylic on raw un-stretched canvas, burlap and linen, Griffa's works are nailed directly to the wall along their top edge. When not exhibited, the works are folded and stacked, resulting creases that create an underlying grid for his compositions. In keeping with his idea that painting is "constant and never finished", many of his works display a deliberate end-point that has been described as "stopping a thought midsentence."
Despite early associations with movements such as Arte Povera and Minimalism, Giorgio Griffa's work was not exhibited in the United States for 40 years after his first solo exhibition in New York at Ileana Sonnabend's gallery. In 2012, Giorgio Griffa had a solo exhibition, Fragments 1968 – 2012 at Casey Kaplan gallery in New York, leading him to be named one of the "10 thrilling rediscoveries from 2012." His exhibition was interrupted by Hurricane Sandy and later reopened in 2013. In her review of the exhibition, Roberta Smith wrote "His art deserves a place in the global history of abstraction".
Exhibition history.
Giorgio Griffa exhibited at Sonnabend gallery in New York in 1970 and participated in important international exhibitions such as Prospekt, Düsseldorf (1969 and 1974) and the Venice Biennale (1978 and 1980). Other important early exhibitions include Processes of Visualized Thought: Young Italian Avant-garde, Kunstmuseum Luzern(1970) and A Painting Exhibition of Painters who Place Painting in Question, curated by Michel Claura, Stadtische Museum, Monchengladbach (1973). Recent solo presentations of Giorgio Griffa's works include Uno and Due, Galleria Civica d'Art Moderna e Contemporanea, Turin (2002), Neuer Kunstverein, Aschaffenburg (2005), MACRO, Museo d’Arte Contemporanea, Rome (2011), Golden Ratio, Mies van der Rohe Haus, Berlin (2013) Fragments 1968 – 2012, Casey Kaplan, New York (2013) and Centre d'Art Contemporain Genève (2015). In 2015, "To relieve the world, ABC-ARTE Genova, with the patronage of Genova Municipality. A Continuous Becoming, Camden Art Centre, London (2018)


Josep Guinovart

Josep Guinovart (20 March 1927 in Barcelona – 12 December 2007 in Barcelona) was a Catalan painter most famous for his informalist or abstract expressionist work.
In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946.
He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Matisse and Picasso and travelled to Belgium, Holland and Germany.
On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw.
In 1962, he illustrated a book of poetry entitled "Posies" by Joan Salvat-Papasseit for the Ariel Editorial. He won many accolades for his work throughout the 1970s and 80s, including Spain's National Award for Plastic Arts in 1982.
In 1994, a museum foundation dedicated to his art was inaugurated in Agramunt, his mother's birthplace to which he always felt a special attachment.
In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture "The Countryside Organ": a music instrument, 6 meters height, for the wind to sing the vines. This winery also displays the 10.5 meters work "In Vino Veritas" and other artists' works.
He died on 12 December 2007 at the age of 80, a few days after suffering a heart attack. He is buried in the Sant Gervasi Cemetery, Barcelona.


Teletext character set

This article covers technical details of the character encoding system defined by ETS 300 706, a standard for World System Teletext, and used for the Viewdata and Teletext variants of Videotex in Europe.
Character sets.
The following tables show various Teletext character sets. Each character is shown with a potential Unicode equivalent if available. Space and control characters are represented by the abbreviations for their names.
Control characters.
Control characters are used to set foreground and background color, character height, current default character set, and other attributes.
In formats where compatibility with ECMA-48's C0 control codes such as and is not required, these control codes are sometimes mapped transparently to the Unicode C0 control code range (U+0000 through U+001F). Amongst C1 control code sets, the ITU T.101 C1 control codes for "Serial" Data Syntax 2, are mostly a transposition of the Teletext spacing controls, except for the inclusion of at 0x9B.
Arabic.
Note that each Arabic contextual/positional character in the tables below is shown with the non-positional Unicode equivalent if available.


Shane Guffogg

Shane Guffogg (Guf-fogg; born August 12, 1962) is an American artist associated with the abstract art movement. He has worked in the media of painting, drawing, and sculpture. Guffogg lives and works between Los Angeles and Strathmore, California.
Early life and education.
Guffogg was born in Los Angeles on the 12th of August 1962. At the age of four, he and his family moved to Lindsay, a small farming town in the San Joaquin Valley. In 1975, his family moved to Strathmore, the neighboring town, because they bought an exotic bird farm. He worked on the farm during his teen years. In the late 1970s Guffogg realized his passion for art and convinced his parents to let him build a studio on the farm. After graduating high school in 1980, Guffogg traveled around Europe visiting various art museums for two months. That fall, he began studying art in a local community college in the Tulare County area. In fall of 1983, he entered the fine arts program at California Institute of the Arts, also known as “Cal Arts.” Attending Cal Arts was a recommendation by artist, Joe Goode after Guffogg visited his studio earlier that year. Douglas Huebler became Guffogg's mentor at Cal Arts because of his influence in the conceptual art movement. He received his B.F.A. from Cal Arts in 1985. He was an assistant to Ed Ruscha and Joe Goode from 1989 until 1995.
Work.
Guffogg's works consist of mediums such as oils on canvas or paper, watercolors, gouache, pastels on paper, and traditional etchings on zinc plates. The size of Guffogg's pieces can range anywhere between 10” x 8” to 10’ x 8’. The paintings with oils typically have as many as 60 to 70 layers of translucent colors. These colors are mixed with a glazing medium that gives these works an illuminated look. This particular process of layering is customary of the Masters and shows how Guffogg's work is rooted in ways of historical European painting techniques.
After visiting the work of the Master's in person during his European travels, Guffogg came to the realization that art is a language in itself as it can explain certain things words cannot. As a result, his works can be thought to be its own language of signs and symbols through its patterns, visual depth and light; which can, in turn, emit emotion to the viewer and hints to Quantum Physics and Super String Theory.
Early Influences.
Guffogg's attraction to art began at an early age. In the late 1960s his mother would take him to the library to check out books. Many of these books were art books with pictures of the art created by the masters, Da Vinci, Rembrandt, and Van Gogh. He saw their works as magic and wanted to be a part of that. From then on he was always drawing or painting. Guffogg said, “I would look at a tube [of paint] and smell it and dab a little bit on my fingers and wonder how artists could take this substance and make it into a work of art. I thought it was like alchemy, like magic. So I always wanted to be a magician in that regard.”
His fascination with the masters and art only continued as he flew to Europe the day after he graduated high school to finally see the works he had admired in person. He visited the National Gallery in London and was inspired to create a self-portrait of himself in Rembrandt's style after seeing Rembrandt's portrait. However, it was not until he saw “The Last Supper” in Milan where he knew he would be an artist.
After that summer, Guffogg enrolled in Porterville College where he put all his focus on painting and studied art history. He felt that it was important to study art history because he felt that it was essential to understanding the art world if one wanted to be a part of it. He looked at it as if it were a conversation that had gone on for years and in order to be fully immersed in it, he must understand how the dialogue began. At the same time, he was curious about Einstein's theory of relativity and space. After studying at CalArts he returned to Strathmore to live with his family and began painting fruit at the family's farm. This homecoming changed his thoughts of how he could contribute to the dialogue of the masters. Guffogg explained, “I began wondering what thoughts look like before we attach language to them. I was also wanting to make paintings that hover between abstraction and realism – between what we see and what we sense.”
New York City.
In 1985, he was chosen by Huebler and other faculty members at CalArts to attend an internship in New York where he could work at a gallery, museum, or as an artist assistant. Guffogg chose to work alongside New York artist, Gary Stephan. The internship lasted around six months, Guffogg chose to focus on learning and watching Stephan work and chose to make no artwork during this time.
Pharmaka.
In 2003, Guffogg began meeting weekly with fellow artists John Scane and Vonn Sumner, and art dealer, Adam Gross, discussing art and the LA art scene. Guffogg created a manifesto for the group that explained the ideas discussed within the group. The manifesto became a constitution which would be called Pharmaka. The name Pharmaka was utilized after their dialogue became public when they opened it up through three exhibitions in Downtown Los Angeles, Hollywood, and Los Feliz.
The Pharmaka non-profit gallery space opened in Downtown Los Angeles in 2004 and stayed until 2009. This space was used for different exhibitions and to continue to open up the dialogue of the current state of contemporary art for artists and curators.
Guffogg's involvement in Pharmaka allowed him to become a pillar in the arts community. During this period, Guffogg lectured at the Savannah College of Art and Design (SCAD), Pharmaka, and the Orange County's Art Crowd. Additionally, he curated numerous exhibitions and had a strong voice in the Los Angeles art community. As a result, he was given a position on the board of the downtown neighborhood council to represent art, culture, and education. He also became a chair for the Downtown Arts Committee.
Pattern Paintings.
Guffogg began creating his pattern paintings in the 90's. These works are created through 70 to 80 layers of translucent oil paint on canvas in order for the pieces to display illumination from within. What is different about the pattern paintings is that Guffogg paints a pattern over his usual pattern found in other works. The patterns are painted lightly and look as if a painted lace was draped over Guffogg's work. He creates the patterns seen in these works by starting at the left-hand corner and working his way across the canvas. This method of applying the pattern to the painting shows Guffogg's attention to conscious and subconscious perceptions and his fascination with the way the human psyche operates. As a result, the viewer can see dancing light within the work veiled by a lace-like pattern.
At the Still Point of the Turning World.
Guffogg began his At the Still Point series in 2009. The series was inspired and its name was taken from T.S. Eliot's poem, ‘Burnt Norton (No. 1 of Four Quartets).’ He first read the poem, years previous to the series’ creation, however, he returned to it because Guffogg feels that the poem addresses his concerns about the art world and the world of painting in the 21st century. Guffogg stated, “for me this is a continuous conversation between past and present, and about creating movement out of stillness in order to make the abstract real.” Although most works in the abstract movement are about flattening of pictorial space and denying the Renaissance window, in this series Guffogg's goal was to create it.
The movement of light through the ribbons in the series documents his own physicality through brushstrokes seen within the paintings. The ribbons create a web through each movement of the brush as each movement requires a counter movement so balance occurs within the piece. As a result, it makes the viewer think the web consists of a single line.
He was also inspired by William Turner's seascapes that were made from 1835 to 1846, Mark Rothko's last works on paper, pieces by Rembrandt, and Jasper John's early ‘Alphabet’ paintings. Guffogg sees this series as a conversation with the artists that inspired him.
Ginevra de Benci.
Guffogg's Ginevra de Benci series of paintings are inspired by Leonardo da Vinci's "Ginevra de Benci” painting. The series was created following Guffogg's “At the Still Point Series” and is thought of as an evolution of that series. The portrait by Leonardo da Vinci is on display at the National Gallery of Art in Washington D.C. The series by Guffogg consists of fifty-two oil on canvas pieces that are meant to symbolize a conversation between Guffogg and Da Vinci. Each painting in the series is titled Ginevra de Benci then numbered. The series appeared in Guffogg's 2013 exhibition, titled, “The Annunciation of Ginevra de’Benci: Conversations with Leonardo.”
The series displays Guffogg's illuminated ribbon motif created in combination with oil paint and resin. The combination of these two materials gives these paintings bursts of light. The tangled ribbons give hints at Leonardo's portrait of de Benci and feminine shape. One can see how Guffogg utilizes abstraction and string theory, modern mathematical and scientific tools, and how Da Vinci utilized classicism and science and math of his time within his work.
Lumen Lapsis.
"Lumen Lapsis" series consists of pastels on paper. In Latin, “lumen lapsis” means, “light falling”. This name is meant to capture the use of light, which is always present in Guffogg's artwork. Additionally, these works utilize light to display the cascading colors of the medium. Lumen Lapsis is also meant to display “thought and process”, working simultaneously, as Guffogg is able to manifest these pieces over one sitting, completing a dialogue with each work.
While creating, Guffogg believes he is able to truly connect with each pastel, unlike oils, that need to be worked over a number of sessions, and take time to dry, pastels allow him to create dimensional layers, as there is no drying time and it allows him to create a “pure moment.”
Murano Glass.
“The Fifth Sound” is the name of Guffogg's Murano glass pieces. The inspiration that would later create this series came to Guffogg in 1997. He began drawing the negative space between the ribbons found in his oil paintings. Then Guffogg would fold the paper with the drawing of negative space in half then cut out the shape would appear as a mirrored image. These shapes created from negative space in his paintings spurred the idea of creating sculptures and would later become templates for the Murano glass series, “The Fifth Sound.”
In 2004, Guffogg was approached by a Venetian art dealer that was looking to have a California artist collaborate with a Murano glass master. He then pursued this opportunity and went to Venice. There, he learned the history of Murano glassmaking. He collaborated with the glass master to display this negative space found with in his oil paintings in a three- dimensional sculpture form. Guffogg and the glass master proceeded with this, and “The Fifth Sound” Murano glass series came to fruition. Guffogg sees these pieces as extensions of his two-dimensional work. These pieces are hand blown and then sanded down so they appear more opaque. Some pieces in the series are also mirror coated as well.
Sapere Aude.
Sapere Aude is a series that Guffogg began in 2016. Like many of his series, this one is also based on the movement of light. Guffogg uses his signature ribbon motif through oils on canvas in flesh tones. The series’ name "Sapere Aude" means “Dare to Know” in latin. The flesh tones are used to depict the human form and its constant evolution through life and society. Through these works he strives to make his viewer question the themselves, people, surroundings and unknown to find virtue.
A Rose is a Rose is a Rose.
In 2019, Shane Guffogg began the series, "A Rose is a Rose is a Rose". This series was inspired by Gertrude Stein and his ranch in Central California. The name of this series comes from a line in Gertrude Stein’s 1913 poem, “Sacred Emily.” He was also inspired by a lecture she spoke at Oxford University where she shared that the word “rose” has three meanings: a person’s name, a flower, and a concept. He also found inspiration from his blooming orchard at his ranch is Central California. There he has planted over 100 different fruit trees and of course roses as well. While up at his ranch, he starts each day tending to this orchard and then begins to paint. The evolution of these plants, blossoming and bearing delicious fruits sparked inspiration for this series.
These pieces depict a delicacy of a rose in a silent, abstract form. He utilizes oils on canvas to depict these dreamy shapes and swirl of a rose in an abstract way. They enamor the viewer as Guffogg demonstrates the evolution of a blossoming rose in these works.
Art Market.
Guffogg's "Amor Fati #1", 2013 sold under the "best sales" category at the Beach Cannes Auction in August 2016 for €148,100. In June 2017, Guffogg's "As of Today #3," 2011 oil on canvas (60” x 80”) was sold for a record high price of $285,000 at Paris auction house, Cornette de Saint CYR.
"Ginevra de Benci #24", completed in 2012, oil on canvas 80 x 100 inches, sold for
€257,000 ($311,516), at an auction in October 2017 at Cornette de Saint CYR, Paris, France “Art Contemporain” auction in Paris.
"At the Still Point of the Turning World - Inhabit the Garden," completed in 2019 is an oil on canvas, 78 x 96 inches, SOLD at Cannes Encheres auction (France) for $224,000.00 USD on July 19, 2019
On August 2, 2020, Guffogg's "Hommage à Klien" (At the Still Point of the Turning World - Behind Us Reflected in the Pool) 2017, oil on canvas, 60 x 48 inches, SOLD at Vermot & Associes Auction in France for $136,000.00 USD (115,000.00 EURO).
External links.
Official Website: https://www.shaneguffogg.com


Indian chess

Indian chess is the name given to regional variations of chess played in India in the 18th and 19th centuries. It is distinct from chaturanga, the ancestor of chess that spread from ancient India to Persia and Europe in the 7th century. There are several such variations, all quite similar to modern rules, with variants regarding castling, pawn promotion, etc. These variants were popular in India until the 1960s. However, even today a mix of Indian and international rules and terminology are used in some parts of India.
Names of the pieces.
The following table describes one version of Subcontinental chess terminology for the various pieces (including Hindi and Urdu pronunciations):


Eric Scobie

Eric Scobie (born 3 June 1952) is a Scottish / Norwegian author and journalist who works mainly from Norway.
Biography.
Scobie's first published work was in "Motklang", a collection of short stories published by Forlaget in Oslo in 1974. This was followed up by the novel "Bentvesten" ("Bent's Territory") in 1981. Published by Aschehoug, it was, according to the author, "a socio-fictional Western set in contemporary Norway". In 1986 "Trekkfugler i garnet" ("Birds of Passage"), was published by Ex Libris.
Scobie has been a member of the rock band Boastein since its inception in 1971. Boastein, founded by Øistein Boassen and Are Storstein, produced two albums: "Jeg har min egen luke" ("My Very Own Hatch") in 1977, and "Urgata Hurgata" in 1980. In 1981, Scobie co-founded, with Erik Gustavson, in Oslo, the film company Fri Media Gruppe (Free Media Group), which produced a long series of shorts and commercial films.
As a translator and subtitler for television, at the Norwegian Broadcasting Corporation (NRK), Scobie contributed to the dissemination of Norwegian-produced TV-programmes throughout the world. He also translated many Norwegian radio documentaries. Scobie has also worked as an editor, most notably with the Norwegian version of the "War Papers", "Krigsavisene", a series published by British-based publisher Albertas Ltd. For his work on this production, he was awarded the Norwegian prize for Free-lance Journalist of the Year 2001. In 1982 Scobie shared the Scheibler Award with Erik Gustavson for their short film "Siste Kapittel" ("The Final Chapter").


Abbott Pattison

Abbott Lawrence Pattison (May 15, 1916 – April 16, 1999) was an American sculptor and abstract artist.
Life.
Internationally known as a sculptor, American artist Abbott Pattison worked primarily in cast bronze, welded brass and carved marble. Recognition of his talent first came in his hometown of Chicago through representation by the Fairweather-Hardin Gallery, but his reputation soon spread nationally, with eight one-man exhibits in New York City at The Downtown Gallery and Edith Halpern Gallery. Later he was also represented in Los Angeles by The Feingarten Gallery, and in London by The Alwin Gallery.
Abbott Pattison was born May 15, 1916 to William and Bonnie Pattison, the second of seven children. His father was a well-known real estate developer of the city. He first attended art classes at The Art Institute of Chicago at the age of 10, while a student of Francis Parker School. Later he chose to enroll at Yale University because of their art program. While there, he was thoroughly trained in classical traditions of drawing, fresco painting and the Sienese style of egg tempera, eventually choosing sculpture as his primary art form.
After he graduated with a Liberal Arts Degree in 1937, he enrolled in the Master’s program at Yale, and graduated with a Degree in Fine Arts in 1939. Among the fifty-two students who graduated from the art/architecture department that year, Pattison was awarded first prize, which was a traveling fellowship, and he chose to travel to Northern China and Japan for six months. While in China, he lived in a mountain village 150 miles from Peking with a Franciscan priest who was building a Catholic church in stone quarried from a nearby mountain, Pattison carved Twelve Stations of the Cross for the monastery with the assistance of several local stone masons. Next traveling in Japan, Abbott Pattison was arrested as a spy, but soon released. He warned his interrogators that he would return to Japan, but the next time he would be wearing a uniform.
Upon his return to The United States in 1940, Pattison went directly into Officer’s Training School. From 1942 to 1945, he was given active command as Captain of a Pacific Command Sub Chaser, doing convoy duty between Hawaii and the Midway Islands. He was promoted to First Executive Officer on a Destroyer Escort, and was thereafter given full command as Captain of a second Destroyer Escort, running convoys across the Pacific from Florida to the African Coast and into the Mediterranean. He won a Military Merit medal for personal bravery, and his ship received battle stars for downing several German fighter planes. Pattison noted that the only regular paycheck he ever received was from that time when he served as an officer in the United States Navy.
At the end of World War II, Abbott Pattison returned to Chicago, and to his art, so that by 1946 he was well-known in art circles as the youthful recipient of both the Logan and Eisendrath awards, and as a recipient of one of the four prizes awarded nationally to sculptors by The Metropolitan Museum. He joined the faculty of The Art Institute of Chicago as an instructor of sculpture.
In 1953, Pattison was a visiting sculptor at The University of Georgia, and was asked to return the following year as a sculptor in residence with no teaching duties, having been honored for a second time with the Pauline Palmer Prize for sculpture. At the University, Pattison carved a large marble sculpture, titled Mother and Child and went on to create a 12-foot high abstract horse for the campus in welded plate steel, now called familiarly The Iron Horse. At the time, this sculpture represented the cutting-edge of avant-garde art in the United States. The sculpture was placed in front of the dormitory of the University’s football team, and angry students attacked the horse with spray paint, manure, fire and hammers, with the art department professors merely looking on. The Athens, Georgia police force was called in to quell the disturbance. This event became famous as the first official riot on an American college campus, and became the feature of a Public Broadcasting System movie special. The quarter-inch thick boiler plate steel sculpture withstood the attack and remains intact, but it was immediately removed from the campus and has never returned, sitting in a local farmer’s field since 1954.
Abbott Pattison regarded all sculptors, presently living or throughout time, as his kin. His work was inspired by classical Classical Greek and Etruscan forms, elements of which he interpreted in creating his abstract bronzes, welded braised figures, and marble carvings.
Prior to attending Yale, Pattison did more drawing and painting than sculpture. It was at Yale that he decided to work mostly in sculpture. However, he often exhibited his paintings, watercolors and terra cotta sculptures alongside his bronze sculptures at gallery shows.
Shortly before his death in 1999, Pattison advised his artist son Harry: “If an artist can manage to paint four or five great paintings in a lifetime that’s all that is necessary. It isn’t easy.”
Abbott Pattison spent his summers at his home and studio on the coast of Maine, occasionally teaching at The Skowhegan School of Painting and Sculpture, where he also served on their Board of Governors. He spent his winters in Florence, Italy where the bronze foundry that cast his works is located. The rest of his time he worked in his Chicago studio, occasionally teaching at the Art Institute of Chicago. He continued working to the day of his death at age 82.
Currently more than thirty of Pattison’s works are on public display throughout Chicago, and his sculptures are in the collections of universities, corporations and museums worldwide, including the Whitney Museum in New York City, the Art Institute of Chicago, the Corcoran Museum in Washington, D.C., the San Francisco Museum and the Museum of the Israeli State in Jerusalem. Five of his pieces are owned by the United States State Department and are located in embassies overseas. One of Abbott Pattison’s sculptures is in Buckingham Palace, London.


Hiroki Iizuka (shogi)

 is a Japanese professional shogi player ranked 7-dan.
Early life.
Hiroki Iizuka was born in Tokyo on April 2, 1969. He entered the Japan Shogi Association's apprentice school under the guidance of shogi professional in December 1982 at the rank of 6-kyū. He was promoted to 1-dan in 1988, and then obtained full professional status and the rank of 4-dan in April 1992.
Promotion history.
The promotion history for Iizuka is as follows:


Guildhawk

Guildhawk, is a Queen's Award winning global technology led language services agency, headquartered in the City of London. The company was founded by Jurga Zilinskiene in 2001, and has developed into an international agency with multiple locations and over 3,000 staff, providing translation, interpreting, consulting localisation, voiceover, subtitling and more in over 200 languages. The firm uses database software Zilinskiene designed and evolved from the start of the business.
Guildhawk has developed productivity software and algorithms to manage people and information and in 2019 won government backing for a Knowledge Transfer Partnership in collaboration with Sheffield Hallam University to develop a new software platform to manage people in the Gig economy.
Previously known as Today Translations and Today Advisory, the company underwent a full corporate rebrand in June 2019, which included the new name, Guildhawk, new brand imagery and a new symbol and tone of voice. The rebrand process took 2 years, after company research and client feedback showed that "translations" was a limiting term which did not reflect the scope of the company's services, nor the expertise of its linguists.
The word Guildhawk is a registered trade mark with the UK Intellectual Property Office number UK00003395877. The symbol of the Guildhawk Girl with a Red Scarf is also a registered design of the company registered trade mark number UK00003395936.
History.
Guildhawk was founded under the name Today Translations in London by Jurga Zilinskiene in 2001. Zilinskiene funded the establishment of the company with £13,000 of her own savings.
In 2003, Zilinskiene received a Shell LiveWIRE award for Young Entrepreneurs for the early success of the company.
In June 2014, Guildhawk hosted representatives from the Greater Houston Women's Chamber of Commerce (GHWCC), organising and participating in a series of site visits across London. The events culminated with Today Translations announcing the founding of a London-based commerce organisation for women.
The company featured on BBC News when a story about hiring the world's first Emoji Translator, Keith Broni went viral in 2016. The Victoria and Albert museum and Guildhawk hosted an event as part of the Friday Late events and Guildhawk provides media commentary on the evolution of emojis that gains international coverage. The use of certain emojis for humorous purposes and with sexual connotations is popular question that Guildhawk is asked about.
In June 2019, the company rebranded as Guildhawk Limited to reflect that the company's offerings extended beyond just translation. The company's vision and values were captured in a one minute film called, "'Making Hopes Become Achievable'" that followed the journey of a young girl and boy. The film was produced by Lipsync Productions using back projection techniques that were explained in a subsequent film called, "'Secrets of Cinematic Storytelling"'.
Responding to the impact of the global pandemic, in March 2020, Guildhawk pivoted its operations by launching two new technology products called Guildhawk Aided and Text Perfect, providing translations of medical research documents and moving staff to remote working.
Corporate identity.
Software development.
Guildhawk uses a range of software solutions and has also developed code and algorithms to which it owns the rights. These include launching Guildhawk Aided and Text Perfect during the pandemic and Zilinskiene was quoted by Bloomberg as saying, "“Instead of looking at tech as some kind of monster to take away your job, now the tech is the hero.”"
In 2019, Guildhawk and Sheffield Hallam University won Government funding via Innovate UK to develop a new business management software platform to power the Gig Economy. The design and development team for the Yorkshire project were recruited and in December 2020 the team was expanded.
Security assurance.
To provide assurance and interoperability through the supply chain, Guildhawk was the first specialist language services provider to achieve independent United Kingdom Accreditation Service - certification for data security throughout its global operations.
Guildhawk also has a global network of subject matter experts, who advise on how to reduce the risk of fraud, bribery and cyber-crime, as well as how to enhance multilingual communication. They also provide thought leadership on due-diligence and business integrity. On 18 January 2018, the Fraud Advisory Panel charity appointed Guildhawk director David Clarke as its chairman.
During the COVID-19 pandemic, the company deployed its expertise in multilingual communications to produce a series of free health and safety notices that were made available to the public and business. Guildhawk also provided a series of online briefings to advise companies and the Law Society on measures to protect their information and avoid cyber attacks and fraud during the crisis. In March 2021, Economia magazine interviewed Director David Clarke his four lessons the UK should learn from COVID fraud. The company's external Legal Counsel and Board member Arun Chauhan, a solicitor specialising in fraud litigation and regulatory compliance matters makes regular appearances at events and on BBC Radio and television providing advice to businesses and consumers.
On 30 March 2020, CEO Jurga Zilinskiene MBE and Chairman Ian Miller MBE wrote a letter to Prime Minister Boris Johnson to caution him that, “vulture funds” will use the crisis to “acquire, asset-strip and neutralise good companies”. Its warnings fell on deaf ears. Zilinskiene had previously written to the Prime Minister to suggest steps the government could take to help UK companies boost international trade after leaving the European Union. The letters followed two meeting with the Prime Minister at 10 Downing Street.
Quality assurance.
Guildhawk is certified to ISO 9001, the international standard for Quality Management. The company uses database software Zilinskiene designed and developed herself, which adheres to the standard.
Promoting international trade.
Guildhawk has been recognised on several occasions for its dedication to promoting international trade, receiving a UK Trade & Investment Certificate of Appreciation presented by Prince Philip, Duke of Edinburgh in 2006, and the Council of British Chambers of Commerce in Europe (COBCOE) 'Make Europe Work' award for Breakthrough Trade in 2015.
In 2019, Her Majesty the Queen honoured Guildhawk, under its former name of Today Translations, with the Queen's Award for Enterprise, in the International Trade category. It is awarded to companies who have achieved outstanding growth in overseas earning, and shown year-on-year growth over at least three years. The Award was formerly presented to members of the company by the Rt Hon Peter Estlin, Lord Mayor of London at Mansion House on 28 October 2019, followed by a further presentation by Paul Double, The Remembrancer of London at Guildhall.
In 2019, the Queen also honoured Guildhawk's CEO Zilinskiene with membership of the Most Excellent Order of the British Empire for services to International Trade.
Language and translation services.
In 2021, founder Zilinskiene told City Business Library how Guildhawk was established as a traditional translation company serving international brands, and steadily evolved into a provider of specialist language consultancy saying, ""The work involves anything from researching business opportunities, to translating movies or company policies; developing new AI machine translation tools, to analysing and abstracting multilingual data. Basically, any and all things a client may need in order for their international business to run smoothly and successfully"."
Associations.
Guildhawk is a member of the Association of Translation Companies, and the European Association of Translation Companies. It was also a strategic partner of the Council of British Chambers of Commerce in Europe (COBCOE) prior to the merger into the British Chambers of Commerce.
Media and press.
The company was noted in the media for polls to find the 'world's most untranslatable word' and another to identify 'the world's most romantic word'.
It has also attracted press attention for other events, including the hiring of regional Geordie, Glaswegian, and Scouse translators. They have also advertised for speakers of Brooklynese. The company maintains that its regional recruitment campaign was motivated by a genuine need to enable foreign business people to do business more easily in the regions. According to Zilinskiene, "We are aware that some of our foreign and UK clients can find the Glaswegian accent difficult to decipher. While it's unusual for us to want someone to translate a dialect of English, there is a clear demand".
In November 2016, Guildhawk advertised for 'the world's first emoji translator', which received widespread media coverage. As a result of the unusual job advertisement, Zilinskeine appeared on BBC News, ITV News, and Vice News, as well as several radio stations. According to Zilinskiene, the position is intended to address the "emerging area of confusion" around the usage and meanings of emojis in different cultures.
Guildhawk and its experts are frequently featured in television and online news articles that range in diversity from the evolution of words and language to technology, entrepreneurship and international trade.
The company funded the professional translation of the Constitution of the Republic of Užupis into Scottish Gaelic which is inscribed on a plaque that was unveiled at a ceremony on 25th January 2019, to mark the birth date of the Scottish poet Robert Burns. The company has also supported the Annual Burns Night Supper celebrations and charity fundraising event held in Vilnius in partnership with the British Chamber of Commerce in Lithuania.
Philanthropy.
Guildhawk supports several charitable causes, including donating a percentage of its profits to The Fairtrade Foundation and sponsoring HRH Prince William's charity the Tusk Trust and the Courage & Benevolence Ball with Sir Timothy Ackroyd in aid of the Debra charity.
The company supports those who have served in the police and armed forces by sponsoring charitable police and military events and providing training and employment opportunities for military veterans as a signatory to the Armed Forces Covenant.
In November 2019, Guildhawk supported Sheffield company Twinkl to enter the Guinness Book of Records with the most people singing relay in multiple songs.


Teletext Holidays

Teletext Holidays is a British travel company that specializes in the sale of short and long haul beach holidays, city breaks, UK getaways and cruises.
Headquarters.
Teletext Holidays is headquartered in Richmond, London. Truly Travel, Teletext Holidays’ Travel Agent partner has offices in London alongside a customer call centre and additional back office support, including marketing operations, based in Hyderabad and editorial team in Noida, India.
History.
In 2009, Teletext Holidays announced it would shut down its information service on analogue and digital television by the year's end.


Sandeep Mukherjee

Sandeep Mukherjee (born 1964) is an Indian-American artist based in Los Angeles who works in the areas of painting, drawing and installation art. His work engages with the discourses of process art, textile art, modernist abstract painting and traditional Eastern art, balancing emphases on materiality, the physicality of the performing body and viewer, architectural space, and image. He is most known for his process-oriented, improvisational abstract works—often paintings in acrylic inks and paints on textured or film-like surfaces—that seek to represent mutable, flowing matter and liminal realms between subjective experience and objective information. Mukherjee's early work was figurative; his later work, while abstract, is often likened to landscape and microscopic, natural or celestial phenomena. "Los Angeles Times" critic Christopher Knight described it as "ecstatic abstraction, built from color, line, movement and light. Like the dance done by a whirling dervish, who positions himself between material and cosmic worlds."
Mukherjee has received a Guggenheim Fellowship and awards from the City of Los Angeles and California Community Foundation, among others. He has exhibited internationally and his work belongs to public collections including those of the Museum of Modern Art (MoMA), Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles (MOCA), Kiran Nadar Museum of Art and Colección Jumex. He lives and works In Los Angeles and has been a Professor of Art at Pomona College in Claremont, California since 2006.
Early life and career.
Mukherjee was born in Pune, India, in 1964. He initially trained as an industrial engineer, earning degrees at Manipal Institute of Technology in Mangalore, India (BS, 1986) and University of California, Berkeley (MS, 1988). He worked for five years as an engineer at Texas Instruments in Tustin, California, while making art in his off-time. After taking art courses at a community college between 1991 and 1993, he enrolled at Otis College of Art and Design in Los Angeles, earning a BFA in 1996, and completed his studies at University of California, Los Angeles (MFA, 1999).
Mukherjee first received critical attention for solo exhibitions at Margo Leavin Gallery and the Pomona College Museum of Art, in Los Angeles, and group shows at California State University, MOCA Los Angeles ("Conversations," 2003), and the Hammer Museum. Since that time, he has had solo exhibitions in Bangladesh, Germany, India and the U.S., at Pitzer College, Sister and Chimento Contemporary (California), Brennan & Griffin (New York), Project 88 (Mumbai) and the Dhaka Art Summit, among others. He also appeared in group exhibitions at MoMA, BravinLee programs, and the MAK Center at the Schindler House.
Work and reception.
Since earning his MFA, Mukherjee has produced drawings and paintings on paper and Duralene—a translucent, vellum-like polymer film that simulates the slick luminosity of celluloid. This work has generally had both a sculptural presence, through surface manipulations (creases, folds, indents and pinpricks), and an architectural aspect, through multi-panel, mural-like works that traverse walls, turn corners and interact with the light of their spaces. Initially, these were minimal, finely drawn, embossed and incised drawings of nude figures floating in ethereal color fields, with erotic overtones that derived from both their subjects and skin-like surfaces. In the mid-2000s, he shifted to process-oriented abstractions applied and reworked with spontaneous, rhythmic gestures using brushes, concrete brooms, carved rolls, sponges and Q-tips; they evoke the physicality of the body and their own making while suggesting natural and geological phenomena, cosmological events and topographic maps. Author Claudia Rankine compared Mukherjee's "mode of erasure [that] peels back years of work … put aside, returned to and painted over" to the study of racial history, which creates depth of field by pulling forward texts and events "alive or dead to the imagination depending on where you are standing."
Critics liken the organic intersecting and spiraling forms, complex surfaces and patterning, and deep saturated colors of Mukherjee's imagery to the work of experimental "direct" filmmakers (e.g., Oskar Fischinger, James Whitney and Len Lye) and his sculpting of light and phenomenological focus to the Southern California Light and Space movement. Writers also often attribute contemplative, spiritual or romantic dimensions to his work, due to its philosophical explorations of blurred boundaries between science and art, the subjective and objective, and space and time; he is often linked to the earlier "spiritual abstraction" of artists such as Lee Mullican, Jay DeFeo, Richard Pousette-Dart and Lee Bontecou.
Early figurative work (1999–2003).
Mukherjee's minimalist figurative work fused aspects of Asian art traditions with Western notions of subjectivity through shifting relations of figure and ground, light and space, and points of view. "Art in America"'s Michael Duncan wrote that these drawings "suggest a fantastical, airy interior realm where rarified self-consciousness manifests as pure physicality." They consisted of multiple images of Mukherjee's own head and nude body meticulously rendered in pale colored-pencil contour lines, needle pricks and embossed or creased shapes, which floated through softly colored, monochrome fields incised with motifs of flowers, leaves, starbursts, and rippling water. The complex Duralene and paper surfaces—irregular planes of folds, creases and tattoo-like perforations—absorbed and reflected light, casting shadows that shifted as viewers changed position to create a visual push-pull between abstraction and figuration, painting and sculptural relief. "Los Angeles Times" critic David Pagel suggested the drawings "fuse the heightened perceptual acuity of classic Light and Space installations with the pleasures of classic figurative imagery, in a powerfully original fashion."
Mukherjee presented this work most notably in solo exhibitions at Margo Leavin Gallery in Los Angeles (2000, 2002) and the Pomona College Museum of Art (2004). The centerpiece of the 2002 show was a narrow, mural wrapping around four walls that featured self-portraits largely invisible at a distance, which were drawn, incised or creased on Duralene painted on the back with rich, flat pink, orange and yellow hues. Moving left to right, the piece progressed from delicate clusters of undulating heads to a large head and tumbling naked bodies growing to life-size on scored and folded fields of starbursts, stars and flowers, to wide-eyed, grinning heads. Critics suggest the work expresses a contemporary search for enlightenment and the self, with its indeterminate space evoking primal, prenatal memories or out-of-body experiences achieved through meditation, spiritual practice or sexual ecstasy; Christopher Knight called it "a gently epic narrative of sensual pleasure and extrasensory wonder."
Abstract work (2004– ).
In 2004, Mukherjee turned from figuration to complete abstraction, produced through varied, labor-intensive processes of brushing, dripping, daubing, dragging and erasing watery acrylic inks. He achieved a seemingly inexhaustible range of texture and pattern that suggested radiating mosaics, petrified stone, tree rings or mandalas, which he juxtaposed against largely white areas of linear rays and rippling forms sculpted in the Duralene surface. He presented this work in a solo exhibition at Sister in 2005, whose monumental centerpiece, "Untitled (Centrifugal)", was a five-panel, work of monochrome jewel-toned, spiraled rings and fields of embossed, radiating lines that bent and buckled the surface into sharply etched mountains and valleys of shadow and light.
Between 2006 and 2010, Mukherjee continued to develop this work through several new cycles. His exhibitions at Sister and Cottage Home (2008) presented kaleidoscopic compositions of overlapping and intertwined spirals set against areas of black, creased Duralene. Critics likened them to lyrical, avant-garde film-still blow-ups, solar emanations and microscopic cells; "LA Weekly" critic Christopher Miles described their effect as "woozy, liberating and haunting." Mukherjee countered these hallucinatory works with minimalist works and series, such as "Untitled (Black Valley)" (2008)—which featured three glossy black embossed starburst forms flanked by two large matte-black shapes—and the dense but spare "landscapes" of his black-and-white "Thicket" series (2009–10).
The work in subsequent exhibitions at Project 88 (2011, 2014), Brennan & Griffin (2012) and Chimento Contemporary (2015) featured swirling, zigzagging and entwining sequences of ribbons that shifted between abstraction and suggestions of DNA strands and microscopic, botanic or cosmological forms. Their translucent green, brown, orange and yellow bands contained meticulously brushed striations dabbed in layered strokes and were set on black fields creased with webs of collapsing grids and protuberances (e.g., "Splice", 2012; the "Tear" and "Palimpsest" series, 2014–5). The Chimento show featured "Mutual Entanglements," an enveloping, , two-wall mural whose sprayed and dragged brown, green, purple and indigo colors and organic abstraction suggested a lush tropical jungle. The mural was unusual in that its construction and orientation was indeterminate and fluid, with panels that—per Mukherjee's gallery instructions—could be installed in any direction or order and yet retain cohesion, despite the lack of a repeating pattern.
In installations from 2016 to 2020, Mukherjee has extended the dimensionality of his work beyond relief to full sculpture. The wall-piece "Elemental" (2016) employed eight folded aluminum panels whose colors and painted forms call to mind molten lava or an evolving universe. In exhibitions at 68 Projects ("Molting the Fractured," Berlin, 2017) and The Kitchen ("On Whiteness," 2018) he presented hand-molded, human-sized aluminum works coated in acrylic that hung from the ceiling and reached the floor; the latter show's "Tree Skin" (2018) consisted of two pieces that reference oak tree trunks as a corporeal stand-in, evoking both callused and weathered flesh and the sites of lynching to address the violence perpetrated against non-white bodies.
Recognition and collections.
Mukherjee has received fellowships from the John Simon Guggenheim Memorial Foundation and Villa Aurora & Thomas Mann House e.V. (both in 2017), the City of Los Angeles Department of Cultural Affairs (COLA, 2015–6), and the California Community Foundation (2009). He has been awarded public art commissions for permanent installations in Los Angeles—at SoFi Stadium and the Facebook Headquarters in 2020—and in Toledo, Ohio, at the James M. Ashley and Thomas W.L. Ashley United States Courthouse, also in 2020.
Mukherjee's work belongs to the public collections of the Museum of Modern Art, Museum of Contemporary Art Los Angeles, Los Angeles County Museum of Art, Hammer Museum, Colección Jumex (Mexico City), Kiran Nadar Museum of Art (New Delhi), Nerman Museum of Contemporary Art, Orange County Museum of Art, Portland Art Museum, San Jose Museum of Art, and Weatherspoon Art Museum, in addition to several private, corporate and college collections.


Reginald H. Neal

Reginald H. Neal (1909–1992) was an American painter and graphic artist, especially a printmaker, who created op art works.
Neal was born in Leicester, England. He moved to Decatur, Illinois. He received his BA from Bradley University and his master's degree in art history from the University of Chicago in 1939. His op art works explored optical elements that produced vibrating, flickering and pulsating effects. He also taught at the Escuela de Bellas Artes in Mexico and at the Contemporaries Graphic Center in New York.
Neal participated in "The Responsive Eye", (Museum of Modern Art, New York, 1965) and "Optic Nerve: Perceptual Art of the 1960s" (Columbus Museum of Art, Ohio, 2007).
Works by Neal are included in the collections of the Museum of Modern Art, the Library of Congress, Princeton University, the Figge Art Museum, and Brigham Young University.
He died in 1992.


Keith Dowman

Keith Dowman (born 1945) is an English Dzogchen teacher and translator of Tibetan Buddhist texts.
Dowman travelled to India and Nepal in 1966 where he practiced Kriya Yoga with Ganesh Baba and vipassanā meditation with the Indian Theravadin teacher Anagarika Munindra. After connecting with Tibetan Buddhism, he met and trained under many Tibetan masters, including his root gurus Dudjom Jigdral Yeshe Dorje and Kangyur Rinpoche, Longchen Yeshe Dorje. He lived near these masters in Darjeeling, West Bengal, for many years. He studied Classical Tibetan at Queens College, Sanskrit University, in Varanasi, India, under Lama Jamspal. In 1973, at the Nyingma Institute in Berkeley, California, his translations were first published under the auspices of Tarthang Tulku, while he taught on Tibetan language at Sonoma State University.
Dowman has written books and translations focusing on various aspects of Tibetan Buddhism and Tibetan culture including travel literature in particular on Vajrayana and Dzogchen. In his later writings, he has focused increasingly on Dzogchen and in particular on the works of the 14th Century Nyingma master scholar Longchenpa.
Since 1993 he has been teaching and leading retreats on Vajrayana and Dzogchen throughout the world.


Curse of Carlisle


Alice Lucas (poet)

Alice Julia Lucas () (2 August 1851 – 25 March 1935) was a British Jewish poet, translator, and communal worker.
Biography.
Alice Julia Montefiore was born in 1851, the elder daughter of Nathaniel M. Montefiore and Emma Goldsmid. Alongside her brother Claude Montefiore, she studied Judaism under Solomon Schechter at the Hochschule in Berlin. On 24 April 1873 she married barrister Henry Lucas, who later served as treasurer and vice-president of the United Synagogue. In 1900 she helped establish the Jewish Study Society, modelled after the Council of Jewish Women, of which she served as the first president. Lucas also sat on the women's committee of the Westminster Jews' Free School and its preparatory nursery, the Jews' Infant School.
Work.
Alice Lucas's first book was "Translations from the German Poets of the 18th and 19th Centuries" (1876), containing English translations of compositions by Goethe, Heine, Schiller, among others. She later published "The Children's Pentateuch" (1878) and a translation of David Cassel's "Leitfaden für den Untericht in der jüdischen Geschichte und Literatur" (1883), textbooks for children on the Torah and Jewish history, respectively.
Lucas regularly published translations of poetry from medieval Hebrew and Talmudic sources in the pages of the "Jewish Quarterly Review", the "Jewish Chronicle", and other periodicals. Her "Songs of Zion by Hebrew Singers of Mediæval Times" (1894) includes both original poetry and translations of medieval Hebrew hyms, and provides a poem for every Shabbat of the year as well as feasts and fasts. Her translation work culminated in the publication of "The Jewish Year: A Collection of Devotional Poems for Sabbaths and Holidays Throughout the Year" (1898, revised 1926), a response to John Keble's popular "The Christian Year". The volume contains original works, translations from medieval Hebrew poetry, poetic renderings of Talmudic legends, and re-workings of poems from the "siddur", organized by reference to the weekly Torah portion.


Akiko Yazawa

 (née Abe, born 1980) is a professional backgammon player from Tokyo, Japan. She became World Backgammon champion in 2014 and 2018. Akiko is ranked 3rd on Giants of Backgammon in 2015, becoming the first female Backgammon Giant.