texts: right to abortion. He also supports the legalisation of cannabis.Mélenchon is an outspoken critic of the European Union (EU), which he claims has been corrupted through neoliberalism. During his 2012 campaign, Mélenchon positioned himself against the trend towards economic globalisation, which he denounced as disproportionately profiting the financial industry and "high income earners" at the expense of the poor. He insisted international organisations such as the EU threatened to "strangle the voice of the people". He supports a renegotiation of European treaties. Mélenchon opposes the North Atlantic Treaty Organisation (NATO), which he perceives as an affront to France's national sovereignty. He has repeatedly called for France to withdraw from NATO. Mélenchon has been labelled a "populist" by numerous diverse people, with the PS senator Luc Carvounas saying he goes to "the summits of demagoguery and populism", and the magazine Slate, stating that Mélenchon's rhetoric is "shocking" and implying his entire political life is based around pleasing the people.He has been compared to Marine Le Pen in terms of debating style; political scientist Dominique Reynié even went as far as to say he "flirts with xenophobia when it helps him". Mélenchon has himself his vision of populism, which he sees as positive if it comes with a left ideology. He is inspired by the philosopher Chantal Mouffe, who sought to theorise and rehabilitate the term "left populism". This theory argues that neoliberalism and austerity only made the far-right stronger and that the word "people" has to be reintroduced into the political sphere in a civic sense


type: original

texts:
 rather than an ethnic way (creating a "right populism" to fight). Mélenchon has voiced his support for Rattachism. The Sixth Republic and the French Constitution

Jean-Luc Mélenchon advocates for the holding of a constitutional convention to create a Sixth Republic. In 2017, in La France Insoumise's manifesto titled L'Avenir En Commun, it states in the first chapter: "The new constitution that France needs must be radically different".On 14 September 2014, Mélenchon wrote in Le Monde, "France must protect itself from the powers of finance. They devour the real economy." He goes on, "To this end, the definition of the constitutional rights of private ownership of capital should change", he continues by stating, "Again, it is inclusion in the Constitution that will fix this and make it a common rule." Mélenchon is also endorsed by the "Movement for the 6th Republic", and has spoken positively of them before. A spokesman for La France Insoumise affirmed that Mélenchon was very welcoming of a Sixth Republic run by the people that welcomes democracy, ecology, and challenges social issues. The constitutional convention members must not have ever been elected representatives, and they will not be able to present themselves thereafter. Agriculture and animal treatment
Jean-Luc Mélenchon is very much in favour of better treatment of animals.He stated during an interview with the magazine Gala that he changed his diet to "reduce consumption of meat and relieve animal suffering". The association L214, which is a non-profit for animal protection, stated that he was the only candidate "for animals" during its evaluation of the candidates'


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 programmes, giving him a score of 15.7/20, placing him at the head of 11 candidates. European Parliament
Jean-Luc Mélenchon's attendance before the 2012 presidential election was at 63%, and after this, his average is often compiled with pre-2012, so it is compiled at 71.40% Mélenchon justified his relatively low attendance with how active he is within France itself, and has posted a list of other reasons on his blog. He increased his attendance after that, with the website votewatch.eu reporting it in 2017 at 85.1%

Foreign policy

Germany
Mélanchon is critical of German policies. After writing a pamphlet against German policies in May 2015, Mélenchon declared : ...But I'm not being anti-German. My aim is to rid my readers of any fascination with the so-called "German model". What a "model", indeed!It is a mockery, a fake paradise, whose population suffers from increasing impoverishment and social violence. The fantasy of the "German model" is the opium of the rich! After the German Chancellor Angela Merkel, in December 2014, described reform efforts so far in France and Italy as "insufficient", Mélenchon replied through Twitter in German and French: "Maul zu, Frau #Merkel ! Frankreich ist frei. Occupez-vous de vos pauvres et de vos équipements en ruines !" ("Shut your mouth, Mrs. Merkel! France is free.Take care of your poor and your ruined equipment."). In reaction to the referendum on the Greek sovereign debt crisis in early July 2015, he said that the "right-wing German government" was primarily responsible for the aggravation of the crisis. Commenting for The Guardian in April 2017, Natalie Nougayrède, a former executive


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 editor and managing editor of Le Monde, noted: "In his 2015 book Bismarck’s Herring, Mélenchon wrote that, 'Germany is again a danger', its 'imperialism' is 'returning', and the EU is its 'new empire'. He's described Germans as 'grumbling Teutons' who seek to 'deport' their old people to Eastern Europe or Thailand. And he's written that German 'expansionism' was at work in the country's 1990 reunification – an 'annexation' of East Germany, in his words. That, in itself, is no small rewriting of history, and no small denial of a people's freely expressed will after the fall of communism. His criticism of Angela Merkel's eurozone policies goes far beyond the economic.It peddles nationalistic, if not bigoted, hatreds. He may have tried to soften that impression by saying he wants 'the peoples of Europe' to revolt against their governments – and not start to fight among themselves. But he has hardly backtracked on any of his earlier statements. Much of this echoes and amplifies Le Pen's rhetoric, rather than helping to combat it." Russia
Mélenchon mocked accusations of support for Vladimir Putin, saying that it is unlike for an "eco-socialist" to support Vladimir Putin, and when attacked by Benoît Hamon on the topic of Putin, he stated: "I am not bound in any way to Mr. Putin. I am absolutely fighting his policy, and if I was Russian, I would not vote for his party, but for the Russian Left Front whose leader is in prison." However, Jean-Luc Mélenchon considers that Putin is a president elected by the ballot box and that one must therefore treat him as a legitimate president.Mélenchon declared to be opposed to his domestic policy


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 and said that if he were Russian, he would be in the opposition; he takes for example the fact that his friend of the Russian Left Front, Sergey Udaltsov, is imprisoned in Russia. Opposed to Mélenchon political views, some magazine editors claimed Mélenchon "supported Russia". Notably, the journalist Nicolas Hénin said that Mélenchon is "on the left of the political spectrum, but is an advocate for the Kremlin leader", with Hénin quoting how Mélenchon is the "political victim number one" after the murder of the Russian opposition leader Boris Nemtsov. Cécile Vaissié, author of The Kremlin Networks, considers Jean-Luc Mélenchon as "one of those that approve of Putin", and Yannick Jadot of EELV said that the "pro-Russia" stance is "contrary to any environment thinking". Syria
Mélenchon is in favour of a United Nations-led intervention in Syria featuring all nations on the Security Council. He opposes intervention without international cooperation. After the chemical attack in Ghouta, he said that he feels like a strike on Syria "would be a mistake", and calls for a "political solution".He has compared an intervention in Syria to Iraq, and has approved of Russia's intervention in Syria, saying that he believes Vladimir Putin will resolve the ISIS problem in Syria, noting "It was the Russians who cut off the lines of supply that Daesh used to smuggle oil to Turkey". He said many times that he believed Putin could not be left to solve the problem in Syria alone, saying: "The UN will solve the problem [...] it's time for an international coalition". In response to the Turkish military operation "Barış Pınarı Harekâtı" against the YPG,


texts:
 Jean-Luc Melenchon tweeted:

Saudi Arabia
During a Europarliament session on 8 June 2016 concerning Venezuela, Mélenchon criticized what he called European hypocrisy, comparing European tolerance of Saudi Arabian rule and intolerance of Venezuelan rule. Venezuela

In 2018, he affirmed that the countries that denounced the 2018 presidential elections were "henchmen of the United States", insisting that the date of the elections was agreed upon with the approval of former Spanish Prime Minister José Rodríguez Zapatero. Iran

Following the killing of major general Qasem Soleimani, Mélenchon tweeted: "We must equally condemn the USA and Iran as warmongers. My condemnation of the USA does not exempt Iran from the fact that it is a theocracy that wants to destroy the State of Israel." On French news channel LCI, he declared: "the current government of Iran claims it wants to destroy the State of Israel.This is an intolerable project which in itself creates incredible tension in the region, and obviously favors extremes on either side." National Defense
Mélenchon wants France to withdraw from NATO (North Atlantic Treaty Organization), and advocates for what he calls a "separate France" which is pacifist. He opposes the concept of a unified European army. In the 2017 presidential election, he made his main foreign policy point to be the exit from NATO, stating that the organisation has led to "war" and French "submission to the United States". Mélenchon also says that Nuclear Deterrence is an "essential element of our protection", but it is "outdated". Regionalism
Mélenchon has no real position on regionalism, but has stated that he


texts:
 supports the teaching of regional languages, especially Breton. He supports state funding for the teaching of the Breton language.He has gone against autonomy for Brittany, even blaming socialists from the region for promoting "autonomy". In 2018, Mélenchon was asked a question about an anti-corruption investigation by a journalist from Toulouse. He responded by mocking her accent, accusing her of "talking nonsense" and then asking "has anyone got a question in more or less comprehensible French?". Video of the exchange was circulated widely on social media and sparked a debate about whether discrimination based on regional accents should be made illegal. Mélenchon apologised for his comment, claiming he thought the journalist was mocking his own accent. Controversies

Interactions with the media
Jean-Luc Mélenchon is often highly critical of the media, and has before asked his supporters to monitor and film journalists, especially of Le Monde and Libération. Mélenchon has insulted numerous journalists.He labelled Renaud Revel of L'Express a "dirty little spy" and labelled the newspaper "fascist". He accused Le Monde journalists of being "une muse de la CIA" ("a muse of the CIA"). When questioned on if he could win "without Benoît Hamon" by a France 5 reporter, he answered "being annoyed" and told a member of his team to get the journalist out. Accusations of anti-Semitism
In 2013, Mélenchon was accused of making "unacceptable comments" targeting Finance Minister Pierre Moscovici, notably prompting the reaction of Harlem Désir: "Mélenchon should immediately withdraw these unacceptable comments that he made using the vocabulary


texts: of the 1930s". In August 2014, during a speech in Grenoble, Mélenchon used the controversial term "aggressive communities" in his criticism of a Jewish organization - the Representative Council of Jews of France (CRIF), a coalition of organisations representing French Jewry - "We’ve had enough of CRIF", asserting "France is the opposite of aggressive communities that lecture to the rest of country." He also declared "We do not believe that any people is superior to another", which was viewed as an anti-Semitic trope. Mélenchon's comments came in the wake of a series of protests across France against Operation Protective Edge.Pro-Palestinian demonstrators marched on synagogues in the Paris area, while multiple anti-Semitic attacks had been reported across France within the previous month. Instead of condemning the attacks, he praised the protesters: "If we have anything to condemn, then it is the actions of citizens who decided to rally in front of the embassy of a foreign country or serve its flag, weapon in hand." In July 2017, Mélenchon maintained that Republican France bears no guilt in the Holocaust, and criticized Emmanuel Macron for admitting at a gathering in Paris remembering the Vel' d'Hiv Roundup that Vichy France was the legal French government at the time, thus conceding the French State's responsibility in the deportation of the Jews. Mélenchon's comments were echoing those of former President of France Mitterrand, who declared in 1994 that the round-up and deportation of Jews to death camps during the war was the work of the country's Nazi occupiers and "Vichy France", an illegitimate entity distinct from France.


texts: Haaretz noted that Marine Le Pen had made comments similar to Mélenchon's three months earlier. Following the murder in March 2018 in Paris of Mireille Knoll, an elderly Jewish woman who survived the events at Vel d'Hiv and the Holocaust, Mélenchon ignored requests from CRIF leadership for him to stay away from a march in her memory. As with Marine Le Pen, who made the same choice to be present, despite the appeal, he was booed and abused by a group of extremist protesters.In November 2019, Mélenchon further accused CRIF of practicing "blatant, violent, and aggressive sectarianism, namely against me", after it asking him not to attend the memorial ceremony for Knoll more than 18 months earlier. No physical violence occurred at the march; police accompanied Mélenchon and his team away from the proceedings. In December 2019, he deplored that UK Labour Party leader Jeremy Corbyn gave in to the accusations of anti-Semitism in his party, saying Corbyn "had to endure, unaided, churlish anti-Semitism claims from England's chief rabbi and various influence networks linked to Likud. Instead of riposting, he spent his time apologising and making pledges ... It showed a weakness that troubled the popular sectors [of the electorate]". Mélenchon later published a post on his personal blog denouncing the use of anti-Semitism as a pretext to launch smear campaigns against political figures. He called the "method ... absurd, offending, but, more importantly, dangerous.For all this is at the expense of the real fight against anti-Semitism. Its main result is to lower the vigilance threshold of sincere anti-racists." In 2020, while interviewed


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 about the French police, he said, "I don't know if Jesus was on a cross, but he was apparently put there by his own people". This declaration was condemned by the Wiesenthal Center, who said that it was spreading belief in Jewish deicide; they noted that this allegation was condemned by the papal encyclical Nostra Aetate, and noted that "its imagery fueled violence across Europe, culminating in the Nazi Holocaust". In October 2021, Mélenchon was again accused of anti-Semitism, after he made a comment singling out the Jewish tradition as responsible for the far-right political positions of Éric Zemmour. His remark was condemned as anti-Semitic by different political figures across the political spectrum, such as Christophe Castaner (LREM), Gilbert Collard ( RN), and Pierre Moscovici (PS). Political journalist Edwy Plenel responded: "No, Jean-Luc Mélenchon, racism, historical revisionism, sexism, apologism for Pétain, and this hate of others that Zemmour spouts obsessively, are in no way Jewish traditions."Accusations of promoting conspiracy theories
Mélenchon has often accused the "mediacracy" of specifically being against him and his proposed policies, and claims that the media is controlled by oligarchs. His populist and self-proclaimed "anti-system" rhetoric has also been accused of feeding into conspiracies. In 2011, French historian Nicolas Lebourg considered that Jean-Luc Mélenchon is considered to be "a left-wing conspiracy theorist" by authors who believe that "denouncing the oligarchy is illegitimate". According to Conspiracy Watch, figures of the "left of the left", such as Noam Chomsky or Jean-Luc Mélenchon, avoid


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 criticising conspiracy myths present in their own ranks, because they try to spare certain "conspiracy activists". But if Jean-Luc Mélenchon practices this "demagogy", it would be "quite unfair and abusive to classify him as a conspiracy theorist" according to the organisation. In June 2021 Mélenchon sparked controversy when he claimed that "in the last week of the presidential campaign, we'll have a grave incident or murder" that he claims would feed into an anti-Islam sentiment, citing the attack on retiree Paul Voise in 2002 shortly before the 1st round of the presidential election, the Jihadist attack against a Jewish school in Toulouse by Mohammed Merah a few months before the presidential election of 2012, and the terrorist attack in Paris a few days before the 1st round of the 2017 presidential election. His statements sparked condemnation outside of his political party.Rudy Reichstadt, director of Conspiracy Watch, claimed that Mélenchon has been promoting conspiracy theories for several years. Political career
Governmental functions

Minister of Vocational Education, 2000–2002. Electoral mandates

National Assembly of France

Member for Bouches-du-Rhône's 4th constituency, 2017-

European Parliament

Member of European Parliament, 2009–2017. Senate of France

Senator of Essonne, 1986–2000 (became minister in 2000), 2004–2010 (resignation, elected in European Parliament in 2009). Elected in 1986, re-elected in 1995, 2004. (At the age of 35, he was the youngest member of the Senate when he was elected to it in 1986.) General Council

Vice-president of the General Council of Essonne, 1998–2001.General councillor of


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 Essonne, 1985–1992, 1998–2004. Re-elected in 1998. Municipal Council

Deputy-mayor of Massy, Essonne, 1983–1995. Municipal councillor of Massy, Essonne, 1983–2001. Re-elected in 1989, 1995. Political function

Co-president of the Left Party, 2008–2014. Publications
Mélenchon's published works include:

References

External links

 Page on the French Senate website
 MEP webpage

1951 births
Anti-German sentiment in Europe
Candidates in the 2012 French presidential election
Candidates in the 2017 French presidential election
Candidates in the 2022 French presidential election
Deputies of the 15th National Assembly of the French Fifth Republic
Ecosocialists
French Senators of the Fifth Republic
French people of Italian descent
French people of Sicilian descent
French people of Spanish descent
Government ministers of France
Internationalist Communist Organisation politicians
La France Insoumise politicians
Left Party (France) MEPs
Left Party (France) politicians
Left-wing populism in France
Living people
Lycée Pierre-Corneille alumni
MEPs for South-West France 2009–2014
MEPs for South-West France 2014–2019
People from Tangier
Socialist Party (France) politicians
Senators of Essonne
University of Franche-Comté alumni
French politicians convicted of


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<mask> (February 18, 1895 – December 14, 1920), nicknamed "The Gipper", was a  college football player at the University of Notre Dame under head coach Knute Rockne. <mask> was selected as Notre Dame's first Walter Camp All-American, and played several positions, particularly halfback, quarterback, and punter. <mask> died at age 25 of a streptococcal throat infection and pneumonia, three weeks after a victory over Northwestern in his senior season, and was the subject of Rockne's "Win just one for the Gipper" speech. In the 1940 film Knute Rockne, All American, he was portrayed by Ronald Reagan. College career
Born and raised in Laurium, Michigan, on the Keweenaw Peninsula in the Upper Peninsula, <mask> entered Notre Dame intending to play baseball for the Fighting Irish. While on campus, he was recruited by Rockne for the football team, despite having no experience in organized football. During his Notre Dame career, <mask> led the Irish in rushing and passing each of his last three seasons (1918, 1919, and 1920).His career mark of 2,341 rushing yards lasted over fifty years, until Jerome Heavens broke it  <mask> was also an ideal handler of the forward  and threw for 1,789  He scored 21 career touchdowns, averaged 38 yards a punt, and gathered five interceptions as well as 14 yards per punt return and 22 yards per kick return in four seasons  Gipp is still Notre Dame's all-time leader in average yards per rush for a season (8.1), career average yards per play of total offense (9.37), and career average yards per game of total offense (128.4). Death

Gipp died

masks:
George Gipp
Gipp
Gipp
Gipp
Gipp
Gipp


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 December 14, 1920, two weeks after being elected Notre Dame's first All-American by Walter Camp, and second consensus All-American  (after Gus Dorais). A frequently told but probably apocryphal story of <mask>'s death begins when he returned to Notre Dame's campus after curfew from a night out. Unable to gain entrance to his residence, <mask> went to the rear door of Washington Hall, the campus' theatre building. He was a steward for the building and knew the rear door was often unlocked. He usually spent such nights in the hall. On that night, however, the door was locked, and Gipp was forced to sleep outside.By the morning, he had contracted pneumonia and eventually died from a related infection. It is more likely that <mask> contracted strep throat and pneumonia while giving punting lessons after his final game, November 20 against Northwestern. Since antibiotics were not available in the 1920s, treatment options for such infections were limited. <mask>'s hometown of Laurium built a memorial in his honor; he is buried in Lake View Cemetery near West Tamarack, Michigan. "Win just one for the Gipper"
It was on his hospital bed that he is said to have delivered the "win just one for the Gipper" line. He apparently said this line to  the full quotation from which the line is derived is:
"I've got to go, Rock. It's all right.I'm not afraid. Some time, Rock, when the team is up against it, when things are wrong and the breaks are beating the boys, ask them to go in there with all they've got and win just one for the Gipper. I don't know where I'll be then, Rock. But

masks: Gipp Gipp Gipp Gipp


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 I'll know about it, and I'll be happy." Rockne used the story of <mask>, along with this deathbed line that he attributed to Gipp, to rally his team to a  upset of the previously undefeated Army team in 1928, with Jack Chevigny scoring the "that's one for the Gipper" tying touchdown at Yankee Stadium. Chevigny was later killed in action in World War II at Iwo Jima. The phrase "Win one for the Gipper" was later used as a political slogan by Ronald Reagan, who in 1940 portrayed <mask> in Knute Rockne, All American and was often referred to as "The Gipper".At the Republican National Convention in 1988 in New Orleans, he told Vice President Bush, "<mask>, go out there and win one for the Gipper." The term was also used by President <mask>. Bush at the 2004 convention in New York City, when he honored the recently deceased President Reagan by stating, "this time we can truly win one for the Gipper." The Republicans won both presidential elections. Exhumation

On October 4, 2007, <mask>'s body was exhumed for DNA testing to determine if he had fathered a child out of wedlock with an 18-year-old high school student. The right femur was removed and the rest of the remains were reburied the same day. A sports author who was present at the exhumation said it was requested by Rick Frueh, the grandson of one of Gipp's sisters. The tests showed that he was not the father of the child who was born within days of Gipp's  Other Gipp relatives claimed in a subsequent lawsuit that the exhumation was conducted in an improper manner and under questionable circumstances.The lawsuit

masks:
Gipp
Gipp
George
George W
Gipp


texts:
 was subsequently

<mask> was voted into the College Football Hall of Fame (located in Atlanta, GA) on December 14, 1951, at 3:27 a.m., in memory of the time and date of his death. <mask> Gipp Memorial Park was dedicated on August 3, 1935, in his hometown. A plaque kept in the park lists former George Gipp Award-winners, given to outstanding senior, male athletes from Calumet High School. He was ranked #22 on ESPN's Top 25 Players In College Football History list. Statistics
In 2002, the NCAA published "NCAA Football's Finest," researched and compiled by the NCAA Statistics Service. For Gipp they published the following statistics:

References

Further reading
 One For The Gipper-<mask>, Knute Rockne and Notre Dame", Patrick Chelland. Panoply Publications, 298 pp., 2008.<mask> at Notre Dame-The Untold Story, Emil Klosinski. Publish America, 278 pp., 2003. The Life and Times of <mask>, <mask>s. And Books, 219pp., April 1988. The Gipper: <mask>, Knute Rockne, and the Dramatic Rise of Notre Dame Football'', Jack Cavanaugh. Skyhorse Publishing, 320 pages., September 2010. External links

 Village of Laurium – <mask>p

1895 births
1920 deaths
American football drop kickers
American football halfbacks
American football punters
Notre Dame Fighting Irish football players
Notre Dame Fighting Irish men's basketball players
All-American college football players
College Football Hall of Fame inductees
People from Laurium, Michigan
Players of American football from Michigan
American men's basketball players
Deaths from pneumonia in Indiana
Deaths from streptococcus

masks:
Honors Gipp
George
George Gipp
Gipp
George Gipp
George Geka
George Gipp
George Gip


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<mask>, born Elliot Small in 1944, also known as Uncle Remus, is a veteran street-musician in New Orleans, Louisiana, United States. He plays the harmonica, sings, and is a street icon in New Orleans. Early life
Growing up in the Lafitte Housing Projects, Small developed a love of music as a young boy, in part to deal with the pains of an unhappy home life. Small's uncle was a professional musician who worked with Lloyd Washington of the Ink Spots, and often let his nephew come to the Dew Drop Inn to hear them play. One day when his uncle left for work without his harmonica, Small picked it up and put it to his mouth. "Oooh, it was awful," he said, laughing. "He chewed tobacco.I had to sterilize that thing." The uncle gave young <mask> a harmonica, and he fell in love with the sound of the mouth harp, teaching himself by playing along with the music on his mama's radio. At home, Small's mother favored classical music, giving the youngster diverse tastes at an early age. Teaching himself to dance from watching Fred Astaire movies on television, Small began performing on street corners for change, dancing while singing and playing his harmonica. "They brought me to New York to tap on Broadway when I was 6 or 7, and my mama got killed up there," he said. The man they lived with beat them both and ended up killing his mother. After it happened, his grandmother brought Small back to New Orleans and gave him and his older sister Frances a good life."She was a sweet old lady," he said. "My stepfather was a man who did not love his child," he said. "But my uncle would come to the house, and play the harmonica to me." Early career

As a young man, Small then made the rounds as a soul singer in local clubs.

masks:
Grandpa Elliott Small
Elliott


texts: He recorded singles with arranger Wardell Quezergue, some of which are available on Malaco and Tuff City Records compilations of New Orleans funk. In the early '60s, Small's family relocated to New York City, where he took his first steps as a professional entertainer. Small once again played on the streets in between regular gigs, which included a role in a stage revival of Show Boat, helped the Louisiana vocal group The Dixie Cups go up to New York, opened on tour with The Temptations, and cut a few of his own R&B singles.One was entitled "I'm a Devil,"  recorded for Bang! Records. and Small promoted the record with live appearances while wearing what some fans remember as a red devil's suit complete with horns and pitchfork. "Well, it wasn't called a devil suit," he said. "It was a pretty, silk red suit, that looked good. It was a nice show." At the time, Small remembers, he was billed as "The Harmonica King."He also recorded his own "Girls Are Made for Lovin'" in 1969, a Wardell Quezergue (“Big Q”) production which has the feel of something by Curtis Mayfield, maybe, or Smokey Robinson. It’s not an identifiably New Orleans record, although it was made there, originally released on the New Sound label and picked up by Bang. Small recorded the funk song "E-Ni-Me-Ni-Mi-Ni-Mo" at Sea-Saint Studios in New Orleans, probably in 1975. Small produced the session and co-wrote the song along with Quezergue and guitarist Teddy Royal. Malaco purchased the master in 1976 and released it as a two-part single, which was a commercial failure. By the '80s, Small had become dissatisfied with life in New York, the grueling schedule of performing in local clubs and on the road, and the music business in general.


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 Bad decisions and unfair contracts had soured him on the industry.When the sight in his good eye started to go and everything got fuzzy, he signed away the rights to one of his songs. "It was to a guy I had taken a liking to, a guy I trusted," he said. Small moved back to New Orleans and took his music to the streets, where it would belong only to him and to the passersby who heard it. Small developed the persona of <mask>, an old man dressed in blue denim overalls, a bright red shirt, Santa beard, and a floppy hat who played blues harp and sang for the street traffic on his corner at Royal and Toulouse streets in the French Quarter, right where he started out. He often teams with guitarist Michael “Stoney B” Stone and they have become an institution in New Orleans for the people who stop to listen to them and throw change in their bucket. His act was even written up in The New York Times in 1995. He arrives here most mornings by taxi and spends his days singing his soulful songs and playing his harmonica.It's the place where everybody knows his name. "When I feel sick, I come out here to feel better," he said. "The French Quarter is my medicine." Small said he doesn’t even know what beer tastes like and he’s never touched drugs and the only thing he smokes is the exhaust from the cars that pass Royal and Toulouse. His listeners reward him with dollar bills and treasures, like the gold wedding band he wears on his finger. "A lot of people walk around with plastic now instead of cash, so they throw what they can," he said. "Some of the rings I get out of my bucket even have diamonds on them."Playing for Change
Small did not completely lose his sight to glaucoma until 2005. It was in that year that


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 recording engineer and producer Mark Johnson launched a project called Playing for Change, dedicated to promoting international unity through music. He began recording performances by street performers from around the world. Johnson heard Small sing the Ben E. King hit "Stand by Me" and immediately recorded him singing the tune on Royal Street, making his performance the centerpiece of a video featuring performances of the number by a handful of artists. In 2009, after the "Stand by Me" video was posted online, it racked up 159,380,589 plays on YouTube (14 February 2021), and suddenly Small had an international audience. Small signed on for a tour with a band of musicians affiliated with the Playing for Change project. He has also been on The Tonight Show and The Colbert Report.He performed to a crowd of more than 40,000 at Dodger Stadium, Los Angeles, California, on June 30, 2009, playing the "Star Spangled Banner" on harmonica and singing "God Bless America." Later that same year, the Playing for Change Band came to New Orleans to accompany Small on his debut CD Sugar Sweet, released November 3, 2009, an eclectic collection that includes gospel, blues, soul and what Small calls "some strong love songs." Keb Mo' also accompanied on the album. Small is the first artist to be signed to Playing for Change Records/Concord Music Group. The whole experience taught him to trust people again. "Mark Johnson changed my life," he said. "He made me lift my head up."Small has been featured on Playing for Change in several episodes. References

External links
 New York Times article on <mask> and Michael Stone

1945 births
Living people
American street performers
Street performance
Musicians from New


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<mask> (8 December 1918 – 17 August 2004) was a French baritone, regarded as one of the very finest interpreters of mélodie (French art song) in the generation after Charles Panzéra and Pierre Bernac. Background and education
He was born <mask>, but later adopted the stage name of Souzay from a village on the river Loire, now part of the commune Souzay-Champigny. He came from a musical family in Angers, France. His parents had met at one of the first performances of Pelléas et Mélisande in 1902; his mother and two brothers were singers, and his sister, 15 years older, was the soprano Geneviève Touraine, who gave the first performance of Poulenc's Fiançailles pour rire in 1942. After his schooling at the Collège Rabelais in Chinon, he went to the Sorbonne in Paris to study philosophy, and while there he met the singer Pierre Bernac, who encouraged him to study singing. Souzay entered the Paris Conservatoire in 1940, studying with Claire Croiza and Jean-Emil Vanni-Marcoux. He actually began singing as a tenor, but in 1943, with advice from the leading operatic singer Henri Etcheverry, he became a baritone.He graduated from the Conservatoire in 1945 with two first prizes, the Prix de chant and the Prix de vocalise. While at the Conservatoire, he also tried his hand at composition and in 1942 three of his settings of poems by Paul Valéry were given a performance by Pierre Bernac. He went on to study voice with Bernac, although he subsequently expressed some differences with the latter's methods and ideas on pronunciation. He was eager not to limit himself to being a specialist in the French repertoire, and he made a detailed study of German lieder with Lotte Lehmann. Career
<mask> <mask>'s public appearances began in 1945 with recitals and concerts, including a performance of Fauré's Requiem in a centenary tribute to the composer at the Royal Albert Hall in London. He rapidly established an international career as a recitalist, admired not only in French

masks:
Gérard Souzay
Gérard Marcel Trand
Gérard
Souzay


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 music but also for his command of the German repertoire, especially Schubert and Schumann. In recital, his first accompanist was Jacqueline Bonneau (who had been his contemporary at the Paris Conservatoire), but she was reluctant to travel and from 1954 onwards he formed a close musical and romantic partnership with the American pianist Dalton Baldwin which continued for the rest of his career.The two completed three tours of Southern Africa (1958–1973) to wildly enthusiastic audiences

<mask>'s exceptional linguistic gifts enabled him to sing convincingly in 13 different languages including Hebrew, Portuguese and Russian. In contemporary music he performed in Honegger's La danse des morts and in the world première of Stravinsky's Canticum Sacrum. The composer Jacques Leguerney (1906–1997) wrote many songs for Souzay and for his sister. Souzay also sang Jocelyne Binet's Cycle de Mélodies on seven poems by Paul Éluard in a 1955 recital program. His operatic career began in 1947 in Cimarosa's Il matrimonio segreto at the Festival d'Aix-en-Provence, but it was not until the late 1950s that he extended his stage work – though even then it did not take precedence over his recitals. His roles included Monteverdi's Orfeo, Mozart's Don Giovanni and Almaviva in The Marriage of Figaro, Lescaut in Massenet's Manon, and Méphistophélès in Berlioz's La Damnation de Faust. One of his favorite and most successful roles was Golaud in Debussy's Pelléas et Mélisande.He did little operatic work after the 1960s, but continued his recital career, finally retiring from performance in the late 1980s. He spent the last years of his life giving master classes in the United States, Europe, and Japan: he was an inspiring teacher, preferring to work on phrasing and the mood of a song rather than French diction. He was a keen abstract painter, and in 1983 he published a book Sur mon chemin: pensées et dessins in which a selection of his paintings was accompanied by his written


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 commentary, on art and life. He died at his home in Antibes in the south of France on 17 August 2004. Recordings
<mask> <mask>'s first recordings were made in 1944 with the sopranos Germaine Lubin and Geneviève Touraine. (These and some later ones with Elly Ameling were his only recorded duets.) He made other recordings in the 1940s for the small French company Boîte à Musique, and then signed a contract with English Decca.He subsequently recorded for Philips and EMI. A discography of his recordings has been published, listing over 750 titles He participated in complete recordings of the songs of Fauré and Poulenc. On three occasions he won the prestigious Grand Prix du Disque, including one for his recording of the songs of Ravel. Later in his career, he sought to disown his early recordings and to veto the radio from broadcasting them, preferring his later versions of some of the same works. Much to the relief of admirers of the smooth and beautiful quality of his younger voice, he was not widely heeded, and many of his early recordings have been re-released to considerable acclaim. Reputation
While critics agree the size of the voice was often found wanting, Souzay's musicianship, perfect diction, sense of style (particularly of the French mélodie) and detailed interpretation were never questioned, and found a perfect niche on the recital platform. When <mask> Souzay died he had only been a connoisseur's delight, being somewhat forgotten by audiences and younger singers.On the other hand, the obituary notices were quick in recognising the importance of his contribution to 20th century singing. The Daily Telegraph said that he "rivalled Dietrich Fischer-Dieskau for the title of the greatest lyrical baritone of his age." The New York Times described his voice as "not huge, but rich in color and tone, supple and sensual and lovely." Souzay was "a sensualist, reacting viscerally to the music and allowing it to carry him in new directions in a given

masks: Gérard Souzay Gérard


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 concert." The Guardian judged that "the basis of his popularity in recital lay in his easily produced, vibrant, warm baritone. It was used by its owner with an innate sensibility and an unfaltering sense of style. His attractive art was founded, above all, on a very French approach, at once balanced and urbane, yet inwardly poetic."In the 1950s, <mask>'s style of singing became the object of some unexpected criticism when it was cited by Roland Barthes in one of his essays in Mythologies, "L'art vocal bourgeois". Referring to a recording of Fauré songs, Barthes complained that Souzay invested particular words with superfluous emotion by means of an exaggerated phonetic dramatisation, and that by imposing his own "signs" of emotion he stifled the meaning of the words and music. Not everyone has agreed with Barthes's description of the style, let alone with the force of his argument, but these are strictures which would attach to many other singers besides Souzay and go to the heart of how vocal performance should be approached. (Indeed, some years later, Barthes made similar criticisms against the singing of Dietrich Fischer-Dieskau.) Souzay regarded himself as a romantic. Never analytical or detached in his performances, he said: "For me music is limpid and speaks for itself. I can only offer my emotions when I sing".See also
 Debussy Mélodies (1980 recording)

References

Further reading
 J.B. Steane. The Grand Tradition. (London, Duckworth,1974), pp. 487–90. A. Blyth, ed. Song on Record 2. (Cambridge University Press, 1988).External links
http://www.bach-cantatas.com/Bio/Souzay-Gerard.htm A short biography with some photographs. Some programs, introductions and photos from his 3 highly successful Southern Africa tours, 1958–73
https://www.youtube.com/watch?v=rBrM1l290MY A recording of his masterclass given at the University of Texas at Austin, 1988. 1918 births
2004 deaths
People from Angers
French operatic baritones
20th-century French  male opera


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Princess <mask> of Orléans (<mask>gnès Catherine; born 11 December 1943) is a French princess of the House of Orléans. She is the former wife of Prince Amedeo, Duke of Aosta, a disputed head of the House of Savoy. Biography

Family
<mask> was born on 11 December 1943 in Larache, Morocco as the ninth child and fifth daughter of Henri, Count of Paris, Orléanist claimant to the French throne, and his wife Princess Isabelle of Orléans-Braganza. One of eleven siblings, <mask>’s eldest brother was Henri, Count of Paris, who succeeded their father as head of the Orléans family, and two of her sisters also became consorts of pretenders to abolished thrones; Anne, Duchess of Calabria and Diane, Duchess of Württemberg. Upon repatriation to France after the law of banishment against her father was repealed in 1950, her family moved from Sintra, on the Portuguese Riviera to France, where they grew up at the Manoir Cœur-Volant in the Louveciennes suburb of Paris. Education
She began school in Portugal, at Lisbon's Saint-Louis-des-Français. She then spent some time at the Mayfield School in East Sussex, England.In France, she and her sisters received private instruction, and she completed her studies at the Institut Sainte-Marie in Neuilly-sur-Seine. Marriage and issue
On 22 July 1964 in Sintra, Princess <mask> married her second cousin, Prince Amedeo of Savoy, Duke of Aosta. He was the only son of Prince Aimone, Duke of Aosta, second cousin-once-removed of Italy's last king, Umberto II. Aimone was briefly made nominal head of an Italian puppet state during World War II as King Tomislav II of Croatia. <mask> was the third Orleanist princess to hold the title Duchess of Aosta by marriage. At the time of their wedding, Amedeo was a student at the

masks:
Claude
Claude Marie A
Claude
Claude
Claude
Claude


texts: Morosini Naval College in Venice, which his father had also attended. The couple met while attending the wedding of Infante Juan Carlos of Spain and Princess Sophia of Greece and Denmark in May 1962 in Athens.They announced their engagement on 4 October 1963. The couple married in São-Pedro de Penaferrim, a parish church twelve miles from Lisbon. The wedding had been planned for earlier in the month, but was rescheduled when King Umberto (godfather of the groom) was hospitalized for an abdominal operation. A Savoy family council having met at King Umberto's residence in exile at Cimiez, France in the summer of 1963, another was held in London secretly at the king's hospital bedside to discuss the prospect of the king's only son Vittorio Emanuele, Prince of Naples, choosing to marry a commoner, Marina Doria, which had become the subject of much media speculation. In view of his illness, Amedeo's imminent marriage to a suitable princess, and his son's ongoing relationship with Doria, Umberto contemplated publicly abdicating (having left Italy for exile in 1946 pursuant to an anti-monarchy plebiscite, he had not formally renounced) and recognizing Amedeo as the successor to his claim to Italy's abolished throne. Present at this meeting, along with the princes Vittorio Emanuele and Amedeo, was Umberto's estranged consort, Queen Marie-José, whose objections dissuaded the king from issuing a declaration. Instead, Amedeo announced that he would postpone his wedding for the duration of Umberto's convalescence to ensure his presence at the nuptials, while Vittorio Emanuele issued a statement affirming that he remained his father's rightful heir and had no intention of marrying Marina Doria (nonetheless, he would do so, without his father's


texts:
 declared consent, in 1970).The wedding was attended by 300 guests, including King Umberto and the Prince and Princess of Spain. Two days later the newlyweds received a nuptial blessing during an audience with Pope Paul VI in the Vatican. After the duke completed his duties as a naval officer, the couple were given the Borro by Aimone's mother, a large estate in the Tuscan village of San Giustino Valdarno, near Fiesole, Italy, where they cultivated vineyards. Occasionally they undertook dynastic responsibilities as representatives in Italy of King Umberto, but largely raised their children in the countryside. They had issue:
 Princess Bianca of Savoy-Aosta (b. Florence, 2 April 1966), married on 11 September 1988 in San Giustino Valdarno, Giberto, Count Arrivabene-Valenti-Gonzaga (b. Rome, 5 July 1961), son of Leonardo, Count Arrivabene-Valenti-Gonzaga and Maria delle Grazie Brandolini d'Adda, and they have issue:
 Viola Arrivabene-Valenti-Gonzaga (b. Rome, 31 May 1991)
 Vera Arrivabene-Valenti-Gonzaga (b. Samedan, 18 August 1993)
 Mafalda Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 27 December 1997)
 Maddalena Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 24 April 2000)
 Leonardo Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 5 October 2001)
 Prince Aimone of Savoy-Aosta (b. Florence, 13 October 1967); married in a civil ceremony on 16 September 2008, Princess Olga of Greece (b. Athens, 17 November 1971). The religious marriage took place on 27 September 2008 at Patmos, Greece, and they have issue:
 Prince Umberto of Savoy-Aosta (b. Paris, 7 March 2009)
 Prince Amedeo of Savoy-Aosta (b. Paris, 24 May 2011)
 Princess Isabella of Savoy-Aosta (b. Paris, 14 December 2012)
Princess Mafalda Giovanna Shams Maria Fiorenza Isabella


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 (b. 20 September 1969); married, firstly 1994, Don Alessandro Ruffo di Calabria-Santapau dei principi di Palazzolo (nephew of Queen Paola of Belgium), divorced without issue.Mafalda married, secondly, Francesco Ferrante Carlo Napoleone, 10th Baron Lombardo di San Chirico and they have issue:
 Nob. Anna Lombardo di San Chirico (b. Milan, 11 April 2002)
 Nob. Carlo Lombardo di San Chirico (b. Milan, 28 January 2003)
 Nob. Elena Lombardo di San Chirico (b. Milan, 10 March 2004)

Divorce
Amedeo and <mask> officially separated 20 July 1976, obtained a civil divorce 26 April 1982, and received an ecclesiastical annulment from the Roman Rota 8 January 1987. Amedeo was remarried later that year to Silvia Paternò di Spedalotto. <mask> remarried twice: civilly on 27 April 1982 in Port-au-Prince, Haiti with Luigi Arnaldo La Cagnina (divorced in 1996), a television journalist in the United States and Canada, and both civilly and religiously with Enrico Gandolfi in 2006 in Oreno, Milan). Gandolfi died on 27 October 2015 in Laterina.Activities
During her second marriage <mask> lived in the United States (Colebrook, Connecticut, Charleston, West Virginia and New York), in The  Bahamas, and returned to Europe (Alsace and the Principality of Andorra). Beginning in 1992 their restaurant in Brussels, "Brook's Bar", became a popular gathering place for European Parliament officials, but closed in 1995. During her third marriage, she lived largely in Italy. Professionally, she has managed public relations for the Italian couture studio, Liolà, and her efforts in macrophotography have been displayed in several exhibits. Ancestors

References

1943 births
House of Orléans
Princesses of France (Orléans)
Duchesses of Aosta
Living people
People from

masks: Claude Claude Claude


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<mask> (born 24 September 1962) is a British born, award-winning international theatre director. He is the son of the academic <mask>. Career
Supple has directed and adapted theatre in London and the UK as well as across the world in a wide range of languages - including in Europe, India, North Africa and the near East, Iran, Turkey, China, Japan, South Korea, Australia, Russia and the post Soviet States, and North and South America. In the UK he has worked regularly at the Royal National Theatre and Royal Shakespeare Company and was Artistic Director of the Young Vic from 1993-2000 and founding co-Artistic Director of Dash Arts from 2005-2019, creating theatre with artists internationally. He launched his new company, Supple Productions, in 2020. UK Theatre work
At the Young Vic he directed A Servant to Two Masters (RSC co-production: national & international tour & West End), As I Lay Dying, Twelfth Night, Blood Wedding, The Jungle Book, Grimm Tales (& international tour), More Grimm Tales (& Broadway), The Slab Boys Trilogy, Oedipus; for the National Theatre: Haroun and the Sea of Stories, The Epic of Gilgamesh, Billy Liar (national tour), Accidental Death of an Anarchist (national tour), Whale, Romeo and Juliet, The Villains Opera; for the RSC: Midnight's Children(Barbican, national tour & Apollo Theatre, New York), Love in a Wood, Tales from Ovid (Young Vic), The Comedy of Errors (national/international tour & Young Vic), Spring Awakening; for Kenneth Branagh's Renaissance Theatre Company: Coriolanus (with Branagh, Judi Dench, Richard Briers and Iain Glenn) and Traveling

masks:
Timothy Supple
Barry Supple


texts: Tales; The Cosmonauts Last Message... (Donmar Wharehouse); Oh, What a Lovely War!, Guys and Dolls (Haymarket Theatre, Leicester); Billy Budd (Crucible Theatre, Sheffield). As associate director at the Theatre Royal, York, Supple directed work by Kroetz, Arthur Miller, Willy Russell and Brecht.<mask> has worked outside the theatre on several occasions: his Opera includes Hansel and Gretel, The Magic Flute (Opera North); John Browne's Babette's Feast (Linbury Studio, ROH); Il ritorno d'Ulisse in patria (Grange Festival) and his film work includes: Twelfth Night (Projector/Channel 4), Rockabye (IWC/Channel 4). He is the recipient of a NESTA Invention and Innovation Award for experiments in film. In 2017, Supple created Freedom on the Tyne in collaboration with artists, organisations and citizens of Newcastle-Gateshead. With text by Roy Williams and Katie Ebner-Landy, the unique event took place on Sunday 29 October on the Tyne Bridge and in venues and streets across the city centre. Celebrating the Fiftieth anniversary of Dr Martin Luther King’s visit to Tyneside to receive an honorary degree from Newcastle University, Freedom on the Tyne dramatized epic narratives of historic civil rights battles in USA, India, South Africa and UK and was performed by hundreds of local participants. Supple's adaptations for the theatre include: Accidental Death of an Anarchist (with Dario Fo & Alan Cumming); Billy Budd (with David Holman); The Epic of Gilgamesh; Grimm Tales and More Grimm Tales (with Carol Ann Duffy); The Jungle Book; Haroun and the Sea of Stories (with Salman Rushdie & David


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 Tushingham); Midnight's Children (with Rushdie & Simon Reade); Tales from Ovid (with Ted Hughes & Simon Reade); Beasts and Beauties (with Duffy & Melly Still); and One Thousand and One Nights (with Hanan Al Shaykh). International Theatre work
Includes: Beasts and Beauties, Too Clever By Half (Norwegian National Theatre, Bergen); Much Ado About Nothing (Maxim Gorki Theatre, Berlin); The Comedy of Errors (BBT, Istanbul); The Tempest (NCPA, Beijing)

In 2005, he launched Dash Arts with Josephine Burton to create new performance in collaboration with artists from abroad.His work for Dash Arts includes What We Did to Weinstein (Menier Chocolate Factory, 2005), As You Like It (Leicester Curve, 2009) and A Midsummer Night's Dream, commissioned by the British Council and created in India (2006-2008): an international success known widely as The Indian Dream, the production subsequently completed two tours of India, extensive tours of the UK, Australia and North America, two seasons at Stratford-upon-Avon and a season at the Roundhouse in London. The Guardian hailed it as "the most life-enhancing production of Shakespeare's play since Peter Brook's." In 2008 <mask> started work on a new theatrical adaptation of One Thousand and One Nights with the celebrated Lebanese author Hanan al Shaykh. Commissioned by Luminato Festival, Toronto, and produced by Dash Arts, the production was developed over two years of research and rehearsal in North Africa and the Middle East. Created with a cast and creative team drawn from the Arabic speaking world and performed in three languages over six


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 hours, One Thousand and One Nights opened in June 2011 in Toronto and had its European premier at Edinburgh International Festival in August where the Independent hailed it as "an instant classic of engaged storytelling… a rediscovered literary masterpiece". Research Projects include: Peter Pan, international project on the classic tale researched with London’s Roundhouse in Argentina, Brazil, Cuba, India and China; Shahanmeh, the great Iranian epic with text translated by Dick Davis researched at National Theatre London and in Tehran; 1917, the Soviet and post-Soviet experience researched in Russia and across the post-Soviet States;  King Lear – International Theatre Laboratory, launched in 2015, a research and production process investigating the world’s great theatre traditions, so far in Japan, South Korea, Mexico and UK; The Devils Are Not Sleeping , exploring the ancient, historical and political story of European union with text by Katie Ebner-Landy and artists across Europe. Awards and Nominations
Awards: Time Out (Grimm Tales), TMA (A Midsummer Night's Dream), Herald Angel - EIF (One Thousand and One Nights), Dora- Toronto (A Midsummer Night's Dream), Yapi Krede Afifi - Istanbul (Comedy of Errors).Nominations: Olivier (Accidental Death of an Anarchist), BAFTA (Twelfth Night), Evening Standard (Grimm Tales, A Midsummer Night's Dream). External links
<mask> biography; accessed 24 August 2015. English theatre directors
English musical theatre directors
British opera directors
Alumni of Churchill College, Cambridge
Place of birth missing (living people)
Living people
1962


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<mask> was the pseudonym of <mask> (10 July 1872 – 14 July 1964), a British novelist and short story writer. Early life
Born in Crabwall Hall, in the village of Mollington, Cheshire, she was the third of eleven children of <mask> (a wealthy grain merchant and a JP who was appointed High Sheriff of Cheshire in 1895) and Eliza Smyth. She was christened 7 August at Backford. According to the Auckland Star, she ran away from home at the age of sixteen rather than enter a hated factory at Whitchurch, in Wales. Career
She married her cousin <mask>, (B. june 29 1867 in Caen Normandie France) at St. John's Anglican Cathedral in Buenos Aires on 15 November 1900. Their residence was Drumahoe, Londonderry. She won the 1916 Melrose prize for her debut novel Unhappy in Thy Daring.Set in Ireland, it tells of a husband and wife's growing estrangement which is being nurtured by the wife's sister. H. G. Wells, one of the competition adjudicators, said of it: "The book has real strength and a remarkable sense of character. Power of imagination and originality; the writer has borrowed from no one." Her book met with mixed reviews. A reviewer in The Bookman praised the novel for its realism but found it vulgar. "Here is your risky and almost fatal experiment of marriage, your linking of unequal natures, your development of the inevitable triangle, your cool but ruthlessly explicit presentment of sex in action. No blinking facts for us, or sentimentalising them: this is how men and women are made, and the only way we can get ahead is to admit it! .. . There are passages which violate,I do not say morals, but taste: they present ignoble things in a vulgar way." One reviewer felt the work had merits but was uneven. "It is a strange production, with

masks:
Marius Lyle
Una Maud Lyle Smyth
Hugh Lyle Smyth
Hugh Lyle Waring Smyth


texts: all the signs of a first novel except an autobiographical strain. The title has practically no connection with the story, and the author's name is from the third page a transparent pretence, for the whole style is feminine! The story reflects the mournful side of the Irish character." Another contemporary review commented: "Her sense of character is remarkable—likewise distorted—and the book leaves one with a nasty taste in the mouth.  . . . the doings of Rupert Standish surely stand out as among the most despicable ever imagined by a young author."A New Zealand review concurred: "The husband is a pitifully weak, indeed quite contemptible character, and however a woman like Shelagh Lynch could have married—and forgiven—such a man passes my comprehension. Some of the minor characters, however, are more pleasing creations and the author’s style is so fresh and attractive that his (or her) future works will be looked forward to with pleasurable anticipation. A review in The Nation and Athenaeum was critical of her handling of psychology, commenting: “'<mask>'s' workmanship is too lazy and slipshod to carry out its adventurous and difficult task". <mask>'s second novel was Sins of the Mothers (Andrew Melrose, London, 1918). A review in The Spectator states: "This novel chiefly deals with the mental procurement of a family of children who are left motherless—though by no means fatherless.The clash of temperaments inherited respectively from the father and mother is the chief motive of the book." In his review, Stopford Brooke wrote: ". . . "Unhappy in Thy Daring" has gone on selling steadily, and finding its way into all corners of the British Empire and India.The new book is again a psychological study of temperament, of passion,

masks:
Marius Lyle
Lyle


texts: and of tragedy, and is no less distinctive than the first, which brought the author a substantial money reward and no little literary fame." <mask>'s third novel was The Education of a Young Man: In Twelve Lessons (published by L.& V. Woolf at the Hogarth Press, 1926). A review in The Spectator described this as "A cleverly written story about a peculiar county family of great charm but considerable eccentricity and even unpleasantness. The tale is told in the first person and somewhat pretentiously. One will soon cease to believe in sinister families of high degree, so many have been described since Mr. Michael Sadleir paved the way." Her following novel was Out of Drawing (Gerald Howe, London,1928). The Spectator reviewer wrote: "Mr. <mask> presents us with a three-sided study of a young American artist of genius.We see Aloys Staine through her own eyes, and also through those of her Spanish husband and an Englishman who constitutes himself her sponsor when she visits this country. Many of the incidental scenes, ranging from London and Paris to Tangier and the Argentine, are vivid and piquant, and the story displays considerable powers of analysis. But Mr. <mask> is too diffuse and leisurely, and the total effect is consequently a little blurred." In 1932, she published a slim (46-page) hand-printed volume titled The Virgin: A Tale of Woe (designed by Christopher Sandford with a frontispiece engraved on wood by Lettice Sandford and printed at the Boar's Head Press, Manaton, Devon in an edition of 200 copies,1932). The story, originally titled "The Jewess", is a modern retelling of the story of Mary, mother of Jesus. Also published in 1932 was her short story "The Letter". <mask>'s final novel was That Child  (Fortune Press,

masks: Lyle Lyle Lyle Lyle


texts:
 London,1938)."This story of an unconventional middle-aged woman is rich in substance and implications, and the author's swift almost cinematic technique helps in present Amy Speer's life through the impact of many significant episodes and impressions. It is a vital and provocative book and marks a new and interesting stage in the development of a very interesting writer." <mask> was a contributor to transition, an experimental literary journal founded in 1927 by Eugene Jolas. Her contributions included "Feeling Out" (June 1929),  "How I Dreamed" (June 1930), "Second Draft of Fear" (March 1932), and "Scheme For Physical Improvement of Writers' Medium" (March 1932). In 1930, she contributed a poem "The Word Age" to the small magazine The Quarter, edited by Ernest Walsh. One critic has cited <mask>, along with Edouard Roditi, Charles Henri Ford and Harry Crosby, as a representative writer of the prose poem-dreamscape, which "displays a strong oratorical strain as well as a tendency to dwell on apocalyptic visions and various psychopathological states". Her transition essay Scheme for Physical Improvement of Writers' Medium ”succinctly summarizes the typographical effects and possibilities of the most analytical aspects of cubist literature".Death and legacy
Una Maud <mask> died in 1964. Her address was given as Oakpark, Ballymaleel, Letterkenny, Co. Donegal. The State Library of Victoria, Australia, holds two travel diaries dated 1905 to 1912 and 1927 belonging to Una Maud <mask>. References

External links
 Una Maud Smyth at Ancestry.com

1872 births
1964 deaths
British women novelists
People from Chester
Pseudonymous women writers
20th-century British novelists
20th-century British women writers
20th-century pseudonymous

masks:
Lyle
Lyle
Lyle Smyth
Lyle Smyth


texts:
<mask> (born 9 October 1973), known professionally as <mask>, is an Italian singer and lyricist who has worked with many bands in the metal genre. He was known for being the singer of Italian power metal band Rhapsody of Fire for 21 years. He later formed his own band Turilli / Lione Rhapsody with former Rhapsody of Fire guitarist Luca Turilli. He is also the current lead vocalist of Angra, and was the original singer of Labyrinth and Vision Divine. Musical career
Lione was born in Pisa. His career started in 1990 at the age of 17 when he began to sing with a small rock and roll underground group who played classics of 1950s and 1960s similar to Elvis Presley's songs. He had a passion for groups such as Queensrÿche, Fates Warning, and Crimson Glory, which inspired him to form his own heavy metal band.His musical activities continued with a young group from Pisa, named Athena. They were a progressive metal band with their own unique style and challenged various expressions. Lione recorded a demotape with Athena and it was his first experience in a metal band. Lione did twenty shows with the band, but after two years, he left the band in 1994. Athena made their first album in 1995 (Inside the moon). At first his stage name was Joe Terry which was the combination of his favourite heroes' names in Japanese games (Joe Higashi and Terry Bogard from Fatal Fury). His first piece of musical equipment was a Shure SM 58 microphone.Labyrinth

Lione met the band Labyrinth, then going under the name of "Vision". Shortly after, in 1993 the band

masks:
Fabio Tordiglione
Fabio Lione


texts:
 started to work on a demotape called Midnight Resistance , lyrics and vocal lines written by Lione. Before the album No Limits was released, Lione recorded a mini CD with Labyrinth , [Piece of Time] lyrics and vocal lines written by <mask> Lione. Lione created the album No Limits together with Olaf, a band member of Labyrinth. His lyrics were mainly based on his personal experiences and his emotions. He wrote vocal lines and lyrics for this record, all the lyrics in the album were connected as Lione did this as an experiment. Labyrinth's style was different from other bands because it was mixed with different music genres including thrash metal and progressive rock.<mask> was the singer of Labyrinth for just more than three years. Athena

He joined Athena in 1991 and in 1992 they recorded their first demotape. After several concerts he left the band in 1993 for a new collaboration, the one with Labyrinth. Athena called Lione again in '97 ..so they could start work on their second album A New Religion which was released in 1998. Lione wrote the lyrics and the vocal lines for ten songs; the lyrics used religious and philosophical words and had the tendency to reflect deep meanings on their music. Lione and the other members of Athena attended Axel Rudi Pell Tour 1998 with Dreamscape, another progressive metal band from Germany in December. Shortly after the tour the band decided to break up.Vision Divine

In 1999 he met Olaf Thorsen and to seal their newfound friendship, they decided to create what was originally supposed to be

masks: Fabio Lione


texts: only a side-project: Vision Divine. Lione now found himself in the two groups: Rhapsody and Vision Divine, and this situation continued, with successes in both groups, until 2003. The first "Vision Divine" record in 1999 received excellent sales results and criticism (and took the band on tour in South America for the first time). The second album of Vision Divine Send me an angel was released in January 2002. Lione composed eight vocal lines for this album. Their expressions became more serious and deeper, close to the reality of divinity and humanity with progressive and heavy sounds. The album Beto Vazquez Infinity was released in February, including the song "The battle of the Past" in which Lione was singing as a guest vocalist for the Beto Vazquez project.In 2003 Lione sang at shows with Vision Divine at Gods of Metal 2003 (Milan) and at Heineken Jammin' Festival (Imola) in June. He then recorded four demo songs with Vision Divine in November and performed on an Italian Tour in December. Shortly after it was announced Lione had to leave the band, due to his other commitments making it too difficult front this band as well. He nevertheless spent most of the year writing and left the band nine new vocal lines for the "Stream of Consciousness" album, executed with a different singer. In 2008 Lione took part in some shows with Vision Divine to celebrate the ten years of the band, and on 28 May, they announced that <mask> had rejoined the band as the new singer. The band released the new CD "9 Degrees West of the Moon" in 2009


texts:
 and did many shows supporting the record. In 2012 they released (with Edel/Ear music) what is probably considered their best work so far, "Destination Set To Nowhere", with many great reviews received.The band performed many shows in Italy, Spain and on a South-American tour supporting the record. <mask> departed from Vision Divine on 28 April 2018. Rhapsody of Fire

In 1997, the most important and longest running moment began: becoming the lead vocalist of the heavy metal/power metal band Rhapsody. Rhapsody first began negotiations with <mask> at Gate Pathway Studio in Wolfsburg, Germany after hearing him in the "Piece of Time" album from Labyrinth. Later that year, the first of many albums, Legendary Tales, was released with Lione as lead vocalist. The second album, Symphony of Enchanted Lands, would be released in 1998, followed by Dawn of Victory in 2000. The band participated in many concerts throughout their first years.Lione also recorded a new EP album Rain of a Thousand Flames with Rhapsody in Germany between April and August. The album was released in December 2001. Lione performed on stages with Rhapsody at Gods of Metal 2001 (Milan) in June, during South American Tour (Mexico, Colombia, Brazil and Chile) and at Rock Machina Festival (Spain) in July. After these concerts, <mask> and Rhapsody recorded their fifth album Power of the Dragonflame. The album was released in March 2002. Rhapsody travelled with Stratovarius and Sonata Arctica on a successful European tour in April and May 2000 when they also had a chance to

masks: Fabio Lione Lione


texts: join the Wacken Festival 2000 in Germany. Lione attended Rock Machina Festival in Spain in July.<mask> set out on Rhapsody's first headlining tour (Germany, France, Italy, Spain, the Netherlands, Belgium, Switzerland, Japan and Korea) and joined the summer festivals in Europe including the Bang Your Head Festival in Germany. In February 2004, he finished vocals for Rhapsody's new album Symphony of Enchanted Lands II: The Dark Secret. The band went promo tour for their new album throughout Canada, US, Germany, Sweden, Czech Republic, Greece, and the UK. On the album's release day, 27 September, the band had a signing session with Christopher Lee in London. <mask> also appeared with Christopher Lee on a TV music program in Germany. In 2005, because of copyright issues, the band officially changed its name to Rhapsody of Fire. Under the label Nuclear Blast, they released two more albums and one EP and did a worldwide tour as well as many festivals.Triumph or Agony was released in 2006, followed by The Frozen Tears of Angels and The Cold Embrace of Fear – A Dark Romantic Symphony in 2010 and From Chaos to Eternity in 2011. Rhapsody of Fire, with Lione at its helm, went back to the studio without long time guitarist and founding member Luca Turilli, to record a new album, Dark Wings of Steel , <mask> <mask> wrote all the lyrics for this record. The album was released in 2013. In 2016, the band released the album Into the Legend , all lyrics written by <mask> Lione. After a short tour promoting the album, <mask> announced on 28

masks: Lione Lione Fabio Lione Fabio Lione


texts:
 September that he was parting ways with the band. From April 2017 to March 2018, he joined Turilli and his former bandmates to perform on Rhapsody's 20th Anniversary Farewell Tour. Turilli / Lione Rhapsody
In December 2018, <mask> <mask> and Luca Turilli announced that they have formed a new band: Turilli / Lione Rhapsody.They are joined by former members Alex Holzwarth, Patrice Guers and Dominique Leurqin. They released their debut album "Zero Gravity (Rebirth and Evolution)" on 5 July 2019. Kamelot
On 16 December 2010, the American power-metal band Kamelot announced that <mask> would take over lead vocal duties for Roy Khan for the Kamelot's tour supporting their "Poetry for the Poisoned" release due to Khan's eventual departure from Kamelot. 70000 Tons of Metal was the last of 49 shows with them, in January 2012. Angra

In January 2013, <mask> was again on the stage at 70000 Tons Of Metal, but this time with Brazilian progressive metal band Angra. The two shows were a great success and <mask> was again with them at the Live n' Louder Festival in São Paulo with Twisted Sister, Metal Church and Loudness. After that, the band decides to do a special tour, a commemorative one celebrating 20 years from the release of the first record "Angels Cry".They celebrate 20 years of career with 11 shows in Latin-America and the release of a new DVD, recorded in the last show in São Paulo. After that Angra played in Japan as co/headliner at the Loud Park festival 13 with Stone Temple Pilots and Europe and they had a very good response. The

masks: Fabio Lione Lione Fabio Fabio


texts:
 commemorative tour continues with another 14 shows in Latin America and 4 shows in Europe..where the band performed at Hellfest in France..with Black Sabbath, Soundgarden, Aerosmith and more ...after that, they enter in a studio in Sweden recording a new Cd. Angra announced that the band's new release, and the first album to feature vocalist <mask> Lione, entitled Secret Garden. The album was released by JVC in Asia on 17 December, via Universal Music in Brazil and Edel Music in Europe both on 16 January 2015, and then later in USA, Canada and Russia (date TBA). The album brings what the band has called "a true renewal in the style of the band." With production by legendary producer Roy Z (Judas Priest, Bruce Dickinson, Halford) and was recorded and produced in Sweden by Jens Bogren (Kreator, Arch Enemy, Opeth).Mastercastle
On 2021 Lione appears as guest singer of the single-videoclip "Who Cares for The Moon" released by the italian band Mastercastle

Eurobeat
Lione's first Eurobeat song Eye of the Tiger was released in Japan in 2000. His name for Eurobeat project was "J. Storm", deriving from Joey Tempest. He published thirteen Eurobeat songs (list below) under this name between 2000 and 2005 and has declared that he wouldn't be making any more Eurobeat in the future. However, by the end of 2013 a new song was released called "Dancing into fire". One of his songs, "Dancing in My Dreams", was also used in Initial D Battle Stage. Eurobeat Disney 003 – J.Storm – Ave Maria
 Euromach 013 – J. Storm – Rock The Universe
 Euromach 015


texts:
 – J. Storm – We Are The Children of Rock
 Super Eurobeat 101 – J. Storm – Eye of the Tiger
 Super Eurobeat 105 – J. Storm – M.U.S.I.C. Super Eurobeat 106 – J. Storm – I Wanna Be Your Rainbow
 Super Eurobeat 109 – J.Storm – Born To Make Music
 Super Eurobeat 115 – J. Storm – The Power of the Dance
 Super Eurobeat 122 – J. Storm – Dancing in My Dreams
 Super Eurobeat 135 – J. Storm – Demolition
 Super Eurobeat 144 – J. Storm – Gettin' You Gettin' Me
 Super Eurobeat 153 – J. Storm – Shout
 Super Eurobeat 157 – J. Storm – Vision of Paradise
 Super Eurobeat 226 – J.Storm – Dance into The Fire

Discography
Rhapsody of Fire releases

Turilli / Lione Rhapsody releases
Zero Gravity (Rebirth and Evolution) (2019)

Labyrinth releases
No Limits (1996)

Athena releases
A New


texts: <mask> (also written Josef Csàky, Csáky József, József Csáky and <mask>) (18 March 1888 – 1 May 1971) was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor. <mask> was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art. A pioneer of modern sculpture, <mask> is among the most important sculptors of the early 20th century. He was an active member of the Section d'Or group between 1911 and 1914, and closely associated with Crystal Cubism, Purism, De Stijl, Abstract art, and Art Deco throughout the 1920s and 1930s. <mask> fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen. He was a founding member of l'Union des Artistes modernes (UAM) in 1929. During World War II, <mask> joined forces with the French underground movement (la Résistance) in Valençay.In the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House of the fashion designer Jacques Doucet. After 1928, <mask> moved away from Cubism into a more figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten. His work today is primarily held by French and Hungarian institutions, as well as museums, galleries and private collections

masks:
Joseph Csaky
Joseph Alexandre Czaky
Csaky
Csaky
Csaky
Csaky
Csaky


texts:
 both in France and abroad. Biography

Early life

József Csáky was born in Szeged, Hungary, then part of the dual monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country. <mask> moved with his family to Budapest at an early age, where he frequented museums and galleries.In 1905, <mask> was accepted at the Academy of Applied Arts (Mintarajziskola) in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. (1875–1945) for one and a half years. His interest centered around figure drawing, but, dissatisfied with the local traditional art training (which consisted of copying sculptures in plaster and modeling wild flowers out of clay), <mask> and fellow students left the school to study in the workshop of the photographer-painter László Kimnach, in Buda. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and vases. He worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, <mask> made the decision to move to Paris, France, and did so with only forty francs in his pocket. He traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908.In Paris a 'new world' opened up for him. He made a living by doing odd jobs: working as a peddler, stone cutter, and posing as a model for students at a local art school,

masks: Csaky Csaky Csaky Csaky


texts: making 20 francs a week. He later posed for individual artists in their own studios, making more money and leaving plenty of time free to pursue his own work. By autumn of 1908 he shared a studio space at Cité Falguière with <mask>, a Hungarian friend who had opened the Brummer Gallery with his brothers and was studying art. Within three weeks of <mask>'s arrival in Paris, Brummer showed the newcomer a sculpture he was working on: an exact copy of an African sculpture from the Congo. Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of 'Negro' sculptures. Shortly after, <mask> found a studio at the artists' collective La Ruche in Montparnasse.The building had been constructed by Gustave Eiffel, and was adapted as artists' studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko (who arrived in Paris the same year), Wladimir Baranoff-Rossine, and Sonia Delaunay (Terk). In the early years of the 20th century, other artists who lived there for a time included Guillaume Apollinaire, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaïm Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuși, and Diego Rivera, attracted to Paris from across Europe and Mexico. With his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery

masks:
Joseph Brummer
Csaky
Csaky


texts:
 of sculptural techniques, <mask>'s work in stone carving would evolve. <mask>'s work of this time is already distinguished by a Cubist understanding of volumetric and spatial relationships, with the integration of armature and open space, and the rhythmic use of geometry. Planes are faceted into abstract architectonic forms. His sculptural interpretation of Cubist painting is marked by elements employed in non-Western sculpture (Cycladic art, Oceanic art, the Art of ancient Egypt).Soon <mask> and his new Parisian girlfriend Jeanne moved into a studio together on rue Didot, near the Pasteur Institute and Montparnasse Cemetery. They married. "Thinking back on my life now," <mask> would later write, "I am amazed by the speed of the events. A few months before I had been a poor and helpless fellow who had found himself in a strange country all alone, not even speaking the language. And then, all of a sudden, from one minute to the next, I became a man with an orderly life, a place of his own and a wife, an honest, and good working woman." (<mask>)

This relationship did not last long. The two separated but continued a friendship.<mask> rented a small attic studio on rue Dalou. In 1910, <mask> won the Ferenc József Art Scholarship in Szeged, giving him enough money to attend l'Académie de La Palette, a private school in Paris where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught. He was able to devote himself

masks:
Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Csaky
Csaky


texts:
 full-time to art. Cubism

"<mask>, after Archipenko, was the first sculptor to join the cubists, with whom he exhibited from 1911 on. They were followed by Duchamp-Villon [...] and then in 1914 by Lipchitz, Laurens and Zadkine." (Michel Seuphor)Robert Rosenblum, "Cubism", Readings in Art History 2, 1976, Seuphor, Sculpture of this Century, 29

The inspirations that led Csaky to Cubism were diverse, as they were for artists of the Bateau-Lavoir, on the one hand, or the Puteaux Group on the other. While art historians are divided on the influence of African art in the distillation of Cubism, they generally agree that Cézanne's geometric syntax was significant, as well as Seurat's approach to painting.Given a growing dissatisfaction with the classical methods of representation, and the contemporary changes—the industrial revolution, exposure to art from across the world—artists began to transform their expression. Archipenko and <mask>—along with the Cubist sculptors who would follow—stimulated by the profound cultural changes and their own experiences, contributed their own personal artistic language. <mask> wrote of the direction his art had taken during the crucial years:

"There was no question which was my way. True, I was not alone, but in the company of several artists who came from Eastern Europe. I joined the cubists in the Académie La Palette, which became the sanctuary of the new direction in art. On my part I did not want to imitate

masks: Csaky Csaky Csaky


texts:
 anyone or anything. This is why I joined the cubists movement."(<mask>)

Early in his artistic career, <mask> had understood that Cubism was a great liberating force. It was a means of reassessing the nature of sculpture as a four-dimensional continuum, with space, mass, plane and direction, dynamic and changing in time. It represented for him the departure from classicism, from the conventions of his predecessors. <mask> first met Picasso at the gallery of Daniel-Henry Kahnweiler. He had already met Guillaume Apollinaire but was never as close to either of them as to Archipenko, Henri Laurens, Jacques Villon, Raymond Duchamp-Villon, and Jean Metzinger. They often met at Henri Le Fauconnier's studio on rue Notre-Dame-des-Champs, near the boulevard du Montparnasse, as well as with the Montjoie ! publisher Ricciotto Canudo, Café de la Rotonde and La Closerie des Lilas in Montparnasse.<mask> exhibited his highly stylized 1909 sculpture, Tête de femme (Portrait de Jeanne), at the 1910 Salon de la Société Nationale des Beaux-Arts. The following year, he exhibited a proto-Cubist work entitled Mademoiselle Douell (1910). In 1911, <mask> exhibited his Cubist sculptures at the Salon des Indépendants (21 April – 13 June) with Archipenko, Duchamp, Gleizes, Laurencin, La Fresnaye, Léger, Picabia and Metzinger. This exhibition provoked an 'involuntary scandal' out of which Cubism, brought to the attention of the general public for the first time, emerged and

masks:
Joseph Csaky
Csaky
Csaky
Csaky
Csaky


texts: spread throughout Paris and beyond. Four months later <mask> exhibited at the Salon d'Automne (1 October – 8 November) together with the same artists, in addition to Modigliani, Lhote, Duchamp-Villon, Villon and František Kupka. The following year <mask> showed with the Cubists at the 1912 Salon des Indépendants (20 March – 16 May): with Archipenko, Gleizes, La Fresnaye, Laurencin, Le Fauconnier, Léger, Lhote, Zadkine, Duchamp, Constantin Brâncuși, Wilhelm Lehmbruck, Robert Delaunay, Juan Gris, Piet Mondrian, Alfréd Réth, and Diego Rivera. <mask> participated in the Salon d'Automne of 1912 (1 October – 8 November) with the Cubists: Duchamp, Duchamp-Villon, Gleizes, La Fresnaye, Le Fauconnier, Léger, Lhote, Marcoussis, Metzinger, Picabia, Villon and Kupka.A rare photograph of the 1912 Salon d'Automne shows <mask>'s Groupe de femmes, a sculpture now lost, exhibited in front of Kupka's Amorpha: Fugue in Two Colours and next to sculptures by Amedeo Modigliani. In the same photograph can be seen Henri Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears,) now at the Rhode Island School of Design Museum; and Francis Picabia's monumental La Source (The Spring), now at the Museum of Modern Art in New York. <mask> exhibited as a member of Section d'Or at the Galerie La Boétie (10–30 October 1912), with Archipenko, Duchamp-Villon, La Fresnaye, Gleizes, Gris, Laurencin, Léger, Lhote, Marcoussis, Metzinger,

masks: Csaky Csaky Csaky Csaky Csaky


texts:
 Picabia, Kupka, Villon and Duchamp. By this time, <mask>'s participation in the avant-garde milieu was complete. 1914–1918

"One could say that before the war, life in Paris had been like a summer day, and after the announcement of war the sky and life were darkened by weighty, heavy clouds" (<mask>ky)

<mask> enlisted as a volunteer in the French army and was expecting to be called in. Before joining his company, he married Marguerite Fétrié on 19 August 1914. She had become pregnant and had a child during their relationship, and <mask> wanted to become his daughter's legal father prior to his departure for what became known as World War I.1918–1928
Returning to Paris after the war, <mask> began a series of works derived in part from the machine aesthetic; streamlined with geometric and mechanical affinities. By this time <mask>'s artistic vocabulary had evolved: it was distinctly mature, showing a new, refined sculptural quality. Nothing in early modern sculpture in comparable to the revolutionary work <mask> produced in the years directly succeeding World War I. These were nonrepresentational free-standing objects, i.e., abstract three-dimensional constructions combining organic and geometric elements. "Csaky derived from nature forms which were in concordance with his passion for architecture, simple, pure, and psychologically convincing." (Maurice Raynal, 1929)

The scholar Edith Balas writes of <mask>'s sculpture following the war

masks:
Csaky
Joseph Csa
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky


texts:
 years:

"Csáky, more than anyone else working in sculpture, took Pierre Reverdy's theoretical writings on art and cubist doctrine to heart. "Cubism is an eminently plastic art; but an art of creation, not of reproduction and interpretation."The artist was to take no more than "elements" from the external world, and intuitively arrive at the "idea" of objects made up of what for him constant in value. Objects were not to be analyzed; neither were the experiences they evoked. They were to be re-created in the mind, and thereby purified. By some unexplained miracle the "pure" forms of the mind, an entirely autonomous vocabulary, of (usual geometric) forms, would make contact with the external world." (Balas, 1998, p. 27)

These 1919 works (e.g., Cones and Spheres, Abstract Sculpture) are made of juxtaposing sequences of rhythmic geometric forms, where light and shadow, mass and the void, play a key role. They allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative. <mask>'s polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures.With this intense flurry of activity, <mask> was taken on by Léonce Rosenberg, owner of the Galerie de l'Effort Moderne, 19, rue de

masks: Csaky Csaky


texts:
 la Baume, Paris. By 1920 Rosenberg was the sponsor, dealer and publisher of Piet Mondrian, Léger, Lipchitz and Csaky. He had just published Le Néo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by <mask>, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage. Csaky's works of the early 1920s reflect a collective spirit of the time,
"a puritanical denial of sensuousness that reduced the cubist vocabulary to rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of discipline and strength" to which <mask> adhered in his Tower Figures."In their aesthetic order, lucidity, classical precision, emotional neutrality, and remoteness from visible reality, they should be considered stylistically and historically as belonging to the De Stijl movement." (Balas, 1998)

<mask> became a naturalized French citizen in 1922. He began to work with Marcel Coard, a dealer and gallery owner who from 1924 onward bought <mask>'s sculptures in order to cast them in bronze. The two created furniture in the Art Deco style, within

masks:
Csaky
Csaky
Joseph Csaky
Csaky


texts:
 which sculpted elements of marble, wood and glass were integrated. In 1927 <mask> collaborated with other artists, including Miklos, Jacques Lipchitz and Marcoussis, on the decoration of Studio House, rue Saint-James, Neuilly, owned by the French fashion designer Jacques Doucet. Doucet was also collecting Post-Impressionist and Cubist paintings; he bought Les Demoiselles d'Avignon directly from Picasso's studio. Csaky designed the staircase in Studio House.1928–1971, Toward figurativism
From 1928, while his fellow pioneers tended towards greater abstraction, <mask> moved away both from the faceted Cubism of his early Parisian epoch, and from the highly abstract or nonrepresentational intent of his post-war series. Turning towards figurative art, he no longer saw potential in abstraction. Waldemar George, the Polish-French art critic, writes in 1930 of <mask>'s departure from abstraction: "The cube, the polyhedron with right angles with its abrupt edges, are replaced by ovoids and spheres." Turning towards a more representational figuration—in a highly stylized, curvilinear and descriptive form—allowed <mask> the contact with reality, a reality that ran deeper than surface appearances. For the rest of his life, he was interested primarily in the female body in youth, a theme that expressed optimism, happiness and well-being. He was fascinated by the beauty and expressiveness of the human form in itself. He explored the subject to express his ideas


texts:
 and connotations attached to them.His monumental figures (although not always in sheer size) possess a timeless "amaranthine beauty, a fundamental essence relevant only to themselves." <mask> continued exhibiting from the 1930s onwards; he was shown internationally, with shows in France, Germany, the Netherlands, Brussels, Hungary, and Luxembourg. In 1935, he traveled in Greece, an experience that shaped his artistic exploration of nudes for the remainder of his life. He had an exhibit there in 1965. <mask> died in Paris 1 May 1971. Legacy

<mask> contributed substantially to the development of modern sculpture, both as a pioneer in applying Cubism to sculpture, and as a leading figure in nonrepresentational art of the 1920s. After fighting alongside the French underground movement against the Nazis during World War II, <mask> faced many difficulties: health issues, family problems and a lack of work-related commissions.Unlike many of his friends, whose names became widely known, <mask> was appreciated by fewer people (but they notably included art collectors, art historians and museum curators). "Today, however," writes Edith Balas, "in a postmodernist atmosphere, those aspects of his art that made Csáky unacceptable to the more advanced modernists are readily accepted as valid and interesting. The time has come to give Csáky his rightful place in the ranks of the avant-garde, based on an analysis of his artistic innovations and accomplishments."

masks:
Csaky
Joseph Csaky
Joseph Csaky
Csaky
Csaky


texts:
 Art market
On 30 October 2017, a rock crystal and obsidian sculpture by <mask>, titled Tête (Head), was purchased at an auction at Sotheby's Paris for $1,077,004 (925,500 EUR), a world record for the artist. The 1923 work, formerly in the collection of fashion designer Jacques Doucet, had not appeared on the market since it was commissioned from the artist by Doucet. Pétrus Faure (1891–1985), Mayor from 1947 to 1971, had this monumental sculpture placed in the Parc du Bouchet, Le Chambon-Feugerolles (believed to be its current location). Rivoluzione e tradizione, 2004
 MODEM Centre for Modern and Contemporary Arts, Debrecen, Ninety-Nine Years – The Antal-Lusztig Collection in the Modem, 2006
 Galería Leandro Navarro, Madrid, Los tiempos del Cubismo, 2007
 MODEM Centre for Modern and Contemporary Arts, Debrecen, Body language – Antal-Lusztig collection II., 2007
 Janos Gat Gallery, New York City, Hungarian Modernism, 2010
 Hollis Taggart Galleries, New York City, Modernist Works from a California Collection, 2010

See also
 Crystal Cubism
 Multidimensional art

References

Further reading
In chronological order:
 Apollinaire, Guillaume, 1912, Art and Curiosity, the Beginning of Cubism, Le Temps
 Canudo, Ricciotto, 1914, Montjoie!text by André Salmon, 3rd issue, 18 March
 Reverdy, Pierre, 1917, Sur le Cubisme, Nord-Sud (Paris),  15, 5–7 March
 Apollinaire, Guillaume, Chroniques d'art, 1902–1918
 Pál, Bor, 1924, Az új művészet céljáról. Csáky József


texts:
 szobraihoz, Magyar Iparművészet, 65–68
 Tabarant, Adolphe, Le Bulletin de la vie artistique, December 1924 and January 1925
 Pál, Bor, 1926, Csáky József és szobrászata, Budapest (Corvina Kiadó, Budapest, 1972)
 Basler, Adolphe, 1928, La Sculpture Moderne en France, Paris
 Raynal, Maurice, 1929, A propos de Csaky, Montparnasse, no. 56
 George, Waldemar 1930, Csaky, Editions Ars, Paris
 Deutsche Kunst und Dekoration, 1930, Darmstadt, 247–250
 Sandor, Kemeri, 1931, Visage de Bourdelle, Paris
 Csáky József, 1931, Tiszta építészet és szobrászat, Magyar Iparművészet, 129–131
 Wilenski, Reginald Howard, 1932, The meaning of modern sculpture, AMS Press
 Laude, Jean, 1933, La Peinture Français et l'Art Negre, Paris
 Goldwater, R., 1938 (1967) Primitivism in Modern Art, New York
 Gide, André, 1947, The Journals of André Gide, Vol. 2 1889 – 1913 New York
 Seuphor, Michel, 1959, "La Sculpture de ce Siècle", Dictionnaire de la Sculpture Moderne, Edition du Griffon, Neuchâtel, Switzerland
 Dutka Mária, 1959, Csáky József szobrászművész kiállítása, Magyar Nemzet, 1 September
 Seuphor, Michel, 1960, The Sculpture of This Century, New York
 Lebel, Robert. Anthologie des Formes Inventées, Paris: Edition de la Galerie du Cercle, 1962
 Robbins, Daniel, 1963–1964, From Symbolism to Cubism: The Abbaye of Créteil, Art Journal 23
 Csáky József, 1964, Pályakezdése (Önéletrajzi részlet, I., II., III.,) Tiszatáj
 Le XXe Siècle, Chefs-D’Oeuvre de L’Art, 1965, Librairie


texts:
 Hachette, Paris, Musée National d’Art Modern, Paris
 Bowness, Alan, 1965, Modern Sculpture, London
 Lugano, 1967, Art International Vol. XI no. 747
 Gera György, 1975, A kubizmus, Gondolat Kiadó, Budapest
 Lévy, Pierre, 1976, Des artistes et un collectionneur, Paris
 Marcilhac, Felix, 1977, Josef Csaky 1888–1971, Encyclopedie Connaissance des Arts, no.309
 Jeanine Warnod, 1978, Les Artistes de Montparnasse, La Ruche, Edition Mayer-Van Wilder
 Szelesi Zoltán, 1978–79, Csáky József utolsó évtizede, Móra Ferenc Múzeum Évkönyv
 La Chronique des Arts, March 1980, Supplement a la Gazette des Beaux Arts, no. 1334
 Balas, Edith, 1981, The Art of Egypt as Modigliani's Stylistic Source, Gazette des Beaux-Arts
 Reichard, René, 1983, <mask>, 1888–1971, Einführung in das plastische werk, vol. II. Mémoire de René Reichard, Université Goethe, Frankfurt
 Purchases by the Hirshhorn Museum 1974–1983, Sculpture Newsletter (Mountainville, NY: Storm King Art Center, Fall 1983)
 Balas, Edith, 1987, Brâncuși and Romanian Folk Tradition. East European Monograph, no. Január, 4. oldal (Csernus Sándor: Szeged és Párizs kézfogása)
 Souren Melikian, 2006, International Herald Tribune, Discovering the many facets of Cubism, 28–29 October
 Marcilhac, Félix, 2007, <mask>, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris

External links

 Réunion des Musées Nationaux, Grand Palais, Agence photographique
 Ricciotto

masks:
Joseph Csaky
Joseph Csaky


texts:
<mask> "<mask>" <mask> (March 24, 1930 – December 12, 1954) was an American heavyweight boxer who won an Olympic gold medal in 1952. Personal life
<mask> was the oldest male child of the family. His older sister, Winifred, died in a Scarlet Fever epidemic, in 1939. As a child, <mask> was very large for his age and physically strong. At age 12, he was recollected to be the size of a normal 18 year old. <mask> and his younger brother, Donald, collected coffee cans, filled them with cement and connected two of them with a steel bar to make a weight set for exercising. As "<mask>" grew bigger, faster and stronger, <mask> excelled in football and track and field at Jordan High School.Outside of the ring, <mask> was known as affable, gentlemanly and highly intelligent. On 11 December 1954, he faced Willie James for the New England heavyweight title. James knocked out <mask> in the 11th round and <mask> had to be carried from the ring. He never regained consciousness and died 18 hours later. On May 26, 2012, <mask>' son Russell presided over his posthumous induction into the Compton Community College Athletics Hall of Fame, under the category of boxing. He also was inducted into the Idaho State University Athletic Hall of Fame. Early life
After graduating from Jordan High School, <mask> attended Compton College, where he again excelled in football and a new sport, boxing.In 1950, at the National Junior College Boxing Championships in Ogden, Utah, the six-foot four-inch, 220 pound <mask> attracted the attention of Idaho State College boxing coach Dubby Holt and football coach Babe Caccia. "He had a good left hand, and for the big man that he was, he was a real orthodox, skilled

masks:
Hayes Edward
Big Ed
Sanders
Sanders
Sanders
Sanders
Big Ed
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders