Josip Račić was a Croatian painter in the early 20th century. Although he died young, his work was created during his student years, he is one of the best known modern Croatian painters. Today, Račić is regarded as one of the most important representatives of Croatian modern painting, he studied lithography in Zagreb, 1904 he went to Vienna and Munich, where he studied for a year at the school of the Slovene painter and teacher Anton Ažbe, followed by 3 years at the prestigious Academy of Arts. There, Račić, along with Oskar Herman, Vladimir Becić and Miroslav Kraljević formed the group known as the Croatian School. In 1908, he went to Paris where he painted a series of watercolors and oils depicting Parisian bridges and parks, he died of a gunshot wound in a Paris hotel room in June 1908. Josip Račić is one of the founders of modern Croatian art, the first to bring the concept of self-awareness and artistic integrity to his life and works, "pure painting", as he called it. A particular feature of his paintings is the strong dark realms of human spirituality.
A retrospective of his work was held in the Modern Gallery in Zagreb and Dubrovnik in 2008–2009, to mark the 100th anniversary of the artist's death. Josip Račić was born on 22 March 1885 in Horvati, near Zagreb. From 1892 to 1896 he went to the lower town general elementary school for boys in Samostanska ulica in Zagreb, his elementary school drawing master was the artist Oton Iveković. From 1896 to 1900 he attended the Royal High School in Zagreb, now the home of the Mimara Museum. Račić learned the trade of lithography from 1900 to 1903 from Vladimir Rožankowsky, a master craftsman and owner of a lithographic studio in Zagreb. In 1904 he went to Munich to study at the School of Anton Ažbe who quickly noticed Račić's talents and encouraged him to go on working and studying. In 1905, Račić was employed as a lithographic draughtsman in the firm of Deutsches Verlag R. Bong und Comp in Berlin, but the same year returned to Munich and entered the Academy of Fine Arts, where he studied for three years under such teachers as Johann and Ludwig Herterich, Hugo von Habermann.
At that time Munich was a center of European art scene for realism, Post-Impressionism and Jugendstil. Josip Račić, along with Oskar Herman, Vladimir Becić and Miroslav Kraljević, formed the group known as Die Kroatische Schule. In Croatian art history they are referred to the Munich Four, their work drew much on the painting of Wilhelm Leibl and Édouard Manet and of older masters, the works of Frans Hals and Velázquez. Josip Račić's own work displayed strong tonal architectural qualities, with marked fullness of form and a profound psychology in the figures. In 1908, Račić moved to Paris, where he copied works from the Louvre, painted parks, river bank and café scenes and self-portraits. Josip Račić died of gunshot wounds in a Paris hotel room on 20 June 1908, he had committed suicide for reasons. Josip Račić is considered one of the greatest enigmas of Croatian modern art. From simple beginnings, he arrived in Munich, at that time one of the great creative centers of the European art scene, found for himself inspiration in the paintings of Leibl and the Impressionists, the tradition of Velázquez and Rembrandt.
According to Miroslav Krleža, Račić was one of the first pioneers of the Munich Academy of art, his attitude is important as the Leibl phenomenon in the history of German painting. The early 20th century saw great changes in European art, Croatian art was taking on a new form; the Munich Four were part of the new direction "J. Račić and M. Kraljević, who in their short lives succeeded in creating works pivotal to the continued development of art"."Do not be in any doubt as to Račić's inherent artistic sensibility and the authenticity of his power to think. Račić's painting is at the top the end of the development of traditional realism in the broad sense of the word. Oriented toward Manet, the idealized Goya and focused shaping of forces: the true pictorial interpretation of emotions, his work stands above all" Radoslav PutarRačić's work is important for the birth of the Croatian modern art and its incorporation into European trends of modern painting. The Josip Račić Modern Gallery Studio in Zagreb is named in honour of the artist.
It is associated with the Modern Gallery, is dedicated to the presentation of the works of Croatian contemporary artists. 1920 The first solo exhibit of his work was arranged by Ljubo Babić in the Museum of Arts and Crafts in Zagreb. 1961 Modern Gallery, Zagreb Josip Račić Exhibition 2004 Adris Gallery, Rovinj Josip Račić Exhibition open: from 23 July – 20 September 2004. From the collection of the Modern Gallery in Zagreb 2008 Modern Gallery in Zagreb The first complete retrospective of works by Josip Račić, one of the most important representatives of Croatian modern painting; the most complete presentation of the oeuvre of Račić to date. It showed all the Račić works held in museums, galleries and in and outside Croatia. Included are works ascribed to the great painter, works the attribution of which to Račić is still in dispute, a large selection of documentation as well as a selection of the works of the great world masters who were Račić's models; the exhibit included more than one hundred works, oils and drawings.
In addition to works fr
Leopold Antonovich Sulerzhitsky was a Russian theatre director and pedagogue of Polish descent. He is associated with the household of Leo Tolstoy. Among his many students were Michael Chekhov. A native of Zhitomir, Sulerzhitsky pursued study of the visual arts in Kiev; as a schoolboy he was involved in decorating St Volodymyr's Cathedral, working under the likes of Mikhail Vrubel and Viktor Vasnetsov. In 1890 he joined the Stroganov Art School in Moscow but dropped out four years due to his "anti-government escapades." Sulerzhitsky, always a colourful personality, turned his attention to theatre and soon became a fixture of Moscow artistic life. Tatyana Tolstaya, one of his schoolmates, introduced him to her famous father. Sulerzhitsky grew fascinated with Leo Tolstoy's ideas of pacifism and anarchism and decided to dedicate his life to their dissemination, he became one of the most loyal Tolstoyans. His diary kept track of early Doukhobor life before and just after the Doukhobor's migration to Canada at the beginning of the twentieth century.
The published diary is called To America with the Doukhobors. Sulerzhitsky contributed to the construction of one of the most successful actor training techniques in the world, he worked with Constantin Stanislavski for many years. In his book on Stanislavski's'system' Mel Gordon attributes its founding to Stanislavski's nine-year relationship with Suler, he was well versed in Eastern-influenced religious practices, informing Stanislavski about yoga and the nature of Prana. Scenes from To America with the Doukhobors
Henri I de Montmorency, Marshal of France, Constable of France, seigneur of Damville, served as Governor of Languedoc from 1563 to 1614. As Gouverneur, Damville came as the head of an army into Toulouse for nine months in 1570 and was chastized by the capitouls for letting Catholic property fall into the hands of a passing Protestant army without taking action, they accused him of being betraying the city and being in league with Protestants like his cousin Admiral Coligny. Damville responded by sending them to Paris with charges of slander. Damville placed a procureur-général on the Parlement of Toulouse, suspected of Protestantism; when Damville went into revolt in October 1574 he was deprived of his office by the Parlement of Toulouse, arrests were made of his associates charged with conspiracy against the king. He became Duke of Montmorency on his brother's death in 1579; as a leader of the party called the Politiques he took a prominent part in the French Wars of Religion. In 1593 he was made constable of France, but Henry IV showed some anxiety to keep him away from Languedoc, which he ruled like a sovereign prince.
With his first wife, Antoinette de La Marck, daughter of Robert IV de La Marck, he had two daughters: Charlotte de Montmorency, married in 1591 Charles de Valois, Duke of Angoulême and had issue. With his second wife, Louise de Budos, he had two children: Charlotte Marguerite de Montmorency; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Montmorency". Encyclopædia Britannica. 18. Cambridge University Press. P. 787
Chaonei No. 81, sometimes referred to as Chaonei Church, is a house located in the Chaoyangmen neighborhood of the Dongcheng District in Beijing, China. It is a brick structure in the French Baroque architectural style built in the early 20th century, with a larger outbuilding; the municipality of Beijing has designated it a historic building. It is best known for the widespread belief that it is haunted, it has been described as "Beijing's most celebrated'haunted house'". Stories associated with the house include ghosts of a suicidal woman, mysterious disappearances, it has become a popular site for urban exploration by Chinese youth after a popular 2014 3D horror film, The House That Never Dies, was set there. Due to incomplete historical records, there is disagreement about who built the house and for what purpose. Since the establishment of the People's Republic of China that year, records are more consistent, it was used as offices for various government agencies for most of the PRC's early years.
During the Cultural Revolution, in the late 1960s, it was occupied by the Red Guards. It is owned by the Roman Catholic Archdiocese of Beijing, which in the late 1990s raised the possibility that it might one day serve as the Vatican embassy as a reason for not demolishing it; the building has been restored from March 2016, it is opened for renting since 2017. The rent of the building may be estimated to around 10 million RMB per year; the house is located along the north side of the street, about 250 metres west of the Second Ring Road intersection, the former site of the Chaoyangmen gate for which the neighborhood is named. It is in the Chaoyangmen Subdistrict of Beijing's Dongcheng District, near the boundary with the neighboring Chaoyang District, a short distance west of the CNOOC Building; the property is midway between the intersections with Douban and Nanshuiguan hutongs to its east and Chaoyangmen Alley to its west. Chaoyangmen Inner is a four-lane road at that point, divided in the center by a concrete median with a metal fence.
Separate local lanes exist on either side. Scattered around the intersection with the Ring Road are exits and entrances to the Chaoyangmen station on Lines 2 and 6 of the Beijing Subway. A pedestrian overpass crosses the street a short distance east of the property; the neighborhood is urban and densely developed. At the intersection with the ring road is the distinctively shaped headquarters of the China National Offshore Oil Corporation. Further west are lower-height mixed-use buildings with stores at street level and apartments above. Short driveways and narrow alleys lead to two-story residential buildings in the interior of the block, separated by occasional rows of trees. A concrete wall surrounds the property, with a gate of opaque metal doors allowing entrance from the street. Mature deciduous trees along the inside screen the property. There are three buildings on the 750-square-metre parcel—the main house, a larger second house, a garage; the land surrounding them is not planted or landscaped and is bare dirt or gravel.
Cars are parked here. Some small scrubby deciduous trees grow at various points on the lot; the main house is located east of the entrance. It is a two-and-a-half-story structure of brick laid in Flemish bond with stone trim topped by a shingled mansard roof that further rises to a tiled hipped peak in the middle, pierced by a brick chimney. Part of an exposed stone basement can be seen below the first floor, it consists of a three-by-three-bay main block with a three-by-two-bay north wing. On the west elevation the southernmost bay projects on all levels. Stone water tables set off the second story. A third along the top of the windows on the latter marks the middle of the plain stone frieze below the damaged modillioned cornice from which some trees sprout. On the first story a second course caps a stone face. All corners are quoined in stone. Metal drainpipes fed by older pipes run down the facade on both sides of the pavilion and just south of the north corner. Stone steps lead up to the centrally located main entrance.
It is sheltered by a stone balcony supported by two smooth rectangular columns in front with inverse-stepped capitals supporting a similar cornice, whose stonework has been damaged. A wider section in the rear of the balcony is supported by larger pilasters with similar treatment. Both columns and pilasters are in turn resting on tall plinth blocks. Atop the balcony is a stone balustrade. Fenestration is regular in placement, with one window per bay on each story, treatment, with all windows in quoined stone surrounds and splayed stones with a keystone atop the lintel. Otherwise it is irregular, with each opening set differently; the southern pavilion has a wooden French door topped with a two-light transom. A small step protrudes at floor level; the side quoining continues up to the mid-facade water table, enclosing a raised stone panel with a carved foliate design. A similar stone panel, with a different foliate d
David Garfield Thomas is a former professional American football cornerback in the National Football League for the Dallas Cowboys, Jacksonville Jaguars, New York Giants. He played college football at the University of Tennessee and was drafted in the eighth round of the 1993 NFL Draft. Thomas attended Miami Beach Senior High School, where he received third-team All-American and All-Conference honors in football as a senior, he lettered in basketball and track. He moved on to Butler Community College, where he registered 7 interceptions as a freshman and 10 as a sophomore, on his way to becoming one of the top cornerbacks in junior college. In 1990, he transferred to the University of Tennessee, where he played in 13 games as a backup cornerback, posting 17 tackles, one interception and one pass defensed; the next year he was redshirted. In October 1991, an off-field incident caused him to lose his final year of sports eligibility at Tennessee, he would still stay at the graduate. Though he was out of football for two years, the Dallas Cowboys selected him in the eight round of the 1993 NFL Draft.
During his time with the team he was one of the tallest cornerbacks in the NFL and showed promise playing special teams and in some of the nickel packages. He was a part of the Super Bowl XXVIII winning team; the Jacksonville Jaguars selected him from the Cowboys roster in the 1995 NFL Expansion Draft. He became the starting left cornerback after replacing Vinnie Clark in the fifth game of the 1996 season, but in the ninth game while playing against the Cincinnati Bengals, he sustained a fractured left femur while covering an onside kick. Although he regained his starter job in 1997, it has been speculated that he was never the same player after his injury; that season, he started 16 games, registered a career-high 88 tackles, along with two forced fumbles and one fumble recovery. The next year, he started 12 games, recorded 69 tackles, a team-leading 4 forced fumbles, one interception and one fumble recovery. In 1999, he was relegated to backup rookie Fernando Bryant and playing in the nickel defense, finishing with 15 tackles, 2 interceptions, 4 passes defensed, 18 special teams tackles, one punt block and one forced fumble on special teams.
On April 11, 2000, he signed as a free agent with the New York Giants to play special teams and in the nickel defense, but was named the starter when Conrad Hamilton was injured and waived. He was a part of the Super Bowl XXXV team. In 2001, he was replaced as the starter at left cornerback with Will Allen, he was released on March 1, 2002. Thomas a Giant Find Giant step for ex-Jags Thomas recovers poise on corner