1.
Hey Arnold!
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Is an American animated television series created by Craig Bartlett that aired on Nickelodeon from October 7,1996 to June 8,2004, with reruns until 2007. The show centers on a fourth grader named Arnold, who lives with his grandparents in an inner-city boarding house, episodes center on his experiences navigating big city life while dealing with the problems he and his friends encounter. Bartletts idea for the show is based on a character named Arnold whom he created while working on Pee-wees Playhouse. The executives enjoyed the character, and Bartlett completed the cast by drawing inspiration from people he grew up with in Portland, Oregon, Bartlett created the pilot episode in his living room in 1994 and official production began in 1995. The animators worked to transform Arnold from clay animation to cel animation, the show finished production in 2001 after 5 seasons and 100 episodes. It was the second longest running Nicktoon behind Rugrats, until Spongebob Squarepants surpassed it in June 6,2008 with the episode House Fancy/Krabby Road, then Fairly Odd Parents surpassed it as the third longest running Nicktoon in April 72010 with the episode Playdate of Doom. It is currently the fourth longest running Nicktoon, received generally positive reviews, with many critics praising its character development, emotional storytelling and mature themes. Over the course of its run, the series aired 100 episodes. A feature film based on the series, Hey Arnold, the Movie, was released in 2002. All five seasons have been released on DVD, and reruns air on the TeenNick block The Splat. As of 2016, a Hey Arnold, television movie, reportedly titled Hey Arnold. The Jungle Movie, has been greenlit for production and it is expected to pick up from where the series ended and will resolve unanswered plot lines of the story, including the whereabouts of Arnolds parents. The TV movie will premiere in November 2017, Bartlett drew inspiration from people he grew up with when creating the characters for the show. Arnold lives with his eccentric but loving paternal grandparents, Phil and Gertrude, proprietors of the Sunset Arms boarding house, in each episode, he often helps a schoolmate or boarding home tenant solve a personal problem, or encounters a predicament of his own. Many episodes involve urban legends usually told by Gerald, such as superheroes or headless horsemen, other characters include students and faculty at P. S. 118, Arnolds school, and citizens of Hillwood, certain episodes focus on the lives of supporting characters, such as the tenants of the boarding house that Arnolds grandparents own. Takes place in the fictional American city of Hillwood, while its geographic location is never revealed outright, some episodes suggest that the city is located in Washington State. Bartlett described the city as an amalgam of northern cities I have loved, including Seattle, Portland
Hey Arnold!
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Hey Arnold!
2.
List of Hey Arnold! characters
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This is a listing of characters from the Nickelodeon animated television series Hey Arnold. Arnold Phillip Shortman, is the nice, kind, optimistic nine-year-old protagonist and he is a dreamer and an idealist who always tries to see the best in people and do the right thing. His parents, Miles and Stella left to go to San Lorenzo when he was 1 year old, whenever he sees someone in trouble, especially Helga, Arnold goes out of his way to help them out, even if it is not sensible to do so. Arnold often acts as the center to those around him, whether he is around his family in his paternal grandparents boarding house. He lives in Sunset Arms boarding house with his grandparents, Phil, Arnold has had two major crushes in the series, one with sixth-grader Ruth McDougal, and one with a classmate named Lila Sawyer. However, his most catalytic relationship is with his classmate and friend Helga Pataki, Helga is secretly in love with him, though to keep these feelings secret she bullies Arnold. Arnold is completely unaware of fact for most of the series, other than the occasional hint from Helga. Helga revealed her secret to Arnold during Hey Arnold, the Movie, but Arnold gave Helga the opportunity to take back her confession, attributing it to the heat of the moment. Arnold is friends with most of his fellow fourth-graders, with the best of which being Gerald Johanssen and it was finally revealed that his full name was Arnold Phillip Shortman. Gerald Martin Johanssen is a boy and Arnolds best friend. He is an athletic and street-smart boy who is portrayed as loyal, Gerald has known Arnold for many years, most likely since preschool. Besides being Arnolds friend, Gerald also has a deal of knowledge of many legendary stories in the city. He apparently gets these myths from a source he has nicknamed Fuzzy Slippers, at school, Gerald is the class president, and considers himself very cool, and apparently, so do his friends. When it was revealed that Arnold was on Rhondas so-called Cool List, and his most distinct features are his tall, Kid n Play-style hair, and his shirt with the number 33 on it. He has a crush on Phoebe, who shares the feelings for him. Arnold this is the life, not going to school, drinkin yahoo sodas, Helga G. Pataki is a rough and cynical girl who puts on a mean, tomboyish front, making her the fourth grade bully. She constantly bullies Arnold to hide her feelings of love for him. She is a student and a talented writer of poetry for her age
List of Hey Arnold! characters
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Contrary to popular belief, Arnold does not wear a kilt, but instead dons a plaid shirt that hangs out of his blue sweater and a hat that only covers a small part of his football-shaped head.
List of Hey Arnold! characters
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Helga Pataki, in her signature pink and red dress and pink bow
3.
The Bride of the Wind
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The Bride of the Wind is a 1913-1914 oil on canvas painting by Oskar Kokoschka. It is housed in the Kunstmuseum Basel, kokoschkas best known work, it is an allegorical picture featuring a self-portrait by the artist, lying alongside his lover Alma Mahler. Kokoschka met Mahler, then recently widowed from Gustav Mahler, in 1912, a passionate romance ensued, with the artist producing numerous drawings and paintings of Mahler. The painting depicts Mahler in a peaceful sleep beside Kokoschka, who is awake, the couples break-up in 1914 had a profound effect on Kokoschka, whose expressive brushwork grew more turbulent. When Kokoschka painted the picture, poet Georg Trakl visited him almost daily, modernity Met With Hope and Despair, The New York Times, July 30,2009 Grosenick, Uta, Wolf, Norbert. Alma in the work of Oskar Kokoschka
The Bride of the Wind
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The Bride of the Wind
4.
Alma Mahler
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Alma Maria Mahler Gropius Werfel was a Viennese-born composer and socialite. Musically active from her teens, she was the composer of at least seventeen songs for voice, in later years her salon became part of the artistic scene, first in Vienna, then in Los Angeles. Alma Schindler was born in Vienna, Austria, to the landscape painter Emil Jakob Schindler and his wife Anna Bergen, although later in life Mahler characterized her upbringing as privileged, the family is said to have been only moderately successful. After her fathers death, her married her late husbands former pupil, Carl Moll. Almas social interactions in her youth included friendships with the artists of the Vienna Secession, as a young woman she had a series of flirtations, including Gustav Klimt, theater director Max Burckhard and composer Alexander von Zemlinsky. On 9 March 1902 she married Gustav Mahler, who was nineteen years her senior, with him she had two daughters, Maria Anna, who died of scarlet fever or diphtheria, and Anna, who became a sculptor. The terms of Almas marriage with Gustav were that she would abandon her own interest in composing, artistically stifled herself, she embraced her role as a loving wife and supporter of Gustavs music, together regularly attending the salon of Adele Bloch-Bauer. Later in their marriage, after becoming depressed in the wake of Marias death, she began an affair with the young architect Walter Gropius. Upon his urging, and under his guidance, she prepared five of her songs for publication, after this turbulent period in their marriage, Alma and Gustav traveled to New York, where Gustav was seasonally engaged as a conductor. In February,1911, he fell ill with an infection related to a heart defect that had been diagnosed several years earlier. He died in May, shortly after their return to Vienna, after Mahlers death, she did not immediately resume contact with Gropius. Between 1912 and 1914 she had an affair with the artist Oskar Kokoschka. Kokoschkas possessiveness wore on Alma, and the vicissitudes of the relationship tired them both. She and Gropius married in 1915 during one of his military leaves and they had a daughter together, Manon Gropius, who grew up being friends with Maria Altmann. After Manon died of polio at the age of 18, composer Alban Berg wrote his Violin Concerto in memory of her and she became pregnant and gave birth to a son, Martin Carl Johannes Gropius. Gropius at first believed that the child was his, but Almas ongoing affair with Werfel was common knowledge in Vienna by this time, within a year, they agreed to a divorce. In the meantime, Martin, who had been born prematurely, developed hydrocephalus and her divorce from Gropius became final in 1920. While Gropiuss military duties were keeping him absent, she met and began an affair with Prague-born poet
Alma Mahler
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Alma Mahler (c. 1902).
Alma Mahler
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Gustav Mahler
Alma Mahler
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Alma Mahler with her daughters Maria (at left) and
Anna (at right), cabinet card photo circa 1906
Alma Mahler
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House of Franz Werfel and Alma Mahler in
Sanary-sur-Mer
5.
Gustav Mahler
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Gustav Mahler was an Austrian late-Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century, born in Bohemia as a German-speaking Jew of humble circumstances, Mahler displayed his musical gifts at an early age. During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the regular opposition. Late in his life he was director of New Yorks Metropolitan Opera. Mahlers œuvre is relatively limited, for much of his composing was necessarily a part-time activity while he earned his living as a conductor. Some of Mahlers immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg, dmitri Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955 to honour the composers life, the Mahler family came from eastern Bohemia and were of humble circumstances, the composers grandmother had been a street pedlar. Bohemia was then part of the Austrian Empire, the Mahler family belonged to a German-speaking minority among Bohemians, from this background the future composer developed early on a permanent sense of exile, always an intruder, never welcomed. Bernhard Mahler, the son and the composers father, elevated himself to the ranks of the petite bourgeoisie by becoming a coachman. He bought a modest house in the village of Kalischt, halfway between Prague in Bohemia and Brno in Moravia, in the center of todays Czech Republic. Bernhards wife, Marie, gave birth to the first of the couples 14 children, a son Isidor, two years later, on 7 July 1860, their second son, Gustav, was born. In December 1860, Bernhard Mahler moved with his wife and infant son, Gustav, to the town of Iglau,25 km to the south-east, the family grew rapidly, but of the 12 children born to the family in Iglau only six survived infancy. All of these elements would later contribute to his musical vocabulary. When he was four years old, Gustav discovered his grandparents piano and he developed his performing skills sufficiently to be considered a local Wunderkind and gave his first public performance at the town theatre when he was ten years old. Although Gustav loved making music, his reports from the Iglau Gymnasium portrayed him as absent-minded. In 1871, in the hope of improving the results, his father sent him to the New Town Gymnasium in Prague. In 1874 he suffered a personal loss when his younger brother Ernst died after a long illness. Mahler sought to express his feelings in music, with the help of a friend, Josef Steiner, he work on an opera
Gustav Mahler
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Gustav Mahler, photographed in 1907 at the end of his period as director of the Vienna Hofoper
Gustav Mahler
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Jihlava (German: Iglau) where Mahler grew up
Gustav Mahler
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Mahler was influenced by
Richard Wagner during his student days, and later became a leading interpreter of Wagner's operas.
Gustav Mahler
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Gustav Mahler's home in Leipzig, where he composed his Symphony No. 1
6.
Austria-Hungary
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The union was a result of the Austro-Hungarian Compromise of 1867 and came into existence on 30 March 1867. Austria-Hungary consisted of two monarchies, and one region, the Kingdom of Croatia-Slavonia under the Hungarian crown. It was ruled by the House of Habsburg, and constituted the last phase in the evolution of the Habsburg Monarchy. Following the 1867 reforms, the Austrian and the Hungarian states were co-equal, Foreign affairs and the military came under joint oversight, but all other governmental faculties were divided between respective states. Austria-Hungary was a state and one of the worlds great powers at the time. Austria-Hungary was geographically the second-largest country in Europe after the Russian Empire, at 621,538 km2, the Empire built up the fourth-largest machine building industry of the world, after the United States, Germany, and the United Kingdom. After 1878, Bosnia and Herzegovina was under Austro-Hungarian military and civilian rule until it was annexed in 1908. The annexation of Bosnia also led to Islam being recognized as a state religion due to Bosnias Muslim population. Austria-Hungary was one of the Central Powers in World War I and it was already effectively dissolved by the time the military authorities signed the armistice of Villa Giusti on 3 November 1918. The realms full, official name was The Kingdoms and Lands Represented in the Imperial Council, each enjoyed considerable sovereignty with only a few joint affairs. Certain regions, such as Polish Galicia within Cisleithania and Croatia within Transleithania, enjoyed autonomous status, the division between Austria and Hungary was so marked that there was no common citizenship, one was either an Austrian citizen or a Hungarian citizen, never both. This also meant that there were always separate Austrian and Hungarian passports, however, neither Austrian nor Hungarian passports were used in the Kingdom of Croatia-Slavonia-Dalmatia. Instead, the Kingdom issued its own passports which were written in Croatian and French and it is not known what kind of passports were used in Bosnia-Herzegovina, which was under the control of both Austria and Hungary. The Kingdom of Hungary had always maintained a separate parliament, the Diet of Hungary, the administration and government of the Kingdom of Hungary remained largely untouched by the government structure of the overarching Austrian Empire. Hungarys central government structures remained well separated from the Austrian imperial government, the country was governed by the Council of Lieutenancy of Hungary – located in Pressburg and later in Pest – and by the Hungarian Royal Court Chancellery in Vienna. The Hungarian government and Hungarian parliament were suspended after the Hungarian revolution of 1848, despite Austria and Hungary sharing a common currency, they were fiscally sovereign and independent entities. Since the beginnings of the union, the government of the Kingdom of Hungary could preserve its separated. After the revolution of 1848–1849, the Hungarian budget was amalgamated with the Austrian, from 1527 to 1851, the Kingdom of Hungary maintained its own customs controls, which separated her from the other parts of the Habsburg-ruled territories
Austria-Hungary
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Franz Joseph I. (1885)
Austria-Hungary
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Civil Ensign
Austria-Hungary
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Austrian Parliament Building
Austria-Hungary
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Hungarian Parliament Building
7.
Montreux
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Montreux is a municipality in the district of Riviera-Pays-dEnhaut in the canton of Vaud in Switzerland. It is located on Lake Geneva shoreline at the foot of the Alps and has a population, as of December 2015, of 26,433, the earliest settlement was a Late Bronze Age village at Baugy. This made it an important settlement in the Roman era, a Roman villa from the 2nd-4th centuries and a 6th–7th century cemetery have been discovered. In the 12th century, viticulture was introduced to the region, Montreux is first mentioned in 1215 as Mustruel. In 1295, the Bishop of Sion sold the parish of Montreux to Girard of Oron, in 1317, it was split between the Lords of Oron and the Counts of Savoy. A Brotherhood of the Holy Spirit administered estates and a hospital in Montreux starting in about 1309, the region was subject to various princes, most notably the princes of Savoy from the south side of the lake. They unified the territory comprises the present canton of Vaud and were generally popular sovereigns. After the Burgundian Wars in the 15th century, the Swiss in Bern occupied the region without resistance, under Bernese rule it belonged to the bailiwick of Chillon. The Reformation made the region around Montreux and Vevey an attractive haven for Huguenots from Italy, the abbey of Les Echarpes blanches was founded in 1626. In 1798, Napoleon liberated the region from the Bernese, in the 19th century, the tourist industry became a major commercial outlet, with the grand hotels of Montreux attracting the rich and cultured from Europe and America. Starting in the 19th Century there were three independent municipalities that shared a central authority and this county council was made up of four deputies from Le Châtelard, two from Les Planches and one from Veytaux. The church, the hall of La Rouvenaz, the secondary school. Each municipality had its own taxes and a mayor, in 1962, the municipalities of Le Châtelard and Les Planches merged, while Veytaux remained independent. Montreux has an area, as of 2009, of 33.4 square kilometers, of this area,8.47 km2 or 25. 4% is used for agricultural purposes, while 16.93 km2 or 50. 7% is forested. Of the rest of the land,6.37 km2 or 19. 1% is settled,0.08 km2 or 0. 2% is either rivers or lakes and 1.59 km2 or 4. 8% is unproductive land. Of the built up area, housing and buildings made up 10. 9%, out of the forested land,47. 0% of the total land area is heavily forested and 3. 1% is covered with orchards or small clusters of trees. Of the agricultural land,0. 4% is used for growing crops and 8. 8% is pastures, all the water in the municipality is flowing water. The municipality was part of the Vevey District until it was dissolved on 31 August 2006, the municipality stretches from Lake Geneva to the foothills of the Swiss Alps
Montreux
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Montreux
Montreux
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Lake Geneva from Montreux
Montreux
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Montreux and Lake Geneva
Montreux
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High rise in Montreux
8.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
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The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
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Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
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Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
9.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
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Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
–
External video
10.
Poetry
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Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotles Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on such as repetition, verse form and rhyme. From the mid-20th century, poetry has sometimes been more generally regarded as a creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of such as metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between verses, in their patterns of rhyme or rhythm. Some poetry types are specific to cultures and genres and respond to characteristics of the language in which the poet writes. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, in todays increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages. Some scholars believe that the art of poetry may predate literacy, others, however, suggest that poetry did not necessarily predate writing. The oldest surviving poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer. An example of Egyptian epic poetry is The Story of Sinuhe, other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in poetics—the study of the aesthetics of poetry. Some ancient societies, such as Chinas through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance, Classical thinkers employed classification as a way to define and assess the quality of poetry. Later aestheticians identified three major genres, epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry, Aristotles work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. English Romantic poet John Keats termed this escape from logic Negative Capability and this romantic approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic
Poetry
–
Aristotle
Poetry
–
Literature
Poetry
–
John Keats
Poetry
–
Archibald MacLeish
11.
Play writing
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A playwright, also known as a dramatist, is a person who writes plays. The term is not a variant spelling of playwrite, but something quite distinct, hence the prefix and the suffix combine to indicate someone who has wrought words, themes, and other elements into a dramatic form - someone who crafts plays. The homophone with write is in this case entirely coincidental, the term playwright appears to have been coined by Ben Jonson in his Epigram 49, To Playwright, as an insult, to suggest a mere tradesman fashioning works for the theatre. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and this view was held as late as the early 19th century. The term playwright later lost this negative connotation, the earliest playwrights in Western literature with surviving works are the Ancient Greeks. These early plays were written for annual Athenian competitions among playwrights held around the 5th century BC, such notables as Aeschylus, Sophocles, Euripides, and Aristophanes established forms still relied on by their modern counterparts. For the ancient Greeks, playwriting involved poïesis, the act of making and this is the source of the English word poet. In the 4th century BCE, Aristotle wrote his Poetics, the first play-writing manual, in this famous text, Aristotle established the principle of action or praxis as the basis for all drama. He then included a hierarchy of elements for the beginning with plot, character, thought, diction, music. The ends of drama were plot, character, and thought, the means of drama were language and music, since the myths, upon which Greek tragedy were based, were widely known, plot had to do with the arrangement and selection of existing material. Character was equated with choice as rather than psychology, so that character was determined by action, in tragedy, the notion of ethical choice determined the character of the individual. Thought had more to do and the imitation of an action that is serious, thus, he developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist. It provides the basis for the play, a term still held as the sine qua non of dramaturgy. The Poetics, while very brief and highly condensed, is studied today. Perhaps the most Aristotelian of contemporary playwrights is David Mamet, who embraces the idea of character as agent of the action, and emphasizes causality in the structure of his plays. His recently revived, Speed-the-Plow, is quintessentially Aristotelian, in that it observes the unities and builds its plot through a causal stream of discoveries and reversals. The Italian Renaissance brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The neoclassical ideal, which was to reach its apogee in France during the 17th century, dwelled upon the unities, of action, place, and time
Play writing
–
William Shakespeare
12.
Expressionism
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionism
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionism
–
Wassily Kandinsky, On White II, 1923
13.
Artist
–
An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
Artist
–
Johann Wolfgang von Goethe, German artist known for his works of poetry, drama, prose, philosophy, visual arts, and science.
14.
Poet
–
POET LLC is a U. S. biofuel company that specializes in the creation of bioethanol. The privately held corporation, which was originally called Broin Companies, is headquartered in Sioux Falls, in 2007, the Renewable Fuels Association named POET the largest U. S. ethanol producer, creating 1.1 billion US gallons of fuel per year. Currently, POET produces 1.7 billion gallons of ethanol per year, POET operates 27 ethanol plants spread across Indiana, Iowa, Michigan, Missouri, Ohio, Minnesota, and South Dakota. In 2007, the received a US$80 million grant from the U. S. Department of Energy for the creation of a cellulosic ethanol production facility in Emmetsburg. A grand opening was held for the facility on September 3rd,2014 and it is expected to produce 25 million gallons of ethanol per year from corncobs, leaves and husks provided by farmers in and around the area. POET has also collaborated with companies, including Deere & Co. and Vermeer Company. Among its products in the process are distillers grains branded Dakota Gold, Inviz, the company traces its history to the family farm in Wanamingo, Minnesota where the Broins began producing ethanol in 1983. In 1986 it became commercial launching its flagship plant in Scotland, in 2007, it was renamed POET. Then company president Jeff Broin said the new name is not an acronym, bush in Wentworth, South Dakota in April 2002 and by Barack Obama in Macon, Missouri in April 2010. POET has constructed an $8 million pilot plant to produce cellulosic ethanol made from corn cobs, a commercial scale project, based on the pilot plant, was undertaken as a joint venture with Royal DSM under the name POET-DSM Advanced Biofuels, LLC. A federal loan guarantee was obtained in July,2011 for a plant to be built in Emmetsburg. This loan guarantee was later declined when the joint venture with Royal DSM was announced. Originally scheduled to open in 2013, the facility opened a year late in September,2014
Poet
15.
Playwright
–
A playwright, also known as a dramatist, is a person who writes plays. The term is not a variant spelling of playwrite, but something quite distinct, hence the prefix and the suffix combine to indicate someone who has wrought words, themes, and other elements into a dramatic form - someone who crafts plays. The homophone with write is in this case entirely coincidental, the term playwright appears to have been coined by Ben Jonson in his Epigram 49, To Playwright, as an insult, to suggest a mere tradesman fashioning works for the theatre. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and this view was held as late as the early 19th century. The term playwright later lost this negative connotation, the earliest playwrights in Western literature with surviving works are the Ancient Greeks. These early plays were written for annual Athenian competitions among playwrights held around the 5th century BC, such notables as Aeschylus, Sophocles, Euripides, and Aristophanes established forms still relied on by their modern counterparts. For the ancient Greeks, playwriting involved poïesis, the act of making and this is the source of the English word poet. In the 4th century BCE, Aristotle wrote his Poetics, the first play-writing manual, in this famous text, Aristotle established the principle of action or praxis as the basis for all drama. He then included a hierarchy of elements for the beginning with plot, character, thought, diction, music. The ends of drama were plot, character, and thought, the means of drama were language and music, since the myths, upon which Greek tragedy were based, were widely known, plot had to do with the arrangement and selection of existing material. Character was equated with choice as rather than psychology, so that character was determined by action, in tragedy, the notion of ethical choice determined the character of the individual. Thought had more to do and the imitation of an action that is serious, thus, he developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist. It provides the basis for the play, a term still held as the sine qua non of dramaturgy. The Poetics, while very brief and highly condensed, is studied today. Perhaps the most Aristotelian of contemporary playwrights is David Mamet, who embraces the idea of character as agent of the action, and emphasizes causality in the structure of his plays. His recently revived, Speed-the-Plow, is quintessentially Aristotelian, in that it observes the unities and builds its plot through a causal stream of discoveries and reversals. The Italian Renaissance brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The neoclassical ideal, which was to reach its apogee in France during the 17th century, dwelled upon the unities, of action, place, and time
Playwright
–
William Shakespeare
16.
Realschule
–
Realschule is a type of secondary school in Germany, Switzerland, Liechtenstein and Estonia. It has also existed in Croatia, Austria, Denmark and Norway, Sweden, Hungary, Slovenia, for Johann Joachim Becher, education also had a mandate to support the replacement of the Holy Roman Empire with a more republican commonwealth. His school would have had the task of creating education and teaching an organized state structure and his ideal was the artisan, the educated scholar, the universal scientist. In the German secondary school system, Realschule is ranked between Hauptschule and Gymnasium, after completing the Realschule, good students are allowed to attend a professional Gymnasium or a general-education Gymnasium. They can also attend a Berufschule or do an apprenticeship, in most states of Germany, students start the Realschule at the age of ten or eleven and typically finish school at the age of 16–17. In some states, Realschulen have recently replaced by Oberschulen or Sekundarschulen. In 20061.32 million German students attended a Realschule, at Realschule, a student gets an extended education and learns at least one foreign language, usually English. In the state of Baden-Württemberg, after the grade, the student has to choose among technology, home economics. The new subject becomes the fifth main subject, after German, maths, science and English. Other subjects are geography, social sciences, economics, history, religious education, after the 8th grade a student has to choose between arts and music. High school diplomas obtained in Canada or the United States are usually acknowledged as a Mittlere Reife, in some cases however students may apply for certain subjects at a university. All students holding an American high school diploma may apply for the Studienkolleg and those holding a high school diploma can choose from a wider range of possible major subjects at a German university if they did well on the SAT or ACT. Those who scored higher than 1300 on the SAT or higher than 28 on the ACT may apply for any subject at a German university, Gymnasia and Realgymnasia are the classical higher or secondary schools of Germany. According to the PISA examination the students attending a Realschule were outperformed by those attending a Gymnasium, however, they did better than those attending a Hauptschule or a Gesamtschule school. The German tripartite system of education has been criticized for separating children along class lines at a very early age. For instance, in some German states, a decision is made in the sixth or even the fourth grade about whether a child is to continue in the Gymnasium, the Realschule, or the Hauptschule. Only the Gymnasium is a school, so critics argue essentially a decision is made as early as the fourth grade about whether a child will be allowed to attend college. The system is considered so onerous outside Germany that the OECD even sent an envoy to Germany to condemn current German practice
Realschule
–
Realschule an der Blutenburg, Germany
17.
University of Applied Arts Vienna
–
The University of Applied Arts Vienna is an institution of higher education in Vienna, the capital of Austria. It has had university status since 1970, the predecessor of the Angewandte was founded in 1867 as the k. k. It was closely associated with the Österreichischen Museums für Kunst und Industrie and it was the first school of its kind on the continent. In 1941 it became an institution of higher education, in 1970 it was awarded the title of a university and in 1998 the school was renamed the Universität für angewandte Künste. Today its faculty includes many distinguished artists and teachers, such as Judith Eisler, Erwin Wurm, Hartmut Esslinger, Greg Lynn, Wolf D Prix, the university has currently c.1,800 students and c.340 faculty. The students come from 49 different countries to study in the 29 disciplines of the school and they form their creative ideas in 56 different languages. The outcome of their processes is made public in 200 exhibitions a year, Applied arts live art and technology as symbiosis. Applied arts live art and society in interaction, Applied arts live art as an experimental approach towards science
University of Applied Arts Vienna
–
University of Applied Arts Vienna
18.
Vienna Secession
–
The Vienna Secession was an art movement formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects, the first president of the Secession was Gustav Klimt, and Rudolf von Alt was made honorary president. Its official magazine was called Ver Sacrum, the Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Wilhelm Bernatzik and others. Although Otto Wagner is widely recognised as an important member of the Vienna Secession he was not a founding member, the Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism. The Berlin and Munich Secession movements preceded the Vienna Secession, which held its first exhibition in 1898, the group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public. The 14th Secession exhibition, designed by Josef Hoffmann and dedicated to Ludwig van Beethoven, was especially famous, a statue of Beethoven by Max Klinger stood at the center, with Klimts Beethoven frieze mounted around it. The Klimt frieze has been restored and can be seen in the gallery today, in 1903, Hoffmann and Moser founded the Wiener Werkstätte as a fine-arts society with the goal of reforming the applied arts. On 14 June 1905 Gustav Klimt and other artists seceded from the Vienna Secession due to differences of opinion over artistic concepts, unlike other movements, there is not one style that unites the work of all artists who were part of the Vienna Secession. The Secession building could be considered the icon of the movement, above its entrance was placed the phrase Der Zeit ihre Kunst. Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition and they hoped to create a new style that owed nothing to historical influence. In this way they were much in keeping with the iconoclastic spirit of turn-of-the-century Vienna. The Secessionist style was exhibited in a magazine that the group produced, called Ver Sacrum, along with painters and sculptors, there were several prominent architects who became associated with the Vienna Secession. During this time, architects focused on bringing purer geometric forms into the designs of their buildings, even though they had their own type of design, the inspiration came from neoclassical architecture, with the addition of leaves and natural motifs. The three main architects of this movement were Josef Hoffmann, Joseph Maria Olbrich, and Otto Wagner, in 1898, the groups exhibition house was built in the vicinity of Karlsplatz. Designed by Joseph Maria Olbrich, the building soon became known simply as the Secession. The secession building displayed art from other influential artists such as Max Klinger, Eugène Grasset, Charles Rennie Mackintosh. Otto Wagners Majolika Haus in Vienna is a significant example of the Austrian use of line, other significant works of Otto Wagner include The Karlsplatz Stadtbahn Station in Vienna, and Austrian Postal Savings Bank in Vienna. Wagners way of modifying Art Nouveau decoration in a classical manner did not find favour with some of his pupils who broke away to form the Secessionists, one was Josef Hoffmann who left to form the Wiener Werkstätte
Vienna Secession
–
The
secession building at Vienna, built in 1897 by
Joseph Maria Olbrich for exhibitions of the secession group
Vienna Secession
–
Jugendstil owls - Detail of the facade of the Viennese Secession Building. These designs for the building’s facade decoration are attributed to
Koloman Moser.
Vienna Secession
–
The
Beethovenfries, created by
Gustav Klimt, is housed in the lower floor.
Vienna Secession
–
The Secession coin
19.
Walter Gropius
–
Born in Berlin, Walter Gropius was the third child of Walter Adolph Gropius and Manon Auguste Pauline Scharnweber. In 1915 Gropius married Alma Mahler, widow of Gustav Mahler, Walter and Almas daughter, named Manon after Walters mother, was born in 1916. When Manon died of polio at age 18, in 1935, Gropius and Alma divorced in 1920. On 16 October 1923, Gropius married Ilse Frank, and they remained together until his death in 1969 and they adopted a daughter together, Beate Gropius, known as Ati. Ise Gropius died on 9 June 1983 in Lexington, Massachusetts, Walter Gropius was drafted August 1914 and served as a sergeant and then as a lieutenant in the signal corps in the First World War. He survived being buried under rubble and dead bodies, and shot out of the sky with a dead pilot. He was awarded the Iron Cross twice, Gropius then, like his father and his great-uncle Martin Gropius before him, became an architect. Gropius could not draw, and was dependent on collaborators and partner-interpreters throughout his career, in school he hired an assistant to complete his homework for him. His fellow employees at this time included Ludwig Mies van der Rohe, Le Corbusier, in 1910 Gropius left the firm of Behrens and together with fellow employee Adolf Meyer established a practice in Berlin. Together they share credit for one of the seminal modernist buildings created during this period, the Faguswerk in Alfeld-an-der-Leine, Germany, the factory is now regarded as one of the crucial founding monuments of European modernism. Gropius was commissioned in 1913 to design a car for the Prussian Railroad Locomotive Works in Königsberg and this locomotive was unique and the first of its kind in Germany and perhaps in Europe. Other works of early period include the office and factory building for the Werkbund Exhibition in Cologne. In 1913, Gropius published an article about The Development of Industrial Buildings, Gropiuss career was interrupted by the outbreak of World War I in 1914. Called up immediately as a reservist, Gropius served as a sergeant major at the Western front during the war years and was wounded, Gropius was awarded an Iron Cross while fighting for four years for Germany on the Western Front. Gropiuss career advanced in the postwar period, henry van de Velde, the master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was asked to step down in 1915 due to his Belgian nationality. His recommendation for Gropius to succeed him led eventually to Gropiuss appointment as master of the school in 1919, in principle, the Bauhaus represented an opportunity to extend beauty and quality to every home through well designed industrially produced objects. The Bauhaus program was experimental and the emphasis, was theoretical, one example product of the Bauhaus was the armchair F51, designed for the Bauhauss directors room in 1920 – nowadays a re-edition in the market, manufactured by the German company TECTA/Lauenfoerde. In 1919, Gropius was involved in the Glass Chain utopian expressionist correspondence under the pseudonym Mass
Walter Gropius
–
Walter Gropius (circa 1919). Photo by
Louis Held
Walter Gropius
–
Gropius in his sergeant's uniform during World War I
Walter Gropius
–
Bauhaus (built 1925–26) in Dessau, Germany
Walter Gropius
–
Walter Gropius's Monument to the March Dead (1921) dedicated to the memory of nine workers who died in Weimar resisting the
Kapp Putsch
20.
Georg Trakl
–
Georg Trakl was an Austrian poet and brother of the pianist Grete Trakl. He is considered one of the most important Austrian Expressionists and he is perhaps best known for his poem Grodek, which he wrote shortly before he died of a cocaine overdose. Trakl was born and lived the first 21 years of his life in Salzburg and his sister Grete Trakl was a musical prodigy, with her he shared artistic endeavors. Poems allude to a relationship between the two. Trakl attended a Catholic elementary school, although his parents were Protestants and he matriculated in 1897 at the Salzburg Staatsgymnasium, where he had problems in Latin, Greek, and mathematics, for which he had to repeat one year and then leave without Matura. At age 13, Trakl began to write poetry, after quitting high school, Trakl worked for a pharmacist for three years and decided to adopt pharmacy as a career, partly this facilitated access to drugs such as morphium and cocaine. It was during this time that he experimented with playwriting, however, from May to December 1906, Trakl published four prose pieces in the feuilleton section of two Salzburg newspapers. All cover themes and settings found in his mature work and this is especially true of “Traumland”, in which a young man falls in love with a dying girl who is his cousin. In 1908, Trakl moved to Vienna to study pharmacy, Trakls father died in 1910, soon before Trakl received his pharmacy certificate, thereafter, Trakl enlisted in the army for a year-long stint. His return to life in Salzburg was unsuccessful and he re-enlisted. Ludwig von Ficker, the editor of the journal Der Brenner, became his patron, he regularly printed Trakls work, the result of these efforts was Gedichte, published by Kurt Wolff in Leipzig during the summer of 1913. Ficker also brought Trakl to the attention of Ludwig Wittgenstein, who provided him with a sizable stipend so that he could concentrate on his writing. At the beginning of World War I, Trakl was sent as an official to attend soldiers in Galicia. Trakl suffered frequent bouts of depression, during one such incident in Gródek near Lwiw in present Ukraine, Trakl had to steward the recovery of some ninety soldiers wounded in the fierce campaign against the Russians. He tried to shoot himself from the strain, but his comrades prevented him, hospitalized at a military hospital in Kraków and observed closely, Trakl lapsed into worse depression and wrote to Ficker for advice. Ficker convinced him to communicate with Wittgenstein, upon receiving Trakls note, Wittgenstein went to the hospital, but found that Trakl had died of a cocaine overdose. Trakl was buried at Krakóws Rakowicki Cemetery on 6 November 1914, while Trakls very earliest poems are more philosophical and do not deal as much with the real world, most of his poems are either set in the evening or have evening as a motif. Silence is also a frequent motif in Trakls poetry, and his poems often feature the silent dead
Georg Trakl
–
Georg Trakl
Georg Trakl
–
A poem by Trakl inscribed on a plaque in
Mirabell Garden, Salzburg.
21.
World War I
–
World War I, also known as the First World War, the Great War, or the War to End All Wars, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. More than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history and it was one of the deadliest conflicts in history, and paved the way for major political changes, including revolutions in many of the nations involved. The war drew in all the worlds great powers, assembled in two opposing alliances, the Allies versus the Central Powers of Germany and Austria-Hungary. These alliances were reorganised and expanded as more nations entered the war, Italy, Japan, the trigger for the war was the assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo on 28 June 1914. This set off a crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia. Within weeks, the powers were at war and the conflict soon spread around the world. On 25 July Russia began mobilisation and on 28 July, the Austro-Hungarians declared war on Serbia, Germany presented an ultimatum to Russia to demobilise, and when this was refused, declared war on Russia on 1 August. Germany then invaded neutral Belgium and Luxembourg before moving towards France, after the German march on Paris was halted, what became known as the Western Front settled into a battle of attrition, with a trench line that changed little until 1917. On the Eastern Front, the Russian army was successful against the Austro-Hungarians, in November 1914, the Ottoman Empire joined the Central Powers, opening fronts in the Caucasus, Mesopotamia and the Sinai. In 1915, Italy joined the Allies and Bulgaria joined the Central Powers, Romania joined the Allies in 1916, after a stunning German offensive along the Western Front in the spring of 1918, the Allies rallied and drove back the Germans in a series of successful offensives. By the end of the war or soon after, the German Empire, Russian Empire, Austro-Hungarian Empire, national borders were redrawn, with several independent nations restored or created, and Germanys colonies were parceled out among the victors. During the Paris Peace Conference of 1919, the Big Four imposed their terms in a series of treaties, the League of Nations was formed with the aim of preventing any repetition of such a conflict. This effort failed, and economic depression, renewed nationalism, weakened successor states, and feelings of humiliation eventually contributed to World War II. From the time of its start until the approach of World War II, at the time, it was also sometimes called the war to end war or the war to end all wars due to its then-unparalleled scale and devastation. In Canada, Macleans magazine in October 1914 wrote, Some wars name themselves, during the interwar period, the war was most often called the World War and the Great War in English-speaking countries. Will become the first world war in the sense of the word. These began in 1815, with the Holy Alliance between Prussia, Russia, and Austria, when Germany was united in 1871, Prussia became part of the new German nation. Soon after, in October 1873, German Chancellor Otto von Bismarck negotiated the League of the Three Emperors between the monarchs of Austria-Hungary, Russia and Germany
World War I
–
Clockwise from the top: The aftermath of shelling during the
Battle of the Somme,
Mark V tanks cross the
Hindenburg Line,
HMS Irresistible sinks after hitting a
mine in the
Dardanelles, a British
Vickers machine gun crew wears
gas masks during the Battle of the Somme,
Albatros D.III fighters of
Jagdstaffel 11
World War I
–
Sarajevo citizens reading a poster with the proclamation of the
Austrian annexation in 1908.
World War I
–
This picture is usually associated with the arrest of
Gavrilo Princip, although some believe it depicts Ferdinand Behr, a bystander.
World War I
–
Serbian Army
Blériot XI "Oluj", 1915.
22.
Erling Mandelmann
–
Erling Mandelmann is a Danish photographer. He began his career as a freelance photojournalist in the mid-1960s and he took more than 500 portraits of people, including the 14th Dalai Lama, Noël Coward, Gertrude Fehr, Nina Hagen, Johnny Hallyday, and Prince Hans-Adam of Lichtenstein. His photo-archives have been deposited at the Historical Museum of Lausanne, miroir et Mémoire, Musée des Beaux Arts, Lausanne,1964 Aus einem Mailänder Friedhof, the magazine DU,1967 Aspects-5 ans dactivités autour du collectioneur Th. Fondaton Oskar Kokoschka au Musée Jenisch, dans le cadre du Festival IMAGES, Vevey 2015, C Cimetière monumentale de Milan, Temple de Venterol, with lecture of Dino Buzattis nouvel Weekend. P = solo exhibitions, C = collective exhibitions Personal website Portraits of celebrities Swiss foundation for photography Historical museum of Lausanne Erling Mandelmann on the W. H. O, website Venterol. net – Erling Mandelmann Photographe Villa «le Lac» Le Corbusier
Erling Mandelmann
–
Erling Mandelmann.
23.
Gynoid
–
A fembot is a humanoid robot that is gendered feminine. It is also known as a gynoid, though this term is more recent, fembots appear widely in science fiction film and art. As more realistic humanoid robot design is possible, they are also emerging in real-life robot design. The portmanteau fembot was popularized by the television series The Bionic Woman in the episode Kill Oscar and later used in the Austin Powers films, robotess is the oldest female-specific term, originating in 1921 from the same source as the term robot. A gynoid is anything that resembles or pertains to the human form. Though the term refers to robotic humanoids regardless of apparent gender. Because of this prefix, many read Android as referring to male-styled robots, the term gynoid was used by Gwyneth Jones in her 1985 novel Divine Endurance to describe a robot slave character in a futuristic China, that is judged by her beauty. Gynoid is also used in American English medical terminology as a shortening of the term gynecoid, not only did the servo motor and platform have to be ‘interiorized’, but the body needed to be slender, both extremely difficult undertakings. Examples of female robots include, Project Aiko, an attempt at producing a female android. People also react to fembots in ways that may be attributed to gender stereotypes and this research has been used to elucidate gender cues, clarifying which behaviors and aesthetics elicit a stronger gender-induced response. Gynoids may be eroticized, and some such as Aiko include sensitivity sensors in their breasts. The fetishization of gynoids in real life has been attributed to male desires for custom-made passive women, however, some science fiction works depict them as femme fatale that fight the establishment or are rebellious. Robot sex partners may become commonplace in the future, Female robots as sexual devices have also appeared, with early constructions being crude. The first was produced by Sex Objects Ltd, a British company and it was called simply 36C, from her chest measurement, and had a 16-bit microprocessor and voice synthesiser that allowed primitive responses to speech and push button inputs. In 1983, a busty female robot named Sweetheart was removed from a display at the Lawrence Hall of Science after a petition was presented claiming it was insulting to women. The robots creator, Clayton Bailey, a professor of art at California State University, Hayward called this censorship, artificial women have been a common trope in fiction and mythology since the writings of the ancient Greeks. This has continued with modern fiction, particularly in the genre of science fiction, the character of Annalee Call in Alien, Resurrection is a rare example of a non-sexualized gynoid. A long tradition exists in literature of depictions of a type of ideal woman
Gynoid
–
An
Actroid at
Expo 2005 in
Aichi.
Gynoid
–
“Sweetheart”, shown with its creator, Clayton Bailey; the busty female robot (also a functional coffee maker) that created a controversy when it was displayed at the
Lawrence Hall of Science at
UC Berkeley.
Gynoid
–
Étienne Maurice Falconet: Pygmalion et Galatée (1763). Although not robotic,
Galatea 's inorganic origin has led to comparisons with gynoids.
Gynoid
–
Exaggeratedly feminine Fembots with guns in their breasts, from Austin Powers: International Man Of Mystery.
24.
Degenerate art
–
Degenerate art was a term adopted by the Nazi regime in Germany to describe Modern art. Such art was banned on the grounds that it was un-German, Jewish, or Communist in nature, and these included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art. Degenerate Art also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung, designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. Similar restrictions were placed upon music, which was expected to be tonal and free of any jazz influences, films and plays were also censored. The early twentieth century was a period of wrenching changes in the arts, in the visual arts, such innovations as Fauvism, Cubism, Dada and Surrealism—following Symbolism and Post-Impressionism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art which many resented as elitist, morally suspect, under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde. It was the birthplace of Expressionism in painting and sculpture, of the musical compositions of Arnold Schoenberg. Films such as Robert Wienes The Cabinet of Dr. Caligari, the Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a conservative aesthetic taste, and partly from their determination to use culture as a propaganda tool, on both counts, a painting such as Otto Dixs War Cripples was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlins streets, rendered in caricatured style. Featured in the Degenerate Art exhibition, it would hang next to a label accusing Dix—himself a volunteer in World War I—of an insult to the German heroes of the Great War. As dictator, Hitler gave his personal taste in art the force of law to a never before seen. Only in Stalins Soviet Union, where Socialist Realism was the style, had a modern state shown such concern with regulation of the arts. In the case of Germany, the model was to be classical Greek and Roman art, Art historian Henry Grosshans says that Hitler saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was an act of violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew. By propagating the theory of degeneracy, the Nazis combined their anti-Semitism with their drive to control the culture, the term Entartung had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book, Entartung. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature as a product of mental pathology, explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture
Degenerate art
–
Adolf Hitler and
Adolf Ziegler visit the
Degenerate Art Exhibition, 1937. The wall behind them calls attention to the works of the
Dada artists with depreciatory comments
Degenerate art
–
A still from
The Cabinet of Dr. Caligari
Degenerate art
–
Das Magdeburger Ehrenmal (the Magdeburg cenotaph), by
Ernst Barlach was declared to be degenerate art due to the "deformity" and emaciation of the figures—corresponding to
Nordau's theorized connection between "mental and physical degeneration."
Degenerate art
–
Cover of the exhibition program: Degenerate Art exhibition, 1937. Note the word "Kunst", meaning art, in
scare quotes
25.
Nazism
–
National Socialism, more commonly known as Nazism, is the ideology and practice associated with the 20th-century German Nazi Party and Nazi Germany, as well as other far-right groups. Nazism subscribed to theories of racial hierarchy and Social Darwinism, identifying Germans as part of what Nazis regarded as an Aryan or Nordic master race and it aimed to overcome social divisions and create a homogeneous society, unified on the basis of racial purity. The term National Socialism arose out of attempts to create a nationalist redefinition of socialism, the Nazi Partys precursor, the Pan-German nationalist and anti-Semitic German Workers Party, was founded on 5 January 1919. By the early 1920s, Adolf Hitler assumed control of the organisation, following the Holocaust and German defeat in World War II, only a few fringe racist groups, usually referred to as neo-Nazis, still describe themselves as following National Socialism. The full name of Adolf Hitlers party was Nationalsozialistische Deutsche Arbeiterpartei, the shorthand Nazi was formed from the first two syllables of the German pronunciation of the word national. The term was in use before the rise of the NSDAP as a colloquial and derogatory word for a peasant, characterizing an awkward. It derived from Ignaz, being a version of Ignatius, a common name in Bavaria. Opponents seized on this and shortened the first word of the name, Nationalsozialistische. The NSDAP briefly adopted the Nazi designation, attempting to reappropriate the term, the use of Nazi Germany, Nazi regime, and so on was popularised by German exiles abroad. From them, the spread into other languages and was eventually brought back to Germany after World War II. In English, Nazism is a name for the ideology the party advocated. The majority of scholars identify Nazism in practice as a form of far-right politics, far-right themes in Nazism include the argument that superior people have a right to dominate over other people and purge society of supposed inferior elements. Adolf Hitler and other proponents officially portrayed Nazism as being neither left- nor right-wing, but the politicians of the Right deserve exactly the same reproach. It was through their miserable cowardice that those ruffians of Jews who came into power in 1918 were able to rob the nation of its arms, a major inspiration for the Nazis were the far-right nationalist Freikorps, paramilitary organisations that engaged in political violence after World War I. The Nazis stated the alliance was purely tactical and there remained substantial differences with the DNVP, the Nazis described the DNVP as a bourgeois party and called themselves an anti-bourgeois party. After the elections in 1932, the alliance broke after the DNVP lost many of its seats in the Reichstag, the Nazis denounced them as an insignificant heap of reactionaries. The DNVP responded by denouncing the Nazis for their socialism, their violence. Kaiser Wilhelm II, who was pressured to abdicate the throne and flee into exile amidst an attempted communist revolution in Germany, there were factions in the Nazi Party, both conservative and radical
Nazism
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Foreground, left to right: Führer
Adolf Hitler;
Hermann Göring; Minister of Propaganda
Joseph Goebbels;
Rudolf Hess
Nazism
Nazism
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Nazis alongside members of the far-right
reactionary and
monarchist German National People's Party (DNVP), during the brief Nazi-DNVP alliance in the
Harzburg Front from 1931 to 1932
Nazism
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Johann Gottlieb Fichte, considered one of the fathers of German nationalism
26.
Wehrmacht
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The Wehrmacht was the unified armed forces of Nazi Germany from 1935 to 1946. It consisted of the Heer, the Kriegsmarine and the Luftwaffe, after the Nazi seizure of power in 1933, one of Adolf Hitler’s most overt and audacious moves was to establish the Wehrmacht, a modern armed forces fully capable of offensive use. In December 1941, Hitler designated himself as commander-in-chief of the Wehrmacht, the Wehrmacht formed the heart of Germany’s politico-military power. In the early part of World War II, Hitlers generals employed the Wehrmacht through innovative combined arms tactics to devastating effect in what was called a Blitzkrieg, the Wehrmachts new military structure, unique combat techniques, newly developed weapons, and unprecedented speed and brutality crushed their opponents. Closely cooperating with the SS, the German armed forces committed war crimes and atrocities. By the time the war ended in Europe in May 1945, only a few of the Wehrmacht’s upper leadership were tried for war crimes, despite evidence suggesting that more were involved in illegal actions. The German term Wehrmacht generically describes any nations armed forces, for example, the Frankfurt Constitution of 1848 designated all German military forces as the German Wehrmacht, consisting of the Seemacht and the Landmacht. In 1919, the term Wehrmacht also appears in Article 47 of the Weimar Constitution, establishing that, from 1919, Germanys national defense force was known as the Reichswehr, a name that was dropped in favor of Wehrmacht on 21 May 1935. In January 1919, after World War I ended with the signing of the armistice of 11 November 1918, in March 1919, the national assembly passed a law founding a 420, 000-strong preliminary army, the Vorläufige Reichswehr. The terms of the Treaty of Versailles were announced in May, the army was limited to one hundred thousand men with an additional fifteen thousand in the navy. The fleet was to consist of at most six battleships, six cruisers, submarines, tanks and heavy artillery were forbidden and the air-force was dissolved. A new post-war military, the Reichswehr, was established on 23 March 1921, General conscription was abolished under another mandate of the Versailles treaty. The Reichswehr was limited to 115,000 men, and thus the armed forces, under the leadership of Hans von Seeckt, though Seeckt retired in 1926, the army that went to war in 1939 was largely his creation. Germany was forbidden to have an air-force by the Versailles treaty, nonetheless and these officers saw the role of an air-force as winning air-superiority, tactical and strategic bombing and providing ground support. That the Luftwaffe did not develop a strategic bombing force in the 1930s was not due to a lack of interest, but because of economic limitations. The leadership of the Navy led by Grand Admiral Erich Raeder, officers who believed in submarine warfare led by Admiral Karl Dönitz were in a minority before 1939. By 1922, Germany had begun covertly circumventing the conditions of the Versailles Treaty, a secret collaboration with the Soviet Union began after the treaty of Rapallo. Major-General Otto Hasse traveled to Moscow in 1923 to further negotiate the terms, Germany helped the Soviet Union with industrialization and Soviet officers were to be trained in Germany
Wehrmacht
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Werner Goldberg, who was blond and blue-eyed, was used in Wehrmacht recruitment posters as the "ideal German soldier". He was later dismissed after it became known that he was a half Jew.
Wehrmacht
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The straight-armed
Balkenkreuz, a stylized version of the
Iron Cross, the emblem of the Wehrmacht
Wehrmacht
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Inspection of German conscripts
Wehrmacht
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A
Volga Tatar Wehrmacht unit
27.
Ullapool
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Ullapool is a village of around 1,500 inhabitants in Ross-shire, Scottish Highlands. Despite its small size it is the largest settlement for many miles around, the North Atlantic Drift passes Ullapool, bringing moderate temperatures. A few Cordyline australis or New Zealand cabbage trees are grown in the town and are mistaken for palms. On the east shore of Loch Broom, Ullapool was founded in 1788 as a port by the British Fisheries Society. It was designed by Thomas Telford, the harbour is still the edge of the village, used as a fishing port, yachting haven, and ferry port. Ferries sail to Stornoway in the Outer Hebrides, the town was historically in Cromartyshire, a county made up of many physically-separated parcels of land scattered across northern Ross-shire. Cromartyshire was abolished and combined with surrounding Ross-shire in 1890, parliament granted permission in the 1890s for a railway from Ullapool to the main Highland network at Garve, but insufficient funds resulted in the scheme being abandoned. Ullapool has a climate, with mild temperatures year round. An Teallach is a mountain which dominates the area and consists of Torridonian sandstone. It is an easy climb but is several miles from the nearest road, the walker will be rewarded by magnificent views of the surrounds, especially to the sea and the islands to the west, but also to the south, and the desolate Whitbread wilderness. Ullapool has a reputation as a centre for music, the arts. It is a centre for walkers, wildlife enthusiasts and other holidaymakers and is situated in a spectacular, in May every year there is the three-day Ullapool Book Festival which attracts a diverse range of writers and with work in both Scottish Gaelic and English. Often the number of performances in any week will mean there is overspill to the Village Hall, in July 2011, the Tall Ships visited Ullapool, a major event for the village and the surrounding area. Ullapool is home to the shinty team Lochbroom Camanachd, throughout the year there are many small fèisean and music festivals in the local halls and hotels - especially in the Ceilidh Place and the Arch Inn. The Ullapool Guitar Festival takes place in early October every year, in 2007 it attracted several bands including the Saw Doctors, Dreadzone and Franz Ferdinand headlining on the second night. There are also events at local bars. The Pigeon Detectives have played the Village Hall, amy MacDonald in 2008 and Paolo Nutini in 2007 both played the Ceilidh Place. Mumford & Sons have also played in Ullapool twice, Ullapool also has its own radio station called Lochbroom FM on 102.2 and 96.8 FM, with programming provided mostly by Two Lochs Radio in Gairloch
Ullapool
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Ullapool
Ullapool
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Sgurr Fiona and the Corrag Bhuidhe pinnacles on
An Teallach
Ullapool
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A view of Ullapool from a nearby hill (Maol Calaisceig)
Ullapool
28.
Wester Ross
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Wester Ross is a loosely defined area in the North West Highlands of Scotland and a part of Ross and Cromarty. Wester Ross is a popular tourism destination, although the level of this has declined considerably since the 1970s. Tourism still forms a part of the economic activity of the area. Wester Ross is home to a number of scenic spots including Loch Maree, Inverewe Garden, Corrieshalloch Gorge, Glen Docherty and it is also known for various mountains in the area. The area is known for its spectacular mountain scenery, especially the Torridon Hills which includes such peaks as Beinn Eighe. Although many peaks in the North-west highlands exhibit Torridon geology, the Torridon hills are considered only to be those in the Torridon Forest to the north of Glen Torridon. Other notable peaks include An Teallach and Slioch, the landscape is dominated by the Torridonian sandstone, a Precambrian and very old rock formation. Each of the Torridon Hills sits very much apart from each other and they have steep terraced sides, and broken summit crests, riven into many pinnacles. There are many steep gullies running down the terraced sides, the summit ridges provide excellent scrambling, and are popular with hill walkers and mountaineers. However, like many ridge routes, there are few points, so once committed. The area is populated, so walkers need to come fully prepared. Under winter conditions, many walking routes become serious expeditions, many other songs refer to or are named after areas, geographical features and villages of Wester Ross, notably Loch Maree Islands, which has been recorded by many artists including Calum Kennedy
Wester Ross
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Shieldaig, viewed from the road to
Applecross.
Wester Ross
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Liathach seen from Beinn Eighe. With the Munro “Top“ of Stuc a' Choire Dhuibh Bhig (915 metres) in the foreground and the two Munro summits in the background.
Wester Ross
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Sgurr Fiona and the Corrag Bhuidhe pinnacles on
An Teallach
Wester Ross
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View east from Sgurr Mhòr over the "Horns"
29.
Maria Altmann
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Maria Altmann was an Austrian-American Jewish refugee from Austria, which at that time was occupied by the Nazis. She is noted for her successful legal campaign to reclaim from the Government of Austria five family-owned paintings by the artist Gustav Klimt stolen by the Nazis during World War II. Altmann is the figure in the 2015 film Woman in Gold where she is portrayed by Helen Mirren. Maria Altmann was born Maria Victoria Bloch on February 18,1916 in Vienna, Austria-Hungary, the family name was changed to Bloch-Bauer the following year. In 1937, Maria married Fredrick Fritz Altmann, not long after their Paris honeymoon, the 1938 Anschluss incorporated Austria into Nazi Germany. Fredrick was released and the couple fled for their lives and they made a harrowing escape, leaving behind their home, loved ones, and property, including jewelry that later found its way into the collection of Hermann Göring. Many of their friends and relatives were killed by the Nazis or committed suicide. Traveling by way of Liverpool, England, they reached the United States and settled first in Fall River, Massachusetts, Maria Altmanns cousin, Ruth Rogers-Altmann, made it out of Vienna around the same time and settled in New York. Shortly after Maria arrived in Los Angeles, Bernhard Altmann mailed her a cashmere sweater – not yet available in the United States – accompanied with the note, See what you can do with this. Maria took the sweater to Kerrs Department Store in Beverly Hills and attracted a multitude of buyers in California, Maria became the face of cashmere in California and eventually started her own clothing business. Among her clients was Caroline Brown Tracy, the mother of actor Spencer Tracy, Altmann became a naturalized American citizen in 1945. Altmanns uncle, Czech sugar magnate Ferdinand Bloch-Bauer, owned a collection of artwork by the Austrian master Gustav Klimt. In any event, following the Nazi Anschluss of 1938 and Ferdinands flight from Austria, Ferdinand Bloch-Bauer died on 13 November 1945, soon after World War II, leaving his estate to a nephew and two nieces, one of whom was Maria Altmann. By this time, five of the paintings had made their way into the possession of the Austrian government, on learning of Czernins findings, Altmann at first sought to negotiate with the Austrian government about retrieving some of the paintings. At this stage she asked only for the Klimt landscapes belonging to her family and her proposal was not, however, treated seriously by the Austrian authorities. In 1999, she sought to sue the government of Austria in an Austrian court, under Austrian law, however, the filing fee for such a lawsuit is determined as a percentage of the recoverable amount. At the time, the five paintings were estimated to be worth approximately US$135 million, although the Austrian courts later reduced this amount to $350,000, this was still too much for Altmann, and she dropped her case in the Austrian court system. In 2000, Altmann filed a lawsuit in the United States District Court for the Central District of California under the Foreign Sovereign Immunities Act
Maria Altmann
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Altmann at her home in 2010
Maria Altmann
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Poster in Vienna, bidding goodbye to the painting Adele Bloch-Bauer
Maria Altmann
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Adele Bloch-Bauer I, 1907
Maria Altmann
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Apfelbaum I, 1912
30.
Max Beckmann
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Max Beckmann was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement, in the 1920s, he was associated with the New Objectivity, an outgrowth of Expressionism that opposed its introverted emotionalism. Max Beckmann was born into a family in Leipzig, Saxony. From his youth he pitted himself against the old masters and he is known for the self-portraits painted throughout his life, their number and intensity rivaled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the Self, as a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects Beckmann enjoyed great success and official honors during the Weimar Republic. In 1925 he was selected to teach a class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and his fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a cultural Bolshevik, in 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitlers radio speech about degenerate art in 1937, Beckmann left Germany with his wife, Quappi. For ten years, Beckmann lived in self-imposed exile in Amsterdam, in 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and they included several large triptychs, which stand as a summation of Beckmanns art. After the war, Beckmann moved to the United States, during the last three years of his life, he taught at the art schools of Washington University in St. Louis and the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, Rathbone arranged for Washington University in St. Louis to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, may became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his collection of Beckmanns works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art, after stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Art School of New Yorks Brooklyn Museum. He suffered from angina pectoris and died after Christmas 1950, struck down by an attack at the corner of 69th Street and Central Park West in New York
Max Beckmann
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Max Beckmann, photograph by Hans Möller, 1922
Max Beckmann
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Max Beckmann Self-portrait with Horn, 1938-1940
Max Beckmann
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Max Beckmann, 1918-19,
The Night (Die Nacht), oil on canvas, 133 x 154 cm,
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Max Beckmann
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Max Beckmann, Carnival, 1943, triptych, oil on canvas,
University of Iowa Museum of Art
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