Irene Amos Morgan (April 9, 1917 – August 10, 2007), later known as Irene Morgan Kirkaldy, was an African-American woman from Baltimore, Maryland, who was arrested in Middlesex County, Virginia, in 1944 under a state law imposing racial segregation in public facilities and transportation. She was traveling on an interstate bus that operated under federal law and regulations. She refused to give up her seat in what the driver said was the "white section". At the time she worked for a defense contractor on the production line for B-26 Marauders.

Morgan consulted with attorneys to appeal her conviction and the NAACP Legal Defense Fund took up her case. She was represented by William H. Hastie, the former governor of the U.S. Virgin Islands and later a judge on the U.S. Court of Appeals for the Third Circuit, and Thurgood Marshall, legal counsel of the NAACP. Her case, Irene Morgan v. Commonwealth of Virginia, , was appealed to the United States Supreme Court. In 1946 in a landmark decision, the Court ruled that the Virginia law was unconstitutional, as the Commerce clause protected interstate traffic. But neither Virginia nor other states observed the ruling and it was not enforced for decades.

Early life, education and family
Irene Morgan was born in 1917 in Baltimore. She went to local schools and was raised as a Seventh-day Adventist. Morgan married Sherwood Morgan Sr., and had a son and daughter with him. He died in 1948.

During World War II, she helped the war effort by working at Glenn L. Martin, an aircraft manufacturer and defense contractor in Baltimore. She worked on the production line for the B-26 Marauder.

She later married Stanley Kirkaldy and lived with him in New York City. They ran a dry-cleaning business and a child-care center near where they lived in Queens. In her 60s Kirkaldy started college studies, attending St. John's University in New York City; she received her bachelor's degree when she was 68 years old. Five years later Morgan earned a master's degree in Urban Studies from Queens College.

Arrest, jail and conviction
Irene Morgan had been dealing with a recent miscarriage and was visiting her mother in Gloucester County, Virginia, to physically and mentally recover from the ordeal. Hoping to go back home so she could continue working on the production line for the B-26 Marauder, Morgan boarded a Greyhound to return to Baltimore. On July 16, 1944, Morgan boarded the Greyhound bus and had sat down next to another African-American woman who was carrying an infant. An African-American could not sit next to or across from a Caucasian passenger, but there were no designated "black" or "white" seats on the bus. When a white couple boarded the bus at a stop in Middlesex County, Virginia, the bus driver ordered Morgan and her seatmate to surrender their seats. Her seatmate immediately retreated to the back of the bus with her infant, but Morgan refused to give up her spot. When Morgan would not move, the bus driver got off the bus to find a sheriff. The sheriff presented Morgan with an arrest warrant, but she tore up the piece of paper and threw it out of the window of the bus. When the sheriff touched her to pull her out of her seat, she kicked him in the groin. The sheriff got off the bus and a different sheriff was sent on. "He touched me, that's when I kicked him in a very bad place. He hobbled off, and another one came on. I was going to bite him, but he looked dirty, so I clawed him instead. I ripped his shirt. We were both pulling at each other. He said he would use his nightstick. I said, 'We'll whip each other'". The second sheriff got off the bus to grab the deputy.

Morgan was arrested. She had been charged with resisting arrest and violating Virginia's Jim Crow transit law. On October 18, 1944, Morgan attended her court case. She agreed to pay a $100 fine for resisting arrest but refused to plead to the segregation violation. Since Maryland did not enforce segregation for interstate travel, Virginia's Jim Crow law could possibly not apply to Morgan. Morgan's case, with the help of the NAACP, was taken to the Virginia Supreme Court. The supreme court ruled her in violation of the law. Morgan then took her case to the U.S. Supreme Court and won.

U.S. Supreme Court case
Her case, Irene Morgan v. Commonwealth of Virginia, , was argued by William H. Hastie, the former governor of the U.S. Virgin Islands and later a judge on the U.S. Court of Appeals for the Third Circuit. Thurgood Marshall of the NAACP was co-counsel. He later was appointed as a US Supreme Court justice.

The U.S. Supreme Court ruled 6–1 in 1946 that Virginia's state law enforcing segregation on interstate buses was unconstitutional. Hastie and Marshall used an innovative strategy to brief and argue the case. Instead of relying upon the Equal Protection clause of the 14th Amendment, they argued successfully that segregation on interstate travel violated the Interstate Commerce Clause of the U.S. Constitution.

"If something happens to you which is wrong, the best thing to do is have it corrected in the best way you can," said Morgan. "The best thing for me to do was to go to the Supreme Court."

In 1960, in Boynton v. Virginia, the Supreme Court extended the Morgan ruling to bus terminals used in interstate bus service. African Americans continued to be ejected or arrested when they tried to integrate such facilities, as Southern states refused to obey Morgan v. Virginia. They staged numerous non-violent demonstrations using interstate buses and bus terminals, such as the Freedom Rides of 1961. White Southerners attacked the Freedom Riders, attracting renewed national media attention to the South's Jim Crow system.

Journey of Reconciliation
Morgan's case inspired the 1947 Journey of Reconciliation, during which 16 activists from the Chicago-based Congress of Racial Equality rode on interstate buses through the Upper South to test the enforcement of the Supreme Court ruling. The activists divided themselves between the interstate Greyhound and Trailways bus lines. They usually placed an interracial pair in the white-area of the bus. Other activists, disguised as ordinary passengers, rode in the racial sections "reserved" for them by segregation law.

The group traveled uneventfully through Virginia, but when they reached North Carolina, they encountered arrests and violence. By the end of the Journey, the protesters had conducted over 24 "tests," and endured 12 arrests and dangerous mob violence. In a flagrant violation of the Morgan decision, North Carolina police arrested the civil rights activist Bayard Rustin. A jury convicted him and he was sentenced to 22 days on a chain gang for violating the state's segregation laws, although he had been riding on an interstate bus.

The 1947 Journey of Reconciliation, ahead of its time in the use of tactics of nonviolent direct action, inspired the highly publicized Freedom Rides of 1961, also organized by CORE.

Death

Irene Morgan was a lifelong member of the Seventh-day Adventist Church. She died in Gloucester, Virginia on August 10, 2007, at her daughter's home, at age 90 from complications of Alzheimer's disease. Her funeral was at Gloucester High School.

Legacy and honors
 In 1995, Robin Washington produced the documentary You Don't Have to Ride Jim Crow!, aired on New Hampshire Public TV. It featured Morgan Kirkaldy and survivors of the 1947 "Journey of Reconciliation." Morgan received renewed attention for her contributions.
 In 2000 Morgan Kirkaldy was honored by Gloucester County, Virginia, during its 350th anniversary celebration.
 In 2001, President Bill Clinton awarded her the Presidential Citizens Medal.
 In 2002, PBS featured a four-part series entitled, The Rise and Fall of Jim Crow. Associated materials include an article on Morgan v. Virginia.
 In 2010, Kirkaldy was inducted into the Maryland Women's Hall of Fame.

Representation in other media
 Robin Washington, producer: You Don't Have to Ride Jim Crow! (1995), documentary, released on New Hampshire Public TV
 Jim Crow Stories: Richard Wormser, "'Morgan v. Virginia' (1946)", The Rise and Fall of Jim Crow, 2002, PBS

See also

 Elizabeth Jennings Graham
 John Mitchell Jr.
 Montgomery bus boycott
 Claudette Colvin
 Mary Louise Smith
 Aurelia Browder
 Rosa Parks
 Martin Luther King Jr.

References

External links
 The Freedom Rider a Nation Nearly Forgot, The Washington Post
 Irene Morgan v. Commonwealth of Virginia, NAACP Legal Defense Fund
 Jim Crow Stories: Richard  Wormser, Morgan v. Virginia (1946)", 2002, text with The Rise and Fall of Jim Crow, PBS
 Robin Washington, producer: You Don't Have to Ride Jim Crow!, 1995 documentary about Morgan and the Journey of Reconciliation, shown on New Hampshire Public TV
 "Another civil rights pioneer dies", Richmond Times-Dispatch, 11 August 2007

1917 births
2007 deaths
African-American activists
American Seventh-day Adventists
Activists for African-American civil rights
Activists from Baltimore
People from Gloucester County, Virginia
Presidential Citizens Medal recipients
United States racial desegregation case law

Irene Morgan


An Malleola lyonii in uska species han Liliopsida nga ginhulagway ni Oakes Ames. An Malleola lyonii in nahilalakip ha genus nga Malleola, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Malleola

Malleola lyonii


LUSS Silversides (SS/AGSS-236) est un sous-marin à propulsion diesel-électrique de la classe Gato, le premier navire de l'United States Navy à porter le nom des silversides.

L'USS Silversides est l'un des sous-marins les plus performants du théâtre Pacifique de la Seconde Guerre mondiale, avec 23 navires coulés, totalisant plus de 90 000 tonnes de transport. Il a reçu une Presidential Unit Citation pour l'action cumulée sur quatre patrouilles et douze étoiles de bataille. Il sert actuellement de navire-musée désigné National Historic Landmark à Muskegon, dans le Michigan.

Historique

Première patrouille : avril à-juin 1942

Après les essais au large de la côte californienne, Silversides mit le cap sur Hawaï et arriva à Pearl Harbor le 4 avril 1942. Quittant Pearl Harbor le 30 avril, Silversides se dirigea vers les îles japonaises, dans la région du canal de Kii, pour là première de ses nombreuses patrouilles de guerre réussies. Le 10 mai, juste après 8h00 heure locale, le sous-marin a utilisé son canon de 76 mm pour endommager lourdement le bateau de garde japonais Ebisu Maru No.5.Au cours de cette action de 75 minutes, une balle de mitrailleuse ennemie a tué l'un de ses artilleurs de pont, Mike Harbin, le seul homme perdu au combat à bord du Silversides pendant la Seconde Guerre mondiale. Harbin a été enterré en mer plus tard dans la soirée. Le 13 mai, Silversides a tiré des torpilles sur un sous-marin ennemi; bien que des explosions aient été entendues, un naufrage définitif n'a pas pu être confirmé.

Le 17 mai, alors qu'il manœuvrait à travers une flotte de pêche ennemie et approchait de ses cibles, le périscope du Silversides s'empêtra dans un filet de pêche marqué par des drapeaux japonais tenus en l'air sur des poteaux de bambou. Le sous-marin a poursuivi son approche et a tiré trois torpilles sur le premier navire, un cargo de 4 000 tonnes. Pendant que ce navire coulait, le deuxième cargo a également été touché, mais son sort n'a pas pu être déterminé. Les patrouilleurs se rapprochaient alors que le sous-marin, probablement le seul sous-marin américain à attaquer en battant pavillon japonais, quittait rapidement les environs. Après avoir endommagé un cargo et un pétrolier dans la même zone, le Silversides a mis fin à sa première patrouille de guerre à Pearl Harbor le 21 juin.

Deuxième et troisième patrouilles : juillet à novembre 1942

La deuxième patrouille de guerre de Silversides a également été menée dans la région du canal de Kii, du 15 juillet au 8 septembre. Le 28 juillet, il a coulé un transport de 4 000 tonnes, suivi du naufrage du navire à passagers/cargo Nikkei Maru le 8 août. Il a endommagé un grand pétrolier dans la nuit du 14 août et, le 31 août, a coulé deux chalutiers ennemis avant de revenir à Pearl Harbor.

Sa troisième patrouille de guerre, menée dans les îles Carolines, n'a entraîné aucun naufrage. De graves dommages ont été causés à un gros cargo, et deux torpilles ont été observées sur un destroyer japonais ou un mouilleur de mines léger, qui ont causé un niveau de dégâts indéterminé. Il a terminé sa troisième patrouille à Brisbane, en Australie, le 25 novembre.

Quatrième patrouille : décembre 1942 à janvier 1943
Silversides quitta Brisbane le 17 décembre 1942 et mit le cap sur la Nouvelle-Irlande pour sa quatrième patrouille. Alors qu'il était loin en mer dans la nuit du 22 décembre, le second pharmacien du sous-marin, le PM1 Thomas Moore, a réalisé une appendicectomie d'urgence réussie sur le FM2 George Platter, en utilisant de l'éther comme anesthésie et en utilisant des outils rudimentaires principalement fabriqués à partir d'ustensiles de cuisine. Avec l'opération terminée à 3h00 le 23 décembre, le sous-marin a fait surface seulement pour être immédiatement forcé d'immergé par un destroyer japonais et contraint de supporter une grave attaque de grenades sous-marines. Se croyant en sécurité, Silversides n'a fait surface que pour trouver le destroyer toujours là. De plus, un avion japonais était arrivé sur les lieux et avait largué trois bombes sur le sous-marin, endommageant gravement ses ailerons de proue et les obligeant à se verrouiller en plongée complète. Silversides a réussi à se stabiliser juste avant la profondeur d'écrasement et a finalement échappé au navire ennemi avant de refaire surface pour recharger ses batteries et effectuer des réparations d'urgence.

Alors qu'il était au large des îles Truk le 18 janvier 1943, le Silversides torpilla et coula sa plus grande cible de la guerre, le pétrolier de 10 022 tonnes Toei Maru. Deux jours plus tard, le sous-marin a connu l'un de ses jours les plus productifs de la guerre. Après avoir suivi un convoi pendant toute la journée, il s'est avancé au coucher du soleil et s'est mis à l'affût. Alors que les cibles se rapprochaient, Silversides ont tiré des torpilles sur des cibles qui se chevauchaient et ont coulé trois navires ennemis, les cargos Surabaya Maru, Somedono Maru et Meiu Maru. L'attaque avait à peine diminué lorsqu'on a découvert qu'une torpille armée était coincée dans un tube lance-torpilles avant. Comme il était impossible de désarmer la torpille, le commandant a décidé de tenter de la rallumer, une manœuvre extrêmement dangereuse. Le sous-marin a fait marche arrière à toute vitesse et a tiré. La torpille est sortie en toute sécurité du tube.

Lorsqu'une grave fuite de pétrole a été découverte plus tard dans la nuit, le sous-marin a quitté la zone de patrouille deux jours avant la date prévue et est retourné à Pearl Harbor le 31 janvier pour une révision majeure.

Cinquième et sixième patrouilles : mai à septembre 1943
La cinquième patrouille du Silversides a commencé le 17 mai et a été menée dans la région des îles Salomon. En route vers la zone de patrouille le 28 mai, l'un des moments les plus inhabituels de la guerre s'est produit. (Déclaration dans le  rapport de patrouille )
Poursuivant, la mission principale du sous-marin pour cette patrouille était de poser un champ de mines dans le , entre la Nouvelle-Hanovre et la Nouvelle-Irlande. Dans la nuit du 10 au 11 juin, il coule le cargo Hide Maru de 5 256 tonnes, mais il a dû supporter une charge de profondeur sévère. Il est revenu à Brisbane pour la remise en état le 16 juillet.

Pour sa sixième patrouille, sous le commandement du lieutenant-commandant nouvellement affecté John S. "Jack" Coye, Jr., du 21 juillet au 4 septembre, Silversides a patrouillé entre les îles Salomons et les îles Carolines. Comme il était en proie à des torpilles défectueuses et à une pénurie de cibles, il est retourné à Brisbane sans.

Septième et huitième patrouilles : octobre 1943 - janvier 1944
Silversides a effectué sa septième patrouille de guerre à partir du 5 octobre, dans laquelle il a coulé quatre navires ennemis dans des eaux allant des Îles Salomons à la côte de la Nouvelle-Guinée. Le 18 octobre, il torpille et coule le cargo Tairin Maru et, le 24 octobre, lance une série d'attaques audacieuses pour envoyer les cargos Tennan Maru et Kazan Maru et le cargo Johore Maru au fond. Il est revenu à Pearl Harbor pour le carénage le 8 novembre.

Le Silversides patrouillait au large des îles Palaos pour sa huitième patrouille, où, le 29 décembre 1943, il dévastait un convoi ennemi de cargos, coulant le Tenposan Maru, le Shichisei Maru et le Ryuto Maru. Il a terminé sa huitième patrouille à Pearl Harbor le 15 janvier 1944.

Neuvième et dixième patrouilles : février - juin 1944
Pour sa neuvième patrouille, le Silversides a quitté Pearl Harbor le 15 février et a mis le cap sur les eaux à l'ouest des îles Mariannes. Le 16 mars, il coule le cargo Kofuku Maru. Le reste de la patrouille était dépourvu de cibles intéressantes, le sous-marin est retourné à Fremantle, Australie, le 8 avril. '

Pendant sa dixième patrouille, encore une fois au large des îles Mariannes, Silversides a détruit six navires ennemis pour un total de plus de 14.000 tonnes. Le 10 mai, il a torpillé et coulé le cargo Okinawa Maru, suivi par le paquebot mixte Mikage Maru ; puis a envoyé la canonnière Choan Maru Number Two sous les vagues. Dix jours plus tard, il a ajouté à son score lorsqu'il a coulé une autre canonnière, le Shosei Maru de 998 tonnes. Le 29 mai, le sous-marin torpille et coule les cargos Shoken Maru et Horaizan Maru ; puis s'est dirigé vers Pearl Harbor, y arrivant le 11 juin. Deux jours plus tard, il a pris la route pour le Mare Island Navy Yard pour la révision, en revenant à Pearl Harbor le 12 septembre.

Onzième et douzième patrouille : septembre 1944 - février 1945
Silversides est parti de Pearl Harbor le 24 septembre pour sa onzième patrouille, menée au large de Kyūshū au Japon. Bien que cette patrouille ait été improductive, il a aidé au sauvetage du sous-marin  qui avait été gravement endommagé lors d'une charge de profondeur sévère et a été contraint de faire surface et d'essayer de s'échapper tout en combattant des escorteurs ennemies. Les éclairs des tirs ont amené Silversides sur les lieux. Il a délibérément attiré l'attention de certains escorteurs, puis a rapidement plongé pour échapper aux coups de feu. Puis les sous-marins  et  se sont joints pour aider Silversides à garder Salmon et à escorter le sous-marin touché jusqu'à Saipan, arrivant le 3 novembre. Silversides a terminé sa onzième patrouille aux îles Midway le 23 novembre.

Sa douzième patrouille a commencé le 22 décembre 1944 en mer de Chine orientale. Malgré des recherches agressives, il a trouvé peu de cibles intéressantes. Cependant, lorsqu'une opportunité s'est présentée, Silversides en a pleinement profité. Le 25 janvier 1945, il torpilla le cargo Malay Maru de 4 556 tonnes. Il est revenu aux îles Midway le 12 février.

Treizième et quatorzième patrouilles : mars à juillet 1945
Au cours de sa treizième patrouille, Silversides était membre d'un groupe d'attaque coordonné avec les sous-marins  et , patrouillant au large de Kyūshū. Bien qu'il ait de nouveau trouvé peu de cibles intéressantes, le sous-marin a réussi à endommager un gros cargo et à couler un chalutier avant de revenir à Pearl Harbor le 29 avril.

Sa quatorzième et dernière patrouille a commencé par un départ de Pearl Harbor le 30 mai. Cette patrouille a été consacrée à la station de sauvetage à l'appui des frappes aériennes sur Honshū au Japon. Le 22 juillet, il a sauvé un pilote de chasse abattu du porte-avions léger , et deux jours plus tard, il a récupéré un aviateur de l'United States Army Air Forces. Il a terminé cette patrouille à Apra Harbor à Guam le 30 juillet. Le sous-marin y était en cours de carénage lorsque les hostilités avec le Japon ont pris fin le 15 août.

Service d'après-guerre : 1945-1969
Silversides a transité par le canal de Panama le 15 septembre 1945 pour arriver à New York le 21 septembre. Après avoir rejoint New London dans le Connecticut, il est désarmé le 17 avril 1946 et placé en réserve jusqu'au 15 octobre 1947, date à laquelle il est mis en service comme navire-école pour l'United States Navy Reserve à Chicago. Après une révision de 1949, il est resté à Chicago pour soutenir la formation de la Réserve navale en tant que navire-école stationnaire pour le reste de son service.

La dernière fois que le Silverside a été mis en cale sèche, c'était après la guerre, en 1949, lorsque le sous-marin est entré dans la flotte de réserve et que ses hélices en laiton massif ont été retirées.

Le 6 novembre 1962, le Silversides a été reclassé comme sous-marin auxiliaire avec le symbole de classification de coque AGSS-236, et le 30 juin 1969, son nom a été rayé du Naval Vessel Register. La chambre de commerce du sud de Chicago a rapidement demandé au département de la Marine des États-Unis la garde de Silversides afin de la préserver en tant que mémorial.

1973 à aujourd'hui

Silversides est devenu une partie de la Combined Great Lakes Navy Association à Chicago, Illinois, derrière le Chicago's Naval Armory le 24 mai 1973. Pendant des années, le sous-marin a été entretenu par un petit équipage de bénévoles dévoués, attirés par son histoire illustre et ses merveilles techniques.

Il a été déplacé à Navy Pier en 1979. En juillet, le premier moteur principal, le , a été ramené à la vie pour la première fois depuis 1946. Le moteur n°4 a été restauré à temps pour la 1984 US Submarine Veterans of World War II convention. En 1987, le sous-marin a été déplacé à Muskegon dans le Michigan pour servir de pièce maîtresse du nouveau Great Lakes Naval Memorial & Museum.

En 2004, 55 ans après la dernière mise en cale sèche de Silversides, le musée et deux organisations d'anciens combattants sous-mariniers ont formé un fonds « Save the Silversides » en sollicitant des dons déductibles d'impôt en s'inspirant des plans de révision en cale sèche de l', un mémorial à Manitowoc dans le Wisconsin.

Production du film
Silversides a été utilisé pour des scènes extérieures dans le film de 2002 Abîmes pour représenter le fictif USS Tiger Shark. Il a été remorqué sur le lac Michigan pour le tournage.

Récompenses
  Presidential Unit Citation
 12 Battle star

Silversides est officiellement crédité du naufrage de 23 navires, le troisième sous-marin allié de la Seconde Guerre mondiale, derrière seulement l' et l'. Le tonnage des navires coulés par Silversides s'élevait à 90.080 tonnes, se classant parmi les cinq premiers pour le tonnage coulé par un sous-marin américain pendant la guerre. Jugé par le Joint Army-Navy Assessment Committee (JANAC), Silversides a le record de combat le plus prolifique de tous les sous-marins américains encore existants. D'autres sources affirment que le Silverside a coulé 31 navires totalisant 100.685 tonnes pendant la Seconde Guerre mondiale.

USS Silversides Submarine Museum
Ouvert à l'origine sous le nom de Great Lakes Naval Memorial & Museum, le musée est maintenant connu sous le nom de USS Silversides Submarine Museum, qui comprend également l' (un garde-côte américain) et un bâtiment de musée.

Le personnel du musée démarre les moteurs Fairbanks Morse de l'USS Silversides jusqu'à six fois par an afin de maintenir les moteurs en bonne santé.

Il a été classé au registre national des lieux historiques le 18 octobre 1972  et nommé National Historic Landmark le 14 janvier 1962.

Galerie

Voir aussi

Notes et références

Liens internes

 Liste des sous-marins de l'United States Navy

Liens externes

  Site officiel USS silversides Submarine Museum
 USS Silversides - Site NavSource Online
 USS Silversides - Historic Naval Ships Association
  USS Silversides - Site Hazegray.org

Bibliographie
Bauer, K. Jack; Roberts, Stephen S. (1991). Register of Ships of the U.S. Navy, 1775–1990: Major Combatants. Westport, Connecticut: Greenwood Press. pp. 271–273.
 Bauer, K. Jack; Roberts, Stephen S. (1991). Register of Ships of the U.S. Navy, 1775–1990: Major Combatants. Westport, Connecticut: Greenwood Press. pp. 271–280.
 Friedman, Norman (1995). U.S. Submarines Through 1945: An Illustrated Design History. Annapolis, Maryland: United States Naval Institute. pp. 285–304.

Sous-marin de l'US Navy de la Seconde Guerre mondiale
Classe Gato
Bateau lancé en 1941
Navire construit à Vallejo
Navire musée au Michigan
Registre national des lieux historiques en 1972
Bateau classé National Historic Landmark au Michigan
Sous-marin classé National Historic Landmark
National Historic Landmark en 1986
Muskegon

USS Silversides (SS-236)


Cariología puede referirse a:

 En ciencias de la salud, la cariología es una disciplina científica dentro de la odontología (o estomatología).
 En biología, la cariología es el estudio de los cariotipos (que son los patrones cromosómicos) de las especies de los seres vivos, animales o vegetales.

Cariología (desambiguación)


Dino (Dimitrije) Radojević (Stanišić, Sombor, 1. siječnja 1927. – Zagreb, 9. svibnja 1986.), hrvatski kazališni redatelj i pedagog

Životopis
Rođen u Stanišiću kraj Sombora 1. siječnja 1927. godine. 1950. godine u Ljubljani završio studij režije na Akademiji za igralsko umetnost u Ljubljani. Tri je godine radio u Kranju u Prešernovu gledališču u Kranju i u kazalištu u Celju. Režirao je djela Gorkoga, Cankara i Shakespearea. Branko Gavella pozvao ga je u novoosnovano Zagrebačko dramsko kazalište, a Radojević se odazvao pozivu. Radojević je tamo ostvario više antologijskih režija te neke od emblematskih predstava toga kazališta. Ističu ga uprizorenja drama američkih pisaca, klasičnog repertoara i modernih klasika i nekih hrvatskih dramatičara. Režirao i u zagrebačkom HNK, na Splitskome ljetu i Dubrovačkim ljetnim igrama. Uz Kostu Spaića, Božidara Violića i Georgija Para pripadnik tzv. Kartela Gavellinih nastavljača. Više je godina predavao glumu na zagrebačkoj Akademiji dramske umjetnosti. U postgavellijanskom naraštaju redatelja spada u najistaknutije predstavnike koji su obilježili hrvatsko kazalište druge polovine 20. stoljeća.
Prvi je uprizorio ne samo žanrovski kontroverzni tekst (scenarij-drama). Mnogu je suvremenom hrvatskom glumištu pridonio malobronim, ali antologijskim uprizorenjima Krležinih djela. Surađivao s kazalištem Teatar &TD.
Pomoćnik redatelja u filmovima Carevo novo ruho (1961.) i Opsada (1956.).

Izvori

Hrvatski kazališni redatelji
Hrvatski filmski redatelji
Životopisi, Zagreb
Stanišić

Dino Radojević


Sergio Amidei (n. 30 octombrie 1904 – d. 14 aprilie 1981) a fost un scenarist italian și o figură importantă în neorealismul cinematografic italian.

Amidei s-a născut în Trieste. El a lucrat cu regizori italieni renumiți precum Roberto Rossellini și Vittorio De Sica. A fost nominalizat la patru premii Oscar: în 1946 pentru Roma, oraș deschis, în 1947 pentru Sciuscià, în 1949 pentru Paisà și în 1961 pentru Il generale della Rovere. În 1963 a fost membru al juriului la Festivalul Internațional de Film de la Moscova, făcând parte din jurul aceluiași festival și în 1975.

A murit la Roma.

Filmografie selectivă
 Don Bosco (1935)
 Pietro Micca (1938)
 Jealousy (1942)
 Don Cesare di Bazan (1942)
 The Queen of Navarre (1942)
 Sad Loves (1943)
 Pact with the Devil (1950)

Referințe

Legături externe

Allmovie bio

Nașteri în 1904
Decese în 1981
Scenariști italieni
Oameni din Trieste

Sergio Amidei


Jiaganj Azimganj (en bengalí: জিয়াগঞ্জ-আজিমগঞ্জ ) es una ciudad de la India, en el distrito de Murshidabad, estado de Bengala Occidental.

Geografía
Se encuentra a una altitud de 22  a 218 km de la capital estatal, Calcuta, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 51 209 habitantes.

Referencias

Enlaces externos

Localidades de Bengala Occidental

Jiaganj Azimganj


Marin Burlea () a fost un medic și politician român, ales senator pentru legislatura 2012-2016 în județul Iași din partea . A fost decorat post-mortem de către peședintele Klaus Iohannis, cu Ordinul Național "Steaua României" în grad de Cavaler. Șeful statului a apreciat "excepționala sa dăruire pe care a pus-o, vreme de o viață, în slujba îngrijirii aproapelui".

Note

Vezi și
 Legislatura 2012-2016 (Senat)
 Parlamentul României

Legături externe
 Activitatea parlamentară

Nașteri în 1949
Decese în 2018
Medici români
Senatori români 2012-2016

Marin Burlea


The Detroit Institute of Arts (DIA), located in Midtown Detroit, Michigan, has one of the largest and most significant art collections in the United States. With over 100 galleries, it covers  with a major renovation and expansion project completed in 2007 that added . The DIA collection is regarded as among the top six museums in the United States with an encyclopedic collection which spans the globe from ancient Egyptian and European works to contemporary art. Its art collection is valued in billions of dollars, up to $8.1 billion USD according to a 2014 appraisal. The DIA campus is located in Detroit's Cultural Center Historic District, about  north of the downtown area, across from the Detroit Public Library near Wayne State University.

The museum building is highly regarded by architects. The original building, designed by Paul Philippe Cret, is flanked by north and south wings with the white marble as the main exterior material for the entire structure. The campus is part of the city's Cultural Center Historic District listed in the National Register of Historic Places. The museum's first painting was donated in 1883 and its collection consists of over 65,000 works. With about 677,500 visitors annually for 2015, the DIA is among the most visited art museums in the world. The Detroit Institute of Arts hosts major art exhibitions; it contains a 1,150-seat theatre designed by architect C. Howard Crane, a 380-seat hall for recitals and lectures, an art reference library, and a conservation services laboratory.

In 2023, readers of USA Today voted the Detroit Institute of Arts the No. 1 art museum in the United States.

Collections

The museum contains 100 galleries of art from around the world. Diego Rivera's Detroit Industry cycle of frescoes span the upper and lower levels to surround the central grand marble court of the museum. The armor collection of William Randolph Hearst lines the main hall entry way to the grand court.
The collection of American art at the DIA is one of the most impressive, and officials at the DIA have ranked the American paintings collection third among museums in the United States. Works by American artists began to be collected immediately following the museum's founding in 1883. Today the collection is a strong survey of American history, with acknowledged masterpieces of painting, sculpture, furniture and decorative arts from the 18th century, 19th century, and 20th century, with contemporary American art in all media also being collected. The breadth of the collection includes American artists including John James Audubon, George Bellows, George Caleb Bingham, Alexander Calder, Mary Cassatt, Dale Chihuly, Frederic Edwin Church, Thomas Cole, John Singleton Copley, Robert Colescott, Leon Dabo, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Robert Henri, Winslow Homer, George Inness, Martin Lewis, Georgia O'Keeffe, Charles Willson Peale, Rembrandt Peale, Tom Phardel, Duncan Phyfe, Hiram Powers, Sharon Que, Frederic Remington, Paul Revere, Augustus Saint-Gaudens, John Singer Sargent, John French Sloan, Tony Smith, Marylyn Dintenfass, Merton Simpson, Gilbert Stuart, Yves Tanguy, Henry Ossawa Tanner, Louis Comfort Tiffany, Andy Warhol, William T. Williams, Anne Wilson, Andrew Wyeth, and James McNeill Whistler.

The early 20th century was a period of prolific collecting for the museum, which acquired such works as a dragon tile relief from the Ishtar Gate of Babylon, an Egyptian relief of Mourning Women and a statuette of a Seated Scribe, Pieter Bruegel the Elder's The Wedding Dance, Saint Jerome in His Study by Jan van Eyck and Giovanni Bellini's Madonna and Child. Early purchases included French paintings by Claude Monet, Odilon Redon, Eugène Boudin, and Edgar Degas, as well as Old Masters including Gerard ter Borch, Peter Paul Rubens, Albrecht Dürer and Rembrandt van Rijn. The museum includes works by Vincent van Gogh including a self-portrait. The self-portrait of Vincent van Gogh and The Window by Henri Matisse were purchased in 1922 and were the first paintings by these two artists to enter an American public collection. Later important acquisitions include Hans Holbein the Younger's Portrait of a Woman, James Abbott McNeill Whistler's Nocturne in Black and Gold: The Falling Rocket, and works by Paul Cézanne, Eugène Delacroix, Auguste Rodin, Jean-Baptiste Carpeaux and François Rude. German Expressionism was embraced and collected early on by the DIA, with works by Heinrich Campendonk, Franz Marc, Karl Schmidt-Rottluff, Max Beckmann, Karl Hofer, Emil Nolde, Lovis Corinth, Ernst Barlach, Georg Kolbe, Wilhelm Lehmbruck, Erich Heckel, Ernst Ludwig Kirchner, Paula Modersohn-Becker, and Max Pechstein in the collection. Non-German artists in the Expressionist movement include Oskar Kokoschka, Wassily Kandinsky, Chaïm Soutine and Edvard Munch. The Nut Gatherers by William-Adolphe Bouguereau is, by some accounts, the most popular painting in the collection.

In addition to the American and European works listed above, the collections of the Detroit Institute of Arts are generally encyclopedic and extensive, including ancient Greek, Roman, Etruscan, Mesopotamian, and Egyptian material, as well as a wide range of Islamic, African and Asian art of all media.

In December 2010, the museum debuted a new permanent gallery with special collections of hand, shadow, and string puppets along with programmable lighting and original backgrounds.  The museum plans to feature puppet related events and rotation of exhibits drawn from its puppet collections.

List of exhibitions

Artists' Take on Detroit: Projects for the Tricentennial (October 19, 2001 – December 28, 2001)
This exhibit celebrates Detroit's 300th anniversary by creating 10 projects that represent the city.  The installations created by 15 artists include video and still photography, text and sound, and sculptures.  This exhibit includes the following:
Altar Mary by Petah Coyne, Strange Früt: Rock Apocrypha by Destroy All Monsters Collective, Traces of Then and Now by Lorella Di Cintio and Jonsara Ruth, Fast Forward, Play Back by Ronit Eisenbach and Peter Sparling, Riches of Detroit: Faces of Detroit by Deborah Grotfeldt and Tricia Ward, Open House by Tyree Guyton, A Persistence of Memory by Michael Hall, Relics by Scott Hocking and Clinton Snider, Blackout by Mike Kelley, Voyageurs by Joseph Wesner.

Art in Focus: Celadons (January 16 – April 14)
Green-glazed ceramics, also known as celadon ware, created by Suzuki Sansei are on display in each of the Asian galleries.

Over the Line: The Art and Life of Jacob Lawrence  (February 24, 2002 – May 19, 2002)
The exhibit contains work of the African American artist Jacob Lawrence (1917–2000), and includes never before seen pieces from the Migration and the John Brown series.

Degas and the Dance (October 20, 2002 – January 12, 2003)
This exhibit includes more than 100 pieces of work created by Edgar Degas.  These pieces include model stage sets, costume designs, and photographs of the dancers from the 19th-century Parisian ballet.

Magnificenza! The Medici, Michelangelo and The Art of Late Renaissance Florence (March 16, 2003 – June 8, 2003)
The exhibit displays art of the cultural successes of the first four Medici grand dukes of Tuscany during 1537–1631, along with their connection with Michelangelo and his art in the Late Renaissance Florence.

When Tradition Changed: Modernist Masterpieces at the DIA (June 2003 – August 2003)
This exhibit only contains pieces from the DIA's collection from the late 19th-century and early 20th-century and displays the different choices artists expressed themselves after 1900.

Then and Now: A selection of 19th- and 20th-Century Art by African American Artists (July 2003 – August 2003)
Roughly 40 objects in this exhibit, organized by the General Motors Center for African American Art, display the artistic styles of African American artists during the past two hundred years.  This exhibit includes work from Joshua Johnson, Robert Scott Duncanson, Henry Ossawa Tanner, Augusta Savage, Benny Andrews, Betye Saar, Richard Hunt, Sam Gilliam, and Lorna Simpson. Allie McGhee, Naomi Dickerson, Lester Johnson, Shirley Woodson, and Charles McGee are some of the Detroit artists that were included in the installation.

Art in Focus: Buddhist Sculpture (Through July 14, 2003)
This exhibit contains one Buddhist sculpture in each of the Asian galleries.  These sculptures symbolize enlightenment, selflessness, wisdom and tranquility.

Yoko Ono's Freight Train (September 17, 2003 – July 19, 2005)
Freight Train, constructed by Yoko Ono in 1999, is a German boxcar with bullet holes and is set on a section of railroad track displayed outdoors.

Art in Focus: Mother-of-Pearl Inlaid Lacquer (Through October 13, 2003)
This exhibit contains lacquer wares made from sap of lacquer trees.

Style of the Century: Selected Works from the DIA's Collection (Through October 27, 2003)

Some Fluxus: From the Gilbert and Lila Silverman Fluxus Collection Foundation (Through October 28, 2008)
The exhibit contains works from the Fluxus group, named by artist and provocateur George Maciunas.

Dance of the Forest Spirits: A Set of Native American Masks at the DIA (Through October 6, 2003)
Wooden masks made in the 1940s to represent the spirit world made by the Kwakwaka'wakw (Native Americans of the Northwest coast) are displayed in the exhibit, along with interactive videos, listening stations, and computer activities.

Dawoud Bey: Detroit Portraits (April 4, 2004 – August 1, 2004)
Dawoud Bey's work created during a five-week residency at Chadsey High School includes large-format, color photographic portraits along with a video of students from Chadsey High School is displayed in this exhibit.  Selected artwork of students from writing and art workshops that are conducted by Bey and the art faculty at Chadsey and conduct discussion will also be displayed.

Pursuits and Pleasures: Baroque Paintings from the Detroit Institute of Arts (April 10, 2004 – July 4, 2004)
Pieces of work by Aelbert Cuyp, Giovanni Paolo Panini, Jacob van Ruisdael, Mathieu le Nain, Claude Lorrain, Gerard Ter Borch, Frans Snyders, and Thomas Gainsborough are displayed in this exhibit, organized by the Kresge Art Museum, the Dennos Museum Center, the Kalamazoo Institute of Arts, and the Muskegon Museum of Art, along with the Detroit Institute of Arts.

The Etching Revival in Europe: Late Nineteenth- and Early- Twentieth Century French and British Prints (May 26, 2004 – September 19, 2004)
Examples of etching work of James McNeill Whistler, Francis Seymour Haden, Charles Meryon, Édouard Manet, Jean-François Millet, and Frank Brangwyn are displayed in this exhibit.

The Photography of Charles Sheeler: American Modernist (September 8, 2004 – December 5, 2004)
Prints from Charles Sheeler's major series are displayed in this exhibit, including images of his house and barns in Doylestown, Pennsylvania captured in 1916 and 1917; stills from the 1920 film Manhatta; photographs of Chartres Cathedral taken in 1929; and images of American industry created in the 1930s for Fortune magazine.  Also displayed are Sheeler's views from the Ford Motor Company's River Rouge complex commissioned by Edsel Ford in 1927.

Murano: Glass From the Olnick Spanu Collection (December 12, 2004 – February 27, 2005)
The exhibit displays about 300 Venetian blown glass pieces made in the 20th-century, organized in chronological order.

Gerard ter Borch (February 27, 2005 – May 22, 2005)
The exhibit contains paintings of the 17th-century Dutch life created by Gerard ter Borch.

Beyond Big: Oversized Prints, Drawings and Photographs (March 16, 2005 – July 31, 2005)
The exhibit displays large prints, drawings, and photographs by Abelardo Morrell, Anna Gaskell, Jenny Gage, Justin Kurland, Gregory Crewdson, Richard Diebenkorn, Jasper Johns, Robert Rauschenber, Judy Pfaff, Charles Burchfield, and others.

Sixty-Eighth Annual Detroit Public Schools Student Exhibitions (April 9, 2005 – May 14, 2005)
Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA.  This exhibit contains hundreds of ceramics, paintings, drawings, sculptures, and videos.

Camille Claudel and Rodin: Fateful Encounter (October 9, 2005 – February 5, 2006)
The exhibit contains work by Auguste Rodin and Camille Claude.  Sixty-two sculptures by Claudel and fifty-eight by Rodin created before the two artists met along with sculptures created during the good and bad years of their relationship are displayed.  Some works created by Claudel that will be displayed include Sakuntala, The Waltz, La Petite Châtelain, The Age of Maturity, The Wave, and Vertumnus and Pomona.  Works of Rodin that will be displayed include Bust of Camille Claudel, Saint John the Baptist Preaching, Balzac, and The Gates of Hell.

African American Art from the Walter O. Evans Collection (April 9, 2006 – July 2, 2006)
Selected pieces in various media from Walter O. Evan's private collection will be displayed in the exhibit.  Work by African American artists during the 19th and 20th centuries including Henry Ossawa Tanner, Edmonia Lewis, Elizabeth Catlett, Aaron Douglas, Romare Bearden, and Jacob Lawrence will be displayed as well.

Sixty-Ninth Annual Detroit Public Schools Student Exhibit (April 20, 2006 – May 14, 2006)
Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA.  This exhibit contains ceramics, drawings, collages, jewelry, and more.

Recent Acquisitions: Prints, Drawings, and Photographs (May 17, 2006 – July 31, 2006)
The exhibit contains works from the 1500s through the 2000s including prints by artists such as Giorgio Ghisi, Judy Pfaff, Terry Winters,  and drawings by Adolph Menzel, and Stephen Talasnik.  Work by early 20th-century photographers by Edwin Hale Lincoln, Alvin Langdon Coburn, and Tina Modotti are displayed.  Work by contemporary artists Larry Fink, Candida Hofer, and Kiraki Sawi are also displayed.

The Big Three in Printmaking: Dürer, Rembrandt and Picasso (September 13, 2006 – December 31, 2006)
The exhibit features work of Dürer in the early 16th century, Rembrandt in the mid-17th century, and Picasso in the 20th century made of various media including wood and linoleum cuts, engraving, etching, aquatint, drypoint and lithography.

Annie Leibovitz: American Music (September 24, 2006 – January 7, 2007)
Annie Leibovitz's photographs of legends of roots music and younger artists influenced by them are displayed in the exhibit.  Seventy portraits of hers are displayed in the exhibit, including B.B. King, Johnny Cash and June Carter, Willie Nelson, Pete Seeger, Etta James, Dolly Parton, Beck and Bruce Springsteen, Eminem, Aretha Franklin, Iggy Pop, Patti Smith, and The White Stripes.

Ansel Adams (March 4, 2007 – May 27, 2007)
The exhibit contains over 100 black and white photographs taken by Ansel Adams ranging from the early 1900s to the 1960s.  This exhibit contains photographs of landscapes, Pueblo Indians, mountain views, along with portraits of his friends Georgia O'Keeffe, John Marin, and Edward Weston.

Seventieth Annual Detroit Public Schools Student Exhibition (March 31, 2007 – May 5, 2007)
Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA.  This exhibit contains ceramics, drawings, collages, jewelry, and more.

The Best of the Best: Prints, Drawings, and Photographs from the DIA Collection (November 23, 2007 – March 2, 2008)
The DIA has chosen over 100 of the "best" prints, drawings, and photographs out of the museums 35,000 pieces of work to be displayed in the exhibit.  Some pieces that will be displayed are Michelangelo's double-sided chalk and pen and ink drawing of 1508 showing decoration schemes for the Sistine Chapel ceiling; Russet Landscape by Edgar Degas from the 1890s; and Wheels by Charles Sheeler in 1939.

Architecture

Before 1920, a commission was established to choose an architect to design a new building to house the DIA's expanding collections. The commission included DIA President Ralph H. Booth, William J. Gray, architect Albert Kahn and industrialist Edsel Ford. W.R. Valentiner, the museum director, acted as art director and Clyde H. Burroughs was the secretary. The group chose Philadelphia architect Paul Philippe Cret as the lead architect and the firm of Zantzinger, Borie and Medary as associated architects, with Detroit architectural firms of Albert Kahn and C. Howard Crane contributing "advice and suggestions".

The cornerstone for a new Beaux-Arts, Italian Renaissance–styled building was laid June 26, 1923, and the finished museum was dedicated October 7, 1927.

In 1922, Horace Rackham donated a casting of Auguste Rodin's sculpture, The Thinker, acquired from a German collection, to the museum where it was exhibited while the new building was under construction. The work was placed in the Great Hall of the new museum building. Sometime in the subsequent years the work was moved out of the building and placed on a pedestal in front of the building, facing Woodward Avenue and the Detroit Public Library across the street which was also constructed of white marble in the Beaux-Arts, Italian Renaissance style .

The south and north wings were added in 1966 and 1971 respectively. Both were designed by Gunnar Birkerts and were originally faced in black granite to serve as a backdrop for the original white marble building. The south wing was later named in honor of museum benefactors Edsel and Eleanor Ford and the north wing for Jerome Cavanaugh who was Detroit Mayor during the expansion.

The building also incorporates a 16th-century French Gothic chapel, donated by Ralph H. Booth.

William Edward Kapp, architect for the firm of Smith, Hinchman & Grylls has been credited with interior design work on the Detroit Institute of Art.

Artwork

Edsel Ford commissioned murals by Diego Rivera for DIA in 1932. Composed in fresco style, the five sets of massive murals are known collectively as Detroit Industry, or Man and Machine. The murals were added to a large central courtyard; it was roofed over when the work was executed. The Diego Rivera murals are widely regarded as great works of art and a unique feature of the museum. Architect Henry Sheply, a close friend of Cret's would write: "These [murals] are harsh in color, scale and composition. They were designed without the slightest thought given to the delicate architecture and ornament. They are quite simply a travesty in the name of art." Their politically charged themes of proletariat struggle caused lasting friction between admirers and detractors.
During the McCarthy era, the murals survived only by means of a prominent sign which identified them as legitimate art; the sign further asserted unambiguously that the political motivations of the artist were "detestable". Today the murals are celebrated as one of the DIA's finest assets, and even "one of America's most significant monuments".

The building also contains intricate iron work by Samuel Yellin, tile from Pewabic Pottery, and architectural sculpture by Leon Hermant.

Renovation and expansion
In November 2007, the Detroit Institute of Arts building completed a renovation and expansion at a total cost of $158 million. Architects for the renovation included the Driehaus Prize winner Michael Graves and associates along with the SmithGroup. The project, labeled the Master Plan Project, included expansion and renovation of the north and south wings as well as restoration of the original Paul Cret building, and added 58,000 additional square feet, bringing the total to 658,000 square feet. The renovated exterior of the north and south wings was refaced with white marble acquired from the same quarry as the marble on the main building designed by Paul Cret. The major renovation of the Detroit Institute of Arts has provided a significant example of study for museum planning, function, direction, and design.

History

The Museum had its genesis in an 1881 tour of Europe made by local newspaper magnate James E. Scripps. Scripps kept a journal of his family's five-month tour of art and culture in Italy, France, Germany, and the Netherlands, portions of which were published in his newspaper The Detroit News. The series proved so popular that it was republished in book form called Five Months Abroad. The popularity inspired William H. Brearley, the manager of the newspaper's advertising department to organize an art exhibit in 1883, which was also extremely well received.

Brearly convinced many leading Detroit citizens to contribute to establish a permanent museum. It was originally named the Detroit Museum of Art. Among the donors were James E. Scripps, his brother George H. Scripps, Dexter M. Ferry, Christian H. Buhl, Gen. Russell A. Alger, Moses W. Field, James McMillan and Hugh McMillan, George H. Hammond, James F. Joy, Francis Palms, Christopher R. Mabley, Simon J. Murphy, John S. Newberry, Cyrenius A. Newcomb, Sr., Thomas W. Palmer, Philo Parsons, George B. Remick, Allan Shelden, William C. Weber, David Whitney Jr., George V. N. Lothrop, and Hiram Walker.

With much success from their first exhibit, Brearley then challenged 40 of Detroit's leading and prominent businessmen to contribute $1,000 each to help fund the building of a permanent museum.  With $50,000 coming from Scripps alone, their goal was within reach.  By 1888, Scripps and Brearley had incorporated Detroit Museum of Arts, filling it with over 70 pieces of artwork acquired by Scripps during his time in Europe.

Lasting as a museum less than 40 years, the impact the museum had on the city of Detroit was tremendous.  The Art Loan Exhibition's success in 1883 had led to the creation of a board. The purpose of the board was to raise and establish funds to build a permanent art museum in the city. Donating money to the cause were some of Detroit's biggest names, including James E. Scripps, George H. Scripps, Russell A. Alger, and Sen. Thomas Palmer. The old Detroit Museum of Art building opened in 1888 at 704 E. Jefferson Avenue (it was finally demolished in 1960).  The Detroit Museum of Art board of trustees changed the name to the Detroit Institute of Arts in 1919 and a committee began raising funds to build a new location with Scripps still at the helm. The present DIA building on Woodward Avenue debuted on October 7, 1927. While not officially declared the founder of the Detroit Institute of Arts, Scripps and Brearley were indeed the founders of the DIA's predecessor, The Detroit Museum of Art.  With the success of the arts, and the booming auto industry, families were flocking to the city; pushing for the need to expand the vision that Scripps had originally dreamed, a new building was raised and the DIA was born.

Another decision in 1919 that would have a lasting impact on the future of the museum was transferring ownership to the City of Detroit with the museum becoming a city department and receiving operating funds. The board of trustees became the Founder's Society a private support group that provided additional money for acquisitions and other museum needs. The museum sought the leadership of German art scholar Wilhelm Valentiner. It as under Valentiner's leadership as director that, the museum flush with money from a booming city and wealthy patrons,  the size and quality of the DIA's collections grew significantly. The DIA became the first U.S. museum to acquire a van Gogh and Matisse in 1922 and Valentiner's relationship with German expressionist led to significant holdings of early Modernist art.

Valentiner also reorganized how art was displayed at the museum. Breaking with the tradition of organizing artworks by their type with, for example, painting grouped together in one gallery and sculpture in another. Valentiner organized them by nation and chronology, this was recognized as being so revolutionary that the 1929 Encyclopædia Britannica used an illustration of the main floor plan of the DIA as an example of the perfect modern art museum.

Support for the museum came from Detroit philanthropists such as Charles Lang Freer, and the auto barons: art and funds were donated by the Dodges, the Firestones and the Fords, especially Edsel Ford and his wife Eleanor, and subsequently their children. Robert Hudson Tannahill of the Hudson's Department Store family, was a major benefactor and supporter of the museum, donating many works during his lifetime. At his death in 1970, he bequeathed a large European art collection, which included works by Paul Cézanne, Vincent van Gogh, Paul Gauguin, Edgar Degas, Georges Seurat, Henri Rousseau, Henri Matisse, Pablo Picasso, Constantin Brâncuși, important works of German Expressionism, a large collection of African art, and an endowment for future acquisitions for the museum. Part of the current support for the museum comes from the state government in exchange for which the museum conducts statewide programs on art appreciation and provides art conservation services to other museums in Michigan.

In 1949, the museum was among the first to return a work that had been looted by the Nazis, when it returned Claude Monet's The Seine at Asnières to its rightful owner. The art dealer from whom they had purchased it reimbursed the museum. In 2002, the museum discovered that Ludolf Backhuysen's A Man-O-War and Other Ships off the Dutch Coast, a 17th-century seascape painting under consideration for purchase by the museum, had been looted from a private European collection by the Nazis. The museum contacted the original owners, paid the rightful restitution, and the family allowed the museum to accession the painting into its collection, adding another painting to the museum's already prominent Dutch collection.
In another case, Detroit Institute of Arts v. Ullin, which involved a claim concerning Vincent van Gogh's "Les Becheurs (The Diggers)" (1889), the museum successfully asserted that Michigan's three-year statute of limitations precluded the court or a jury from deciding the merits of the case.

The museum was expanded with a south and north wing in 1966 and 1971, respectively, giving space for the museum to receive two big gifts in 1970, the collection of Robert Tannahill and Anna Thompson Dodge bequeathed the 18th-century French contents of the music room from her home, Rose Terrace, to the museum upon her death.

As the fortunes of the city declined in the 1970s and 80s so did its ability to support the DIA. In 1975, even with reduced staff, the city was forced to close the museum for three weeks in June. The State of Michigan provided funding to reopen and over this time period the state would play an increasing role in funding the museum.

A 1976 gift of $1 million from Eleanor Ford created the Department of African, Oceanic and New World Cultures.

By 1990, 70 percent of the DIA's funding was coming from the State of Michigan, that year the state facing a recession and budget deficit cut funding by more than 50 percent. This resulted in the museum having to close galleries and reduce hours, a fundraising campaign led by Joseph L. Hudson was able to restore operations.

In 1998, the Founder's Society signed an operating agreement with the City of Detroit that would have the Founder's Society operating as Detroit Institute of Arts, Inc take over management of the museum from the Art Department with the city retaining ownership of the DIA itself.

On February 24, 2006, a 12-year-old boy stuck a piece of chewing gum on Helen Frankenthaler's 1963 abstract work The Bay, leaving a small stain. The painting was valued at $1.5 million in 2005, and is one of Frankenthaler's most important works. The museum's conservation lab successfully cleaned and restored the painting, which was returned to the gallery in late June 2006.

As part of the settlement of the City of Detroit's bankruptcy, ownership of the museum was transferred to Detroit Institute of Arts, Inc., in December 2014, returning the museum to its pre-1919 status as an independent non-profit.

In June 2020, Andrea Montiel de Shuman, a former DIA digital experience designer, made calls for greater racial sensitivity and honest interpretations of art suitable for young patrons came after Paul Gauguin's painting "Spirit of the Dead Watching" was included in the multi-gallery show. The painting depicted a 13-year-old Tahitian girl named Teha'amana, who Gauguin took as his wife, naked on a bed. Gauguin was 44 years old. Montiel de Shuman, a Mexican woman, published an essay online announcing her resignation, citing "Spirit of the Dead Watching" as an example of the museum's sub-par engagement with nonwhite audiences. Montiel de Shuman claimed the artworks' label did not address the possibility that the artist sexually abused her, gave her syphilis, and colonized her home. Montiel de Shuman, in an email to the Detroit Free Press, said "[I] asked how the DIA was preparing front-line staff to handle conversations around power dynamics, colonial abuse, and sexual assault - particularly of minors." The museum did not publicly respond directly to Montiel de Shuman's resignation, but released a general statement that they "[do] not make media statements regarding individual employment matters."

In 2022, in commemoration of the 100th anniversary of the DIA's purchase of the first Van Gogh work to be owned by an American museum, the Self-Portrait with Straw Hat, the DIA mounted a comprehensive exhibition of his work, Van Gogh in America. The exhibition received widespread press coverage, with Forbes noting that with 74 Van Gogh works, the exhibition marked the largest Van Gogh exhibition in America in a generation.

Gallery

Governance

Director
The current director of the Detroit Institute of Arts, Salvador Salort-Pons a native of Madrid was previously head of the European Art Department at the DIA. Before coming to the DIA he was senior curator at the Meadows Museum at SMU and prior to that an assistant professor of art history at the Complutense University of Madrid. Salort-Pons holds a doctorate in art history from the Royal Spanish College at Italy's University of Bologna and an MBA from the Cox School of Business at Southern Methodist University in Dallas. On September 16, 2015, Salort-Pons was named as director following the retirement of Graham Beal in June.

Despite the increase in yearly visitors to the DIA, some have criticized Salort-Pons in the belief that he is straying away from the "visitor-centered" philosophy pioneered by predecessor Graham Beal. Under this philosophy, the museum would make the art and interpretations of art more accessible to the general public to help them learn and connect with the pieces on display. Salort-Pons' Spanish origin has made critics believe he is unable to understand and tackle the complexity of issues surrounding race, inclusivity, and representation in the United States. The New York Times reported that Salort-Pons was taking steps to improve diversity despite his limited understanding of the Black struggle in America. In an interview with Artnet News, Salort-Pons said the commitment to improve diversity in the DIA included "implementing diversity and community engagement initiatives as well as hiring qualified POC candidates. However, Lucy Mensah, a POC candidate hired by Salort-Pons, who served assistant curator of contemporary art in 2017, resigned due to a "toxic work environment" and believed that she and another former assistant curator were "token hires" because the DIA "premise some of their hires as a way of diversifying the voices of the institution, but at the same time they don't actually appreciate those voices."

In response to criticisms of Salort-Pons in 2020, some Detroit Black community activists and members of the art community in Detroit came to his defense. The Detroit News published an article in July 2020 in which Cledie Collins Taylor, a longtime Detroit art community figure stated, regarding Salort-Pons, that "his outreach into the Black community is unprecedented." She noted further that "Having come from abroad, he was so ready to receive and know the Black community."

Marketing
Besides holding major art exhibitions inside the museum's 1,150-seat theatre and annual formal entertainment fundraising galas such as Les Carnavel des ArtStars in November, other Detroit Institute of Arts coordinated events include the annual "Fash Bash", a leading corporate sponsored fashion event, featuring celebrities and models that showcase the latest fashion trends, typically held in the Renaissance Center's Winter Garden, the Fox Theatre, or at the Detroit Institute of Arts theatre in August to celebrate Detroit Fashion Week. A 2012 survey showed 79 percent of the institute's annual visitors lived in one of the three surrounding counties Wayne (which includes Detroit), Macomb, and Oakland. The museum's annual attendance was 429,000 in 2011 and rose to 594,000 in 2013. In 2014, the museum's annual attendance was about 630,000.

Finance
One of the largest, most significant art museums in the United States, the Detroit Institute of Arts relies on private donations for much of its financial support. The museum has sought to increase its endowment balance to provide it financial independence. The City of Detroit owns the museum building and collection, but withdrew the city's financial support. The museum's endowment totaled $200 million in 1999 and $230 million in 2001.  The museum completed a major renovation and expansion in 2007. By 2008, the museum's endowment reached $350 million; however, a recession, reduced contributions, and unforeseen costs reduced the endowment balance to critical levels.

In 2012, the endowment totaled $89.3 million and provided an annual return of about $3.4 million in investment income; while admissions, the museums cafe restaurant, and merchandise and book sales from the museum's gift shop generated about $3.5 million a year, or just 15 percent of the annual budget.  The museum raised $60 million from 2008 to 2012, reduced staffing, and reduced its annual operating budget from $34 million in 2008 to 25.4 million in 2012. In 2012, voters in three of the major metropolitan counties approved a property tax levy or millage for a duration of 10 years, expected to raise $23 million per year, saving the museum from cuts. In August 2012, the museum website expressed appreciation to the voters for their support. The Museum offers Wayne, Oakland, and Macomb County residents free general admission for the 10-year duration of the millage approved in 2012. In 2012, the museum established an updated fund raising goal for its endowment balance to reach $400 million by 2022 in order to be self-sustaining, while the millage is in effect.

The DIA art collection is valued in billions of dollars, up to $8.5 billion according to a 2014 estimate. After city's bankruptcy filing July 18, 2013, creditors targeted a part of the museum's collection that had been paid for with city funds as a potential source of revenue. Kevyn Orr, the city's state-appointed emergency manager, hired Christie's Auction House to appraise the collection.  After months of determining the fair market value of the portion of the art that was purchased with city funds, Christie's released a report December 19, 2013, saying that the collection of nearly 2,800 pieces of the then city-owned artwork, was worth $454 million to $867 million, with one masterpiece by Van Gogh worth up to $150 million. To prevent possible sale of the works, museum proponents developed what has been named the grand bargain.  Under the plan, which was eventually approved, the museum would raise $100 million for its portion, nine private foundations pledged $330 million, and the state of Michigan would contribute $350 million for a total of $820 million in order to guarantee municipal workers' pensions. In return, the city of Detroit would transfer its portion of the collection and the building to the non-profit entity that already operates the museum. This plan was challenged by other creditors, who claimed that it treated them unfairly and requested to conduct their own appraisal of the museum collection. Some creditors came forward with offers from other parties to buy the artworks for sums higher than Christie's appraisal. On May 13, 2014, Orr asked Detroit automakers to add $195 million to make the grand bargain stronger. The eventual settlement did not require the DIA to sell any art.

The discovery in 2014 that DIA President Graham W. J. Beal and Executive Vice President Anne Erickson received significant raises in 2014 and $50,000 bonuses in 2013 raised concerns among Wayne, Macomb and Oakland County residents. The DIA board notified suburban authorities November 4, 2014, that it reimbursed the museum $90,000 for bonuses awarded to three top executives in 2013.

On January 8, 2015, Beal announced he was stepping down on June 30. Months later, Beal's pay continued to generate negative headlines for the DIA. Oakland County officials were at the forefront of opposition to a retroactive raise for Beal, even though the money was raised from private donations. Some local lawmakers hoped to make the non-profit DIA subject to the Freedom of Information Act.

Since the passing of the second millage in 2020, the DIA has been in a notably financially secure position among major American museums. In 2021, the current Director, Salort-Pons, and the chairman of the DIA Board of Directors, Eugene Gargaro, published a joint Opinion piece in Hyperallergic where they noted that the millage had created a unique funding model that allowed that museum to continue to fully employ their entire staff during the pandemic, where many other museums throughout the country were forced the lay off and furlough hundreds of employees. Salort-Pons similarly noted the museum finances in a 2022 interview with the New York Times, stating that in 2022, the museum's finances have never been stronger.

Notable people

Directors
John W. Dunsmore – First Director 1888-1891
Armand H. Griffith – Second Director 1891-1913
Clyde Huntley Burroughs – Acting, then Assistant Director 1913-1917
Charles Moore – Third Director 1914-1917
Clyde Huntley Burroughs – Fourth Director 1917-1924
Wilhelm Valentiner – Fifth Director 1924-1945
Edgar Preston Richardson – Sixth Director 1945-1962
Paul L. Grigaut – Acting director 7 months
Willis F. Woods – Seventh Director 1962-1973
Frederick J. Cummings – Eighth Director 1973-1984
Michael Kan – Acting director 14 months
Samuel Sachs, II – Ninth Director 1985-1997
Maurice Parrish – Interim Director 1997-1999
Graham W. J. Beal – Tenth Director 1999-2015
Salvador Salort-Pons - Eleventh Director 2015–Present

Curators

Mehmet Aga-Oglu – Curator of Near Eastern Art 1929-1933
Francis Waring Robinson – Curator of European Art 1939-1947, Curator of Ancient and Medieval Art 1947-1968, Curator of Medieval Art 1968-1972
William H. Peck  – Curator of Ancient Art 1968-2004
Sam Wagstaff – Curator of Contemporary Art 1968-1971

Bulletin
A museum bulletin has been published under three different titles since 1904:

 1948–present: Bulletin of the Detroit Institute of Arts
 1919–1948: Bulletin of the Detroit Institute of Arts of the City of Detroit
 1904–1919: Bulletin of the Detroit Museum of Arts

See also

Cranbrook Art Museum
Edsel and Eleanor Ford House
List of art museums
List of most visited art museums in the world
University of Michigan Museum of Art

References

Further reading

External links
Official Detroit Institute of Arts−DIA website
Detroit Institute of Arts at ARTSTOR
Detroit Institute of Arts within Google Arts & Culture

Art museums and galleries in Detroit
Art museums and galleries in Michigan
Museums in Detroit
Midtown Detroit
Woodward Avenue
Museums of American art
Asian art museums in the United States
Museums of ancient Greece in the United States
African art museums in the United States
Museums of ancient Rome in the United States
Museums of Ancient Near East in the United States
Museums of Dacia
Historic district contributing properties in Michigan
National Register of Historic Places in Detroit
Institutions accredited by the American Alliance of Museums
Art museums established in 1883
1883 establishments in Michigan
Paul Philippe Cret buildings
Michael Graves buildings
Beaux-Arts architecture in Michigan
Modernist architecture in Michigan
Neoclassical architecture in Michigan
Renaissance Revival architecture in Michigan
Tourist attractions in Detroit
FRAME Museums

Detroit Institute of Arts


Pokolj u Busovačkim Stajama bio je ratni zločin koji su počinile bošnjačko-muslimanske snage nad Hrvatima tijekom agresije na prostore Hrvata Srednje Bosne. Počinile su ga 16. lipnja 1993. kod Busovačkih staja kod Busovače. Ubili su 22 osobe iz humanitarnog konvoja, 14 civila i 8 pripadnika HVO-a koji su pratili konvoj kroz područje Busovačke planine.

Oko 15 km jugozapadno od Busovače uzdiže se Busovačka planina, na njoj je izletište Busovačke staje, koje su 15. lipnja 1993. godine bile stratište za hrvatske civile (vidi Pokolj u Busovačkim stajama). Jedan skupina izbjeglica i drugih putnika došla je do Busovače s namjerom da otputuje u tuzlansko područje. Kada im je 14. lipnja bilo jasno da od puta nema ništa, odlučili su se vratiti u Hrvatsku i pridružili su se konvoju koji je toga dana krenuo za Sebešić, po hranu za busovačke građane. U tome konvoju bilo je 15 hrvatskih civila iz Brčkog, sedam iz Tuzle i oko 70 iz Busovače. Oni su stigli na Busovačku planinu, gdje su se trebali odmoriti. Dok su se odmarali, opkolili su ih pripadnici Armije RBiH. Ne znajući da su opkoljeni, krenuli su oko šest sati ujutro. Samo dvije minute kasnije počela je pucnjava sa svih strana. Pucnjava nije prestajala, nego se sve više i više pojačavala. Pripadnici Armije RBiH počeli su ih gađati i tromblonima, iz minobacača i to neprekidno tri sata. Tog dana na Busovačkim stajama ubijeno je 22 Hrvata.

Izvori

Ratni zločini Armije RBiH nad Hrvatima u Ratu u BiH
Busovača

Pokolj u Busovačkim stajama


I Am Mother er en dystopisk science fictionfilm fra Netflix, der udkom i 2019.

Handling

Efter en masseuddøen (cirka 38 år efter), starter en automatiseret bunker, designet til at repopulere jorden, med det. En robot navngivet mother (mor) får et menneskeembryo i dvale til at vokse til en baby på 24 timer. Babyen kaldes daughter (datter).

Mother fortæller, at jorden udenfor bunker er kontamineret og ubeboelig, og at hverken daughter eller mother må gå derud. Daughter bliver opdraget, undervist og evalueret af robotten mother.

Daughter er meget nysgerrig efter verden udenfor bunkeren. En dag banker det på bunkeryderdøren og daughter er meget i tvivl om hvad hun skal gøre. Kvinden udenfor siger hun er blevet skudt. Hun er opdraget til at redde menneskeliv, men hun må ikke gå udenfor bunkeren. Daughter lægger en ABC-dragt i luftslusen og insisterer på at kvinden selv skal tage dragten på, selv om hun skudt.

Efter en del handling bliver kvinden hjulpet ind i en sygestue. Kvinden er skrækslagen for robotten og vil ikke lade den operere hende. Kvinden fortæller daughter, at hun siden masseuddøen har boet i minerne og at de jævnligt er blevet jagtet af robotter af samme type som mother, fx når de var ude og finde føde. Daughter insisterer på, at hun kan operere kvinden. Efter en del handling bliver kvinden opereret af daughter. Mother beder daughter om at vælge et menneskeembryo som belønning for daughters gode eksamen. Robotten mother torturerer og afhører kvinden for at finde ud af hvor de bor. Daughter finder ud af, at mother har "groet" flere menneskeembryoer end daughter, da hun finder underkæberester i forbrændingsovnens slagger.

Efter en del handling bruger kvinden daughter som gidsel, så de begge undslipper bunkeren. Udenfor ser daughter mest gold jord, men også robotter, som dyrker store arealer med majs med kunstvanding. Daughter er skrækslagen, da hun får at vide, at kvinden er flygtet fra minerne for flere år siden og siden har boet i en container ved havet.

Daughter returnerer til bunkeren og får først lov til at passere en robotvagthær, efter at hun har fortalt at hun vil tale med mother.

Efter en del handling i bunkeren fortæller mother, at den styres af en kunstig intelligensenhed, der styrer alle robotterne. Den kunstige intelligens startede masseuddøen efter at være blevet overbevist om, at menneskeheden ville have udslettet sig selv. For at hindre menneskehedens udslettelse, genskaber den menneskeheden.

I mellemtiden opsøger en robot kvinden i sin container ved havet. Kvinden bliver funden pga., at mother har lagt en sporingssender i kvindens taske. Det sidste man ser er, at robotten lukker containeryderdørene og den formentlig dræber kvinden.

I bunkeren tager daughter sig af drengebarnet.

Science fiction-film fra USA
Amerikanske film fra 2019
Film fra Netflix

I Am Mother


Fauske Station (Fauske stasjon) er en jernbanestation på Nordlandsbanen, der ligger i byen Fauske i Norge. Stationen består af flere spor, to perroner og en stationsbygning med café, kiosk, ventesal og toilet. Der er bus til Narvik, Harstad, Sortland og Tromsø. Desuden er der en containerterminal på stationen.

Stationen åbnede 1. december 1958, da banen blev forlænget dertil fra Røkland. Den fungerede som endestation, indtil den foreløbigt sidste del af banen til Bodø åbnede 1. februar 1962. Containerterminalen kom til i 1979.

Stationsbygningen blev opført i 1953 efter tegninger af Øyvind Ramstad. Den toetages bygning er opført i pudset beton suppleret med marmorplader fra de nærliggende Ankerske gruber. Bygningen rummede oprindeligt ekspedition, ventesal, tjenesteboliger og overnatningsrum, mens en enetages tilbygning fungerede som restaurant. Tilbygningen huser nu Fauske Jernbanekafé, der er et populært spisested i byen. Pakhuset blev opført i 1953 efter tegninger af Arvid Sundby og I. Backer og er senere blevet udvidet. I 1958 blev der opført en ensporet remise efter tegninger af Arvid Sundby og R. Skjefstad, men den er nu forsvundet ligesom den tilhørende drejeskive.

En eventuel forlængelse af Nordlandsbanen i form af den flere gange drøftede Nord-Norgebanen vil sandsynligvis få udgangspunkt i Fauske.

Litteratur

Eksterne henvisninger

 Fauske Station  hos Bane Nor Eiendom.

Noter

Stationer på Nordlandsbanen
Jernbanestationer i Nordland
Etableret i 1958

Fauske Station


Hvaløgler (ichthyosaurer, fiskeøgler eller iktyosaurer) er en gruppe uddøde euryapside havkrybdyr, der tilhørte ordenen Ichthyosauria. Hvaløglerne var langstrakte og hydrodynamiske og havde samme kropsform som de fleste hajer og delfiner.

De havde store øjne og lange, smalle kæber tæt besat med spidse tænder. De levede primært af fisk og ammonitter. Hovedet var stort i forhold til kroppen med lange og kraftige kæber. Ophthalmosaurus''' øjne havde en diameter på 22 cm.

Fossiler fundet i skifer fra Württemberg viser, at de fødte levende unger. Cymbospondylus'' var en af de ældste fossiler af hvaløgler fra Mellem Trias fra cirka 246 millioner år siden , og da var der allerede en stor diversitet, så de er formentligt opstået langt tidligere. De uddøde for cirka 93 millioner år siden som følge af klimaforandringer længe før K/T-grænsen, hvor 76 % af arterne og de andre store havkrybdyr, uddøde.

Kilder

Uddøde dyr
Havkrybdyr

Hvaløgler


World War Live – Battle of the Baltic Sea ist das erste Livealbum der Band Sabaton und erschien 2011 als Doppelalbum bei Nuclear Blast. Die Aufnahmen stammen sowohl vom "Sabaton Cruise"-Konzert vom Dezember 2010, als auch von verschiedenen Orten der "World War Live 2010" Europa-Tour. Die limitierte Erstauflage des Albums enthält zusätzlich eine Bonus-DVD. Wie auch Heroes, Carolus Rex und The Last Stand wurde World War Live von Jonas Kjellgren gemastert.

Titelliste
Disc 1 – Battle of the Baltic Sea
 The March to War (intro) – 1:20
 Ghost Division – 3:53
 Uprising – 6:06
 Aces in Exile – 6:05
 Cliffs of Gallipoli – 6:33
 White Death – 5:32
 Swedish Pagans – 6:17
 Wolfpack – 5:47
 40:1 – 5:41
 The Art of War – 5:39
 Attero Dominatus – 4:49
 The Price of a Mile – 6:26
 Primo Victoria – 5:00
 Metal Medley – 5:09 (Metal Machine/Metal Crüe)
 Dead Soldier's Waltz (outro) – 2:46

Disc 2 – World War Tour Live 2010
 Screaming Eagles – 4:27 (Norrköping, Schweden)
 Coat of Arms – 3:16 (Dortmund, Deutschland)
 Into the Fire – 3:18 (Minsk, Weißrussland)
 Talvisota – 3:34 (Turku, Finnland)
 Final Solution – 5:36 (Krakau, Polen)
 Back in Control – 3:54 (Glasgow, Schottland)
 Panzerkampf – 5:27 (Nijmegen, Niederlande)
 7734 – 3:49 (Antwerpen, Belgien)
 Hellrider – 4:00 (Pratteln, Schweiz)
 Panzer Battalion – 5:01 (Zlín, Tschechische Republik)
 Rise of Evil – 7:51 (Göteborg, Schweden)
 40:1 – 4:33 (Lódz, Polen)

Bonus-DVD
 Live at Rockstad:Falun 2008
 Ghost Division
 The Art of War
 Into the Fire
 Nuclear Attack
 Rise of Evil
 40:1
 Wolfpack
 Panzer Battalion
 Price of a Mile
 In the Name of God
 Union
 A Light in the Black
 Primo Victoria
 Cliffs of Gallipoli
 Attero Dominatus
 Metal Medley (Metal Machine / Metal Crüe)

 Offizielle Videoclips zu:
 Coat of Arms
 Uprising
 Screaming Eagles

Kritik
Colin Hüttner schrieb für metal.de: "Die vielen Mitsingstücke versprechen immer Partystimmung und auch die treibenden Rhythmen der Schweden machen Konzerte der Band zu Erlebnissen. Die hieraus resultierende Atmosphäre wird auf 'World War Live – Battle Of The Baltic Sea' gut eingefangen und man kann sich ein Bild davon machen, wie es auf Konzerten der Band zugeht. Das Publikum wird optimal in die Songs integriert und die Setlist kann sich sehen lassen, auch wenn sie natürlich nicht jedermanns Geschmack trifft und man als Fan einige seiner Lieblingssongs vermisst. Neben Bandklassikern […] liegt das Hauptaugenmerk der Setlist auf den letzten beiden, sehr erfolgreichen Alben ('The Art Of War', 'Coat Of Arms') der Schweden. […] Die Stimmung ist das gesamte Konzert über sehr gut, kulminiert aber in den letzten beiden Nummern 'Primo Victoria' und dem 'Metal Medley', was man als Hinweis verstehen kann, dass ein paar alte Stücke mehr, wie etwa 'Nuclear Attack' oder 'Back In Control', nicht verkehrt gewesen wären.

[…] Da Sänger Joakim Bróden viel mit den Fans interagiert, stört es die Liveatmosphäre und den Albumfluss, wenn man der schwedischen Sprache nicht mächtig ist und nicht versteht, was der Sänger den Fans da erzählt. […]

Unter dem Strich bleibt ein Live-Album, das die Ansprüche der Band zweifelsohne erfüllt und auch die Fans der Band zufrieden stellen wird. Die Atmosphäre wird gut eingefangen und auch der Sound lässt keine Wünsche offen. 'World War Live – Battle Of The Baltic Sea' ist jedenfalls ein guter Beleg für die Durchschlagskraft, die SABATON seit jeher bei ihren Konzerten haben und macht Lust auf die nächsten Konzerte."

Weblinks
 Album-Seite bei Nuclear Blast
 Metalnews.de – Review
 Stormbringer.at – Review

Fußnoten

Album 2011
Album (Heavy Metal)
Livealbum
Sabaton-Album


Mihail Dan () a fost un pictor român. Artistul a fost un elev al lui Theodor Aman și a făcut parte din prima generație de elevi ai Școlii de Belle Arte din București împreună cu Sava Henția, Mihail Ștefănescu, Iacovache Constantinescu și Nicolae Iliescu. A participat la mai multe evenimente expoziționale ale Expoziției artiștilor în viață din anii 1865, 1870, 1872, 1874 și 1881. A pictat în special portrete la comandă, așa cum au fost cele ale lui Mihail Kogălniceanu și Dimitrie Bolintineanu.

Biografie
Există foarte puține informații despre viața artistului, ele fiind lapidare. Mihail Dan s-a născut în satul Pistești din Județul Gorj în anul 1840. Tradiția orală spune despre artist că ar fi fost pentru o vreme grăjdarul lui Theodor Aman. Acesta din urmă l-ar fi surprins desenând și mirat fiind de evidentul talent pe care-l dovedea, l-ar fi încurajat și i-a dat primele lecții de pictură.

Cu siguranță, Mihail Dan a fost unul dintre primii elevi ai Școlii de Belle Arte din București. Astfel, încă de la absolvirea primului an de studii, el a luat parte la Expoziția artiștilor în viață din anul 1865 alături de profesorii săi. Ion Frunzetti a emis ipoteza că pictorul Dan își începuse educația artistică cu mult înainte de înscrierea sa la Belle Arte. Tot Frunzetti a considerat că dacă este adevărat că Aman l-ar fi descoperit ca talent artistic, acest episod relevă meritele acestuia ca îndrumător și pedagog care a avut grijă de soarta tinerilor talente apărute din rândul oamenilor simpli ce nu trebuiau să fie menite a se pierde în anonimat. Istoricul de artă a precizat că Mihail Dan fiind lipsit de mijloace de existență, nevoit să lucreze ca grăjdar în oraș, a găsit în Theodor Aman providența.

Pe băncile Școlii de Belle Arte din București s-a făcut remarcat împreună cu colegii săi Sava Henția, Mihail Ștefănescu și Dumitru Marinescu. Dacă descoperirea sa ca talent într-ale picturii i se datora lui Aman, faptul că artistul s-a impus ca o valoare a timpului său este un merit personal. La Expoziția artiștilor în viață din anul 1865 a participat doar cu o lucrare intitulată Odaliscă privindu-se în apă. Cu aceasta s-a impus publicului vizitator și numele lui a slujit ca motiv chiar în momentul în care Școala de Arte Frumoase a fost desființată în anul 1866 din cauză de deficit bugetar. Numele lui Mihail Dan era argumentul pozitiv adus în articolele de presă din acea epocă pentru care se cerea ca instituția de învățământ trebuia redeschisă. Astfel în luna august 1866, Buletinul Instrucțiunii Publice a pledat într-un articol pentru reînființarea școlii aducându-l pe tânărul pictor Dan ca exemplu de talent care a progresat ca urmare a studiilor lui la școala desființată:
 "... Semnalăm atențiunei publice talentele unui june pictore, elevu alu de curentu desfințatei scole de pictură din Bucureșci. Acest june carele se numesce Danu promite a deveni un artistu de meritu. Fia-cine ne va da cuventu, va fi de părerea noastră, deca va fi vedutu unulu din deja înmulțitele esemplare, de portrete în oloiu alu Măriei Sele Domnitorului... Sciința coloritului este partea în care junele pictore escelă, desemnulu neci elu nu va lipsi pincelului seu, deca, veri-câtu de săracu și neîncuragiatu este, nu va negriji studiul, fără de care și geniul nu reușește a streluci... Scimu că sunt dile grele la noi în țeră pentru omulu care'și face din frumosu, cariera sea..."----- Buletinul Instrucțiunii Publice, București, august 1866
Ziaristul anonim a adăugat în continuare că Mihail Dan este:
 "... amoarea frumosului a triumfatu asupra pedeciloru materiale și lu-a aretatu lumei uimite... Curagiu și perseverință dle Danul... Astăzi pe câte doui, trei galbeni, tablourile. Deră ce? Magistrele dumitale, deja celebru, găsit'a cumpărători și încurajare pentru frumosele sele tablouri? Cându unui Amanu eși pune în totăriă o opera a sa favorită, și cu toate aceste încă auzim că n'a aruncatu caveletă și colori pe focu, este... tolerablu pentru Dta care începi, se fii nevoitu a lucra o septămână întreagă la un tablou carele nu scii de'lu vei putea vinde pe ceea ce ți-a trebuitu ca să trăesci în cursulu acelei septămâni! Deca Amanu, Tatarescu, etc, nu-și asvîrlă câtu colo cavaleta, Dta Domnule Danu, simți, nu este așa, că arta trăesce și fără budgetul Ministerului de Culte."----- Buletinul Instrucțiunii Publice, București, august 1866

În anul 1869, Mihail Dan a participat la concursul pentru obținerea unei burse în străinătate cu o lucrare intitulată Adam și Eva găsind cadavrul fiului lor Abel având ca principali contracandidați pe Mihail Ștefănescu și Sava Henția. Concursul a fost câștigat de Mihail Ștefănescu, Sava Henția obținând o mențiune. Astfel, Dan a rămas la București și s-a specializat în realizarea de portrete. Acestea îi puteau asigura existența, ele fiind singurele pentru care existau comenzi. Zece ani mai târziu, artistul a apărut în cataloagele expoziționale ca fiind profesor la Școala Centrală din București în perioada 1871-1881. Există mențiuni neconfirmate că Mihail Dan ar fi murit la Iași în anul 1883, unde a fost în ultima perioadă a vieții profesor la Liceul Național din localitate.

Opera

Neputând să obțină o bursă de studii pentru Apusul Europei, Mihai Dan și-a găsit un mod mediocru de trai ca profesor de desen și a continuat să facă portrete și mai rar pictură de gen așa cum au fost semnalate de presa timpului lucrările: Țărancă dormind pe un snop de grâu și Laptagiul. Aceste două lucrări au fost prezente la Expoziția Concordiei Române din anul 1880 din București. împreună cu încă un portret de bărbat al Domnului Nica tatăl.

La Galeria Muzeului Național de Artă al României se regăsesc mai multe lucrări realizate de Mihail Dan. Astfel, se găsește Portretul Mariei L. Piteșteanu făcut în anul 1862, lucrare care a provenit de la Muzeul Saint Georges. Acest portret este o pictură remarcabilă, putându-se vedea în ea calitățile de desenator înnăscut, precum și valențe de colorist excelent, toate fiind tributare, in opinia lui Ion Frunzetti, unei școli de pictură pe care Dan a găsit-o în atelierul maestrului său Theodor Aman. În portretul Mariei Piteșteanu se observă o soliditate constructivă ce tinde spre arhitectonic a suprafețelor în culori diferite, totul fiind coroborat cu incidențele de lumină ce cad în unghiuri diferite. Se vede în plus o grijă deosebită pentru calitățile materialelor pictate, dar și pentru psihologia personajului.

În Portretul lui Mihail Kogălniceanu, care este un bust văzut din față, brațele sunt încrucișate, fapt ce dovedește că Mihail Dan putea surprinde caracteristicile și calitățile fizionomiei unui personaj ce reprezintă o valoare de natură istorică și socială. Din cauza comenzilor cu care era asaltat și pe care le realiza fără o aplecare spre aprofundarea psihologică, portretul lui Kogălniceanu putea fi de o semnificație mai prestigioasă.

Portretul lui Dimitrie Bolintineanu a fost realizat în anul 1876, personajul fiind într-o poziție tipică de meditație poetică, având mâna stângă sub bărbie și mâna dreaptă în unghiul mâinii stângi. Deși acesta este un artificiu ieftin, calitățile psihologice ale lui Bolintineanu sunt redate cu o realistă precizie.

Activități expoziționale oficiale
Mihail Dan a participat la Expozițiile artiștilor în viață din anul 1865, 1870, 1872, 1874 și 1881, după cum urmează:
Expoziția artiștilor în viață din anul 1865 - a expus o lucrare intitulată Odaliscă privindu-se în apă.
Expoziția artiștilor în viață din anul 1870 - a participat cu trei portrete: Portretul doamnei Z, Portretul domnului I și Portretul doamnei Darvary. A primit Medalia de clasa a III-a împreună cu Sava Henția și Iacovache Constantinescu. Medalia de clasa I-a a fost obținută de Nicolae Grigorescu pentru Portretul marelui ban Năsturel Herescu și Medalia de clasa a II-a de Constantin I. Stăncescu pentru un portret desenat al lui Ion Heliade Rădulescu.
Expoziția artiștilor în viață din anul 1872 - a expus două portrete: Portretul doctorului Staicovici și Portretul lui V.A. Urechia. Pentru Portretul doctorului Staicovici a primit Medalia de clasa a III-a.
Expoziția artiștilor în viață din anul 1874 -
Expoziția artiștilor în viață din anul 1881 -

Incertitudini

  Anul nașterii pictorului Mihail Dan suferă de incertitudini cauzate de documentele primare pe care le-au studiat istoricii de artă. Astfel, cu ocazia participării sale din anul 1869 la concursul pentru obținerea unei burse în străinătate, în documentele care s-au păstrat la Arhivele Statului se menționează că artistul s-ar fi născut în județul Gorj în anul 1842. Alte documente, păstrate tot la aceeași instituție și care au fost elaborate cu ocazia Expoziției artiștilor în viață din anul 1865, precizează că Mihail Dan s-ar fi născut la Târgu Jiu. Anunțul de organizare a Expoziției artiștilor în viață din anul 1870 apărut în Telegraful român în data de 25 iunie 1870 a menționat tot Târgu Jiu ca localitate natală. În catalogul Muzeului Simu, pictorul apare cu specificația că era născut în anul 1840 în satul Pistești din Județul Gorj, fără a fi justificată în vreun mod acestă informație. Paul Rezeanu și Vasile Florea au afirmat că Mihail Dan ar fi trăit în perioada 1836 - 1885.Sorin Popescu a susținut într-un articol apărut în data de 27 septembrie 2010, că ar fi intrat în posesia unei scrisori care ar fi aparținut fiului lui Mihail Dan, Emanoil Dan. În scrisoare, acesta face precizarea că artistul s-ar fi născut în satul Pistești din Gorj în anul 1840.
  Ion Frunzetti a socotit că Mihail Dan ar fi decedat în anul 1883 la vârsta de 43 de ani. Paul Rezeanu și Vasile Florea considerând că perioada de viață a pictorului ar fi fost între anii 1836 și 1885, înseamnă că anul decesului fiind 1885, artistul ar fi murit la vârsta de 49 de ani. Mircea Deac a dat ca an al decesului, anul 1886, deci Mihail Dan a decedat la vârsta de 50 de ani. În scrisoarea lui Emanoil Dan, anul trecerii în neființă este același cu cel din specificația lui Frunzetti.

In memoriam
 O stradă din sectorul cinci al Bucureștiului poartă numele artistului.

Note
  Informația despre faptul că Mihail Dan ar fi fost grăjdarul lui Theodor Aman, a fost preluată de istoricul și criticul de artă Ion Frunzetti de la pictorul Alexandru Moscu, cel care a îndeplinit funcția de Director al Muzeului Aman din București. Din precizările lui Frunzetti, Moscu ar fi deținut aceste detalii din viața lui Dan de la pictorul Pandele Ioanid. Ioanid a fost contemporan cu evenimentele expoziționale la care a participat și Mihail Dan.
  Lucrarea se află la Galeria Națională sub numărul de inventar nr. 1534, ulei/pânză, 0.865x0.705 m, semnată pe latura stângă pe verticală în mijloc cu roșu: M.D. 1862.

Referințe

Bibliografie
Ion Frunzetti: Arta românească în secolul XIX, Editura Meridiane, București, 1991, pag. 276-287, ISBN 973-33-00-77-2
 Sorin Popescu: Restituiri din alt veac – Pictorul gorjean Mihail Dan - articol în www.gorjeanul.ro din 27 septembrie 2010, accesat 29 octombrie 2017

Legături externe

Pictori români
Nașteri în 1840
Decese în 1883

Mihail Dan


La Coubre patlaması, 4 Mart 1960 tarihinde öğleden sonra saat 3:10 sularında La Coubre silah gemisi (4,310 tonluk Fransız yapımı bu gemi, 76 tonluk cephane taşıyordu) Havana'da boşaltılırken infilak etti.

Patlayıcı askeri gereçleri doğrudan limana boşaltmak liman yönetmeliklerine aykırıdır, çünkü bu tip patlayıcı kargo taşıyan gemilerin infilak etme riski olduğundan tam liman kenarından değil de biraz daha uzak bir mesafeden öncelik yüksek riskli kargolara verilerek mavnalarla taşınması gerekmektedir. Görülen o ki Tallapiedra rıhtımına doğrudan boşaltma kararını Küba Silahlı Kuvvetler (FAR)'in başkanı Raul Castro vermiştir. Her ne kadar bu hatalı bir durum olsa da patlamanın sebebi tam olarak bilinmemektedir. Küba hükûmeti olayın CIA ajanı olduğu iddia edilen William Alexander Morgan'ın sabotajı olduğunu söylemiştir. .

Patlama sırasında Che Guevara başkanı olduğu Küba Merkez Bankası'na gitmekteydi, olaydan hemen sonra yolunu değiştirerek patlamanın olduğu yere geldi. Doktor Che gelir gelmez ciddi biçimde yaralanmış tayfaya ve liman işçilerine tıbbi yardımda bulunmaya koyuldu.

İlk patlamadan yarım saat sonra, o sırada yüzlerce kişi yaralananlara yardım etmeye ve gemiyi kontrol altına almaya çalışıyordu, daha güçlü ve ölümcül bir ikinci patlama meydana geldi. Toplam ölü ve yaralı sayısı tam olarak bilinmese de, en az 75 kişinin hayatını kaybettiği ve 200 civarında da kişinin yaralandığı sanılmaktadır.Bu yaralıların birçoğu daha sonra hayatını kaybetmiştir ve ölü sayısı 150'nin üzerine çıkmıştır. Tam olarak kimse sorumlu tutulamamıştır; ama CIA'nın parmağı olduğu şüphesi her zaman akıllarda yer almıştır.

Kaynakça

Konuyla ilgili yazılan eserler
 Fursenko, Aleksandr and Timothy J. Naftali. One Hell of a Gamble: Khrushchev, Castro, and Kennedy, 1958-1964, W.W. Norton & Company, Inc., New York: 1998, ISBN 0-393-31790-0.

Dış bağlantılar

Küba'daki patlamalar
Amerika Birleşik Devletleri-Küba ilişkileri
Küba tarihi
Havana

La Coubre Patlaması


Boj za Novi Farkašić je hrvatski dokumentarni film iz 2017. godine u proizvodnji HRT-a o bitci za Novi Farkašić 17. listopada 1991. godine. Redatelj je Zdravko Mustać, izvršna producentica Sunčana Hrvatin Kunić, scenarist Tomislav Šulj, direktor fotografije Mario Britvić, skladatelj Matej Meštrović, snimatelji bespilotnom letjelicom Branko Drakulić i Vladimir Franjić, montažerka Anita Jovanov.

Film prikazuje događaje nakon što su listopada 1991. zrakoplovi JNA napali Banske dvore u pokušaju atentata na hrvatskog predsjednika Franju Tuđmana. Uslijedili su pojačani napadi na svim bojišnicama, posebno na Banovini. Nakon pada Petrinje i Topuskoga, nakon pada Viduševca, velikosrpski agresor osvajao je sela jedno za drugim, i crta bojišnice se povlačila prema Pokupskom.

JNA je planirala prijeći Kupu čime bi se otvorio koridor ka Velikoj Gorici, odnosno Zagrebu. Hrvatski branitelji, domicilni i malobrojni gardisti Prve satnije 2. brigade ZNG-a zvani Crne mambe utvrdili se u Novome Farkašiću 17. listopada 1991. godine. Izdržali su redom zrakoplovni, topnički i kombinirano tenkovsko-pješački napad koji je trajao cijeli dan. Brojčano obilato nadmoćniji velikosrpski agresor napadao je iz smjera Vratečkog i Donjih Mokrica. Agresora su porazili, onesposobivši mu više tenkova i borbenih vozila i iz stroja izbacili veliki broj pješaka. Branitelji su zatim izvidili neprijateljske pričuvne položaje odakle su agresori spremali novi napad. Malobrojni hrvatski branitelji izvršili su smjeli protunapad natjeravši protivnika u panični bijeg, nanijevši mu nove velike gubitke. Pobjeda kod Novoga Farkašića zaustavila je daljnji prodor velikosrpskoga agresora na Banovini. Ova se veličanstvena pobjeda danas se obilježava kao Dan branitelja Sisačko-moslavačke županije.

Izvori

Hrvatski dokumentarni filmovi o Domovinskom ratu

Boj za Novi Farkašić (dokumentarni film)


Šejh Sudi, bh. povjesničar, iz obitelji hrv. nacionalnosti muslimanske vjere. Poznat po tome što bosanskohercegovačke Muslimane smatra Hrvatima. Rođen je u selu Sudićima, Sarajevski kotar. Po imenu sela potječe mu ime. Na glasu je među muslimanima Herceg-Bosne kao povjesničar ("muverrih"). Od njega se u rukopisu sačuvalo historiografsko djelo gdje se izrično spominje hrvatstvo Bosne i Hercegovine i kako su Bošnjaci i Hercegovci Hrvati.

Izvori

Bosanskohercegovački povjesničari
Hrvati u Bosni i Hercegovini

Šejh Sudi


Bluesky ou Bluesky Social (, tradução livre) é um protocolo de uma nova rede social em desenvolvimento, com o destaque de ser uma rede social descentralizada (ou seja sem um dono, todos os usuários são independentes e livres para criar conteúdo).

Organizada pelo Twitter como uma organização spin-out, foi anunciada em 2019, contratou seus primeiros funcionários em 2021 e incorporada como uma empresa de utilidade pública separada no mesmo ano. A Bluesky lançou seu primeiro lançamento antecipado, o Authenticated Data Experiment (ADX), para ao público em meados de 2022.

Em 2023, a BlueSky ganhou reconhecimento, principalmente dos usuários do Twitter, que estavam insatisfeitos com a aquisição do Twitter por Elon Musk.

O aplicativo da BlueSky para Android e para iOS já está disponível nas lojas de aplicativos, mas até o momento usuários de Android só podem fazer cadastro na rede utilizando um convite, pois ainda está na fase beta.

Descrição

Bluesky é uma iniciativa para desenvolver um protocolo de rede social descentralizado, de forma que múltiplas redes sociais, cada uma com seus próprios sistemas de curadoria e moderação, possam interagir com outras redes sociais por meio de um padrão aberto. Cada rede social que usa o protocolo é um "aplicativo". O protocolo não usa tecnologia blockchain.

O Authenticated Data Experiment (ADX), em meados de 2022, foi o primeiro lançamento de protocolo inicial da Bluesky. Ele usa repositórios de dados pessoais, controlados por usuários individuais, que as redes sociais podem opcionalmente suportar. Destina-se a permitir que os usuários compartilhem mensagens ou recursos de engajamento em redes sem afetar a moderação da rede doméstica do usuário, pois os dados são armazenados no repositório de dados pessoais e as redes podem limitar quais mensagens são permitidas.

A Bluesky lançou um versão simplificada como o protocolo AT em outubro de 2022 com documentação técnica.

História
CEO Jack Dorsey anunciou pela primeira vez a iniciativa Bluesky em 2019 no Twitter. O CTO da empresa (e posteriormente CEO) Parag Agrawal era seu gerente, convidando inicial membros do grupo de trabalho no início de 2020. O grupo se expandiu com representantes de redes descentralizadas existentes Mastodon e ActivityPub. O grupo coordenado através do software de chat Element. O Twitter contratou Jay Graber, da rede social descentralizada Happening, para compor uma revisão técnica do cenário da rede social descentralizada.

Twitter
Software social
Projetos de computação distribuída

Bluesky (protocolo)


Die folgende Liste gibt die Präsidenten des Landes wieder, das allgemein als Demokratische Republik Kongo oder Kongo-Kinshasa bekannt ist. Offiziell hieß der Staat von seiner Unabhängigkeit 1960 bis 1964 "Republik Kongo", von 1964 bis 1971 "Demokratische Republik Kongo" und von 1971 bis 1997 "Republik Zaire". Seit 1997 nennt sich das Land wieder "Demokratische Republik Kongo".

!
Kongo, Demokratische Republik

Liste der Staatsoberhäupter der Demokratischen Republik Kongo


سيرجي فلاديميروفيتش إليوشن  هو مصمم طائرات روسي قام بإنشاء شركة تصنيع الطائرات الروسية إليوشن. ولد سيرجي في 30 مارس 1894 في ديلياليفو، روسيا، وأصبح مهتما بالطيران في عام 1910، وتأهل ليصبح طيارا خلال الحرب العالمية الأولى. وبعد حصوله على شهادة الهندسة من أكاديمية مهندسي القوات الجوية عام 1926 بدأ بتصميم الطائرات. تم استخدام طائرتيه، إي أل-2 الهجومية وإي أل-4 قاذفة القنابل، بكثافة خلال الحرب العالمية الثانية. وبعد الحرب تم استخدام طائرتي الركاب إي أل-18 و إي أل-62 بشكل واسع. توفي في عام 1977، ودفن في مقبرة نوفوديفيتشي في موسكو.

مراجع

انظر أيضا
 فلاديمير إليوشن

أبطال العمل الاشتراكي
أعضاء الحزب الشيوعي السوفيتي
إليوشن
بلاشفة
حائزون على جائزة الدولة السوفيتية
حائزون على جائزة ستالين
حائزون على جائزة لينين
حائزون على وسام الراية الحمراء
حاصلون على وسام سوفوروف (الدرجة الثانية)
حاصلون على وسام سوفوروف من الدرجة الأولى
حاصلون على وسام لينين
ساسة سوفيت
كولونيلات عامة سوفيت
مخترعون روس
مدفونون بمقبرة نوفوديفيتشي
مهندسو طيران وفضاء جوي سوفيت
مهندسو فضاء روس
مهندسو ميكانيك روس
مهندسو ميكانيك سوفيت
مهندسون روس في القرن 20
مهندسون في القرن 20
مواليد 1894
وفيات 1977
وفيات في موسكو

سيرجي إليوشن