The Infinity Gauntlet is an American comic book storyline published by Marvel Comics. In addition to an eponymous, six-issue limited series written by Jim Starlin and pencilled by George Pérez and Ron Lim, crossover chapters appeared in related comic books. Since its initial serialization from July to December 1991, the series has been reprinted in various formats and editions.

The series' events are driven by Thanos, a nihilist character created for Marvel by Starlin in 1973. When Starlin began writing Silver Surfer in 1990, he and Lim began a new plot with Thanos that developed over sixteen monthly issues and a spin-off limited series before concluding in The Infinity Gauntlet. Pérez was brought in to draw The Infinity Gauntlet because he had more name recognition among fans and because Lim already had a full schedule. However, after completing three issues and part of the fourth, his own busy schedule and dissatisfaction with the story led to him being replaced by Lim.

At the start of The Infinity Gauntlet, the character Thanos has collected all six Infinity Gems and attached them to his gauntlet. With their combined power, he becomes "like a god" and sets out to win the affection of Mistress Death, the living embodiment of death in the Marvel Universe. When Thanos uses his powers to instantly erase half of the life in the universe from existence, Adam Warlock leads Earth's remaining heroes against him. After the Infinity Gauntlet is stolen by Thanos' villainous granddaughter Nebula, Thanos aids the remaining heroes in defeating her. Warlock ultimately obtains the Infinity Gauntlet and uses its power to undo all it had wrought.

The series was a top seller for Marvel during publication and was followed by two immediate sequels, The Infinity War (1992) and The Infinity Crusade (1993). The story's events continued to be referenced in other Marvel comics for decades. The Infinity Gauntlet remained popular among fans, warranting multiple reprint editions and merchandise, with its themes and plot elements adapted into video games and animated cartoons. Most notable among later adaptions was the "Infinity Saga" of the Marvel Cinematic Universe, which incorporated elements of the original comic story into a saga that spanned across almost two dozen connected films.

Publication history

Background
Artist and character creator Jim Starlin introduced Thanos, the antagonist for the storyline, in Iron Man #55 (Feb. 1973). After providing artwork for Captain Marvel #24-25 (Jan. 1973 & March 1973), Starlin co-wrote #26 (May 1973) with Mike Friedrich, which featured Thanos (albeit in shadow) on a Marvel cover for the first time and marked the beginning of what was later coined the "First Thanos War". After collaborating with Friedrich for #27-28 (July & Sept. 1973), Starlin then assumed sole writing duties for the remainder of the sweeping cosmic saga from #29-33 (Nov. 1973 - July 1974). Starlin completed one final issue, #34 (Sept. 1974), laying the groundwork for the eventual death of hero Mar-Vell before leaving the title.

In 1975, Starlin began writing and illustrating Strange Tales, in which he made significant changes to Adam Warlock and developed the concept of the Infinity Gems. He reintroduced Thanos first as Warlock's ally, then as his opponent in a storyline known as the "Second Thanos War" that ran until 1977. Because of their close publications dates, the two Thanos Wars are sometimes considered to be one storyline. Both are considered "cosmic" stories and led to Starlin being known as a "cosmic" writer.

Starlin stopped doing regular work for Marvel after concluding the Second Thanos War, but occasionally returned for short projects like The Death of Captain Marvel graphic novel and creator-owned work such as the cosmic-themed Dreadstar through the 1980s. He also did high-profile work for DC Comics, such as Batman and Cosmic Odyssey. In a 1990 interview, Starlin described himself as the only writer who had been allowed to "play" with Thanos, although other writers had scripted some tie-in chapters of the First Thanos War.

Artist George Pérez was known for drawing comics featuring large casts. He came to prominence in the 1970s while working on Marvel's The Avengers before leaving the company to work for DC on comics such as New Teen Titans, Crisis on Infinite Earths, and Wonder Woman. In 1984, Pérez entered into an exclusive contract with DC.

Development

In 1988, Steve Englehart was writing Silver Surfer and one of his storylines involved the Infinity Gems and Mistress Death. He asked to do a follow-up story in which Mistress Death uses Thanos to get revenge on her enemies, but editor-in-chief Tom DeFalco did not know who Thanos was. After the character was explained to him, DeFalco liked the idea so much he wanted to save it for a big summer crossover instead. At the time, he indicated he wanted to format it like "The Evolutionary War", a 1988 crossover spread across the annuals of several continuing series instead of being contained in a limited series.

Because of his ties to Thanos, Starlin was invited back to Marvel to write the story. He returned because work for him at DC declined following his controversial Batman story "A Death in the Family" (1988). Inspired by the work he had recently read from Wilhelm Reich, Carlos Castaneda, and Roger Zelazny, Starlin wanted to purposely add multiple layers to his characters instead of letting them be one-dimensional. He started writing with the expectation that this would be the last Thanos story "at least for a while" and was midway through the story before deciding to make Thanos an antihero. He began writing Silver Surfer with #34, cover dated February 1990. To organize various plot and character points, Starlin made notes on 3-by-5 cards and pinned them to a large piece of plywood hung on his wall.

His first four issues reintroduced Thanos and was seen as the first act of the new Thanos storyline. Initially, Starlin and editor Craig Anderson planned for the story to remain contained within the pages of Silver Surfer. However, Marvel had recently been purchased and the new owners mandated all intellectual property be exploited to maximum potential. To capitalize on the excitement surrounding Thanos' return, the start of the second act was spun off into the two-issue limited series The Thanos Quest, released in September–October 1990. The plot then continued in Silver Surfer beginning with #44. In Silver Surfer #46, Starlin reintroduced Adam Warlock and his supporting cast. He included these characters because the editors told him a different writer wanted to use them, and they would let him unless Starlin wanted to use them first. Starlin was not impressed by the other writer's work, so he wrote Warlock into his Silver Surfer story. Again, Starlin and Anderson planned to conclude the story in the pages of Silver Surfer, but the sales of The Thanos Quest were high enough to warrant another spin-off. After Silver Surfer #50, the plot moved to The Infinity Gauntlet. Because of the time required to write the double-length issues of the limited series and coordinate tie-ins, Starlin had to leave the Silver Surfer series at #52.

The editorial staff did not oppose Starlin's plans to kill major characters, which he believes was partly because Anderson did not share many of the details with his peers. They did, however, limit which of "their" characters could have roles in the story. For example, X-Men editor Bob Harras only allowed Cyclops and Wolverine to appear. The rest of the X-Men cast were said to have died off-panel or were otherwise omitted. This hesitancy was due in part to the relative newness of summer crossover events.

Early in 1990, Marvel writer/artist Jim Valentino learned Pérez's contract with DC Comics was going to lapse in August. He contacted Pérez by phone to see if he would ink a cover to Guardians of the Galaxy, a comic Valentino was currently writing and penciling. Pérez agreed, and Valentino told Anderson, who was his editor as well. Anderson passed the information to Starlin, who called Pérez and asked him to pencil The Infinity Gauntlet. After working out the terms with Starlin and Anderson, Pérez agreed to the job. In a 1991 interview, Pérez speculated that he was asked because Silver Surfer and The Thanos Quest penciller Ron Lim was too busy.

Although Pérez had been a writer as well as an artist at DC, he agreed to work from full scripts on The Infinity Gauntlet because he was not familiar with the current state of Marvel's characters. From the start, Pérez found this to be "a little aggravating, unnerving" because of the limits it placed on him. Starlin gave Pérez a suggested layout with each script to use as a reference, but Pérez ignored them with Starlin's blessing. He exercised this freedom by giving some scenes more space, even moving some scenes to different pages. Early in the collaboration, he asked Starlin to increase the number of characters appearing in the story so his return to Marvel would "knock fans' socks off".

Before he had finished the interior art for the first issue, Pérez completed the pencils for the covers of the first four issues so they could be used as promotional material. Some characters however, like Thor and Quasar, were wearing outdated costumes on the cover of issue three and had to be redrawn, which frustrated Pérez. Starlin, who wrote the scripts months in advance, also had to make minor adjustments to account for changes in these characters and the Hulk.

During production, Pérez was also pencilling War of the Gods for DC Comics, a Wonder Woman miniseries he described as a "highly stressful" project. When he began to fall behind schedule on both projects, he wanted to quit War of the Gods but was contractually bound to complete it. Partly because of this stress and partly because he had become used to writing as well as drawing, he became overly critical of Starlin's scripts for The Infinity Gauntlet. Specifically, he felt Starlin's story could be told in fewer pages. His lack of enthusiasm caused him to work slower, and he began to fall further behind schedule. In a 1994 interview, Starlin claimed Pérez was also acting at the time, and that it was a bigger contributor to the scheduling problems than the comic workload.

When it became clear Pérez would not be able to meet the deadline for the fourth issue, DeFalco asked regular Silver Surfer penciler Ron Lim to complete issue #4. DeFalco suggested to Pérez that he let Lim finish the rest of the series, and Pérez agreed. Pérez understood the decision, and later said he felt Lim should have been the artist from the beginning. He inked Lim's covers for the remainder of the series to show he bore no ill will to the change. Although Marvel's management had feared sales would fall with Pérez's departure, sales rose with each issue Lim penciled.

To replace Pérez, Lim had to leave his regular work on the monthly Captain America title. He cites Pérez as an influence and found it "nerve-wracking" to supplant him. Furthermore, the large cast made it the most challenging book he had done at that point in his career. Still, he said it was "fun" to work on the design aspect of The Infinity Gauntlet.

When he saw sales figures for The Infinity Gauntlet, Pérez realized he probably lost "tens of thousands of dollars" in royalty payments by leaving the series, but he was glad he left when he learned a sequel was in development. Like Starlin, Pérez had begun the project believing it would be the last Thanos story, but management asked Starlin to write a sequel midway through The Infinity Gauntlet. By then, Starlin had already conceived follow-up concepts and knew it would be a trilogy.

Publication
Marvel's marketing department "mega-hyped" the event in the months leading up to its release according to journalist Sean Howe. One aspect of the promotion was sending direct market retailers a kit that included a letter explaining details of the series, a sign to put by their cash register, and a poster 18 inches wide by 36 inches tall. Marvel's promotional magazine Marvel Age featured a cover story on The Thanos Quest and a Starlin interview in issue #91 (August 1990), followed by a 7-page preview of The Infinity Gauntlet #1 in Marvel Age #99 (April 1991). The limited series was the cover feature on Comics Interview #94 in March 1991, which included an 8-page interview with Pérez, and Starlin was interviewed about the series in Comics Scene #19 in June 1991.

Marvel initially planned to release a new issue every two weeks, but deadline problems caused it to be released monthly. Issues had cover dates between July and December 1991. Each one was available in both comic specialty stores and newsstand outlets, which included supermarkets and department stores. Although the cover artwork was identical, the edition sold in comic stores featured additional artwork celebrating Marvel's 30th anniversary in place of the barcode found on the newsstand edition. Each issue was 48 pages and cover priced at $2.50 at a time when the average Marvel comic was $1.00 and 24 pages.

Tie-ins

To emphasize the connected nature of Marvel's comic books, some ongoing series starring characters seen in The Infinity Gauntlet had contemporary issues showing the main plot from a different point of view or explored consequences of certain events. These issues featured a triangle in the top right corner of their covers with the text "An Infinity Gauntlet Crossover". These tie-in issues did not impact the plot of the limited series and could be skipped by readers without creating plot holes. Doctor Strange #36 was set after the events of the crossover and featured a triangle with the text "An Infinity Gauntlet Epilogue".

Unlike other crossovers such as Armageddon 2001 (the competing 1991 crossover from DC Comics) which featured tie-ins from a large majority of their publisher's comics, The Infinity Gauntlet only had tie-ins from titles which were obviously connected to the event or from series which needed a boost in sales. According to Pérez, Marvel's stance toward the tie-ins for its low-selling titles was "do it or else". Starlin remained uninvolved, allowing writers to choose for themselves which story elements they wished to use.

Collected editions and reprints
The miniseries was collected in a single softcover edition released in 1992, a time when publishers only collected popular storylines, to coincide with the release of The Infinity War. It featured new cover artwork by Pérez and was enhanced with a foil logo. Later printings of this edition had alternate cover artwork from different artists and no enhancement. The suggested retail price was $19.95, five dollars more than the total retail cost of the individual issues it contained.

In June 2006, Marvel issued a second softcover collected edition to coincide with Keith Giffen and Andrea Di Vito's Annihilation, another cosmic-level crossover starring Thanos and the Silver Surfer. This edition used the cover art from issue #1 and had a trade dress matching the first edition collections of The Infinity War and The Infinity Crusade which were released shortly thereafter. The month of release, it sold approximately 2,500 copies and was the 33rd best-selling comic collection according to Diamond Distribution. Marvel also released a Silver Surfer collection subtitled "The Rebirth of Thanos" in 2006 which included four of the lead-in issues of Silver Surfer and both issues of The Thanos Quest.

A hardcover edition was released in July 2010 as the 46th entry in the Marvel Premiere Classic line. Like other volumes in this line, it was available with two covers. The standard cover featured a cutout of Thanos from the cover of issue #4 on a black matte background with the title in metallic red ink. The variant cover, available only to comic specialty stores, featured the cover art for issue #1 reduced 50% against a black and red background. The variant edition identifies itself as #46 on its spine.

In 2011, a third edition softcover was released. The first printing reused the artwork from the standard cover of the Premiere Classic edition. Later printings reverted to the cover of issue #1. Sales of the collection spiked after Thanos appeared in a post-credits scene of the 2012 film The Avengers, causing The Infinity Gauntlet to be the highest selling graphic novel in 2018.

In July 2014, Marvel released a 1,248 page omnibus edition of The Infinity Gauntlet. In addition to the limited series, the hardcover also included the lead-up issues of Silver Surfer, The Thanos Quest, and the marketed tie-ins. It also included additional issues of Incredible Hulk, Quasar, Silver Surfer, and Spider-Man which had not been advertised as tie-ins, but were connected to the story. Comic book stores and the book market both offered a regular edition featuring the cover to The Infinity Gauntlet #1, but comic shops could also order a variant edition with cover art by Starlin.

The first issue of The Infinity Gauntlet was included in the initial wave of Marvel's "True Believers" line in April 2015. Consisting solely of reprints offered at a discount price, comic books in this line are meant to introduce newer readers to the most popular titles in Marvel's history. A new printing was paired with a "True Believers" reprint of Silver Surfer #34 in April 2018.

In March 2018, Marvel released an Infinity Gauntlet slipcase set of 12 hardcover books. Material began with Infinity Gauntlet Prologue and included all three Infinity crossovers, their tie-ins, intervening material, and a 528-page "companion" hardcover. The Infinity Gauntlet Prologue was released independently of the set at the same time.

A deluxe paperback was released in February 2019. It contained the miniseries and additional content discussing the creation of the series.

Plot
Resurrected by Mistress Death to correct a perceived imbalance between life and death, the Mad Titan Thanos first encounters the Silver Surfer, and subsequently fakes his own death to proceed without interference. Thanos decides to reacquire the six Infinity Gems that he had previously used as a simple weapon. After defeating several of the Elders of the Universe and the In-Betweener, Thanos regains the gems and now has control over the six aspects of existence: Time, Space, Mind, Soul, Reality and Power. Ironically, now that Thanos is in possession of his "Infinity Gauntlet", Death advises him via an intermediary she cannot speak directly to him as he is now her superior.

When the Silver Surfer learns that Thanos is still alive and confronts him, Thanos traps the Silver Surfer's soul inside the Soul Gem. On "Soul World", the Silver Surfer encounters former enemy of Thanos, Adam Warlock. Warlock returns the Surfer to his body and promises to help defeat Thanos. The Surfer races to Earth to warn super-team the Avengers about the coming threat. Demonic entity Mephisto senses the power in the Infinity Gauntlet and offers to instruct Thanos in its use, while secretly waiting for an opportunity to steal it for himself.

Angry at Mistress Death's rejection, Thanos creates a shrine in her image, and then traps and burns Nebula – who pretended to be his "grand-daughter" – as an offering. When still rejected, Thanos in a fit of rage destroys several stars and then remembers the reason Mistress Death wanted him. With only the snap of his fingers, Thanos eliminates half of all living beings in the universe. The Surfer warns Doctor Strange about Thanos and encourages him to summon Earth's heroes. Cosmic entities Galactus and Epoch seek the source of the sudden imbalance, while Warlock and companions Gamora and Pip the Troll leave Soul World and occupy recently dead humans on Earth, reviving and altering the bodies to match their former appearance. Warlock appears before Doctor Strange and claims Thanos can only be defeated if Earth's remaining heroes unite under his command.

Warlock meets with a group of cosmic entities, who, despite the reluctance and withdrawal of the Living Tribunal and Eternity, agree to attack Thanos. The combined heroes attack while Warlock and the Surfer observe, with Thanos almost defeated after heeding Mephisto's advice to limit his power to demonstrate his devotion to Death, until Dr. Doom, a part of the team working against Thanos, arrogantly tries and fails to steal the gauntlet, to which Thanos then knocks Doom throughout all of space and kills most of the heroes.

After the heroes fail, the cosmic entities attack, with Mephisto and Mistress Death also joining in the assault on Thanos. Thanos, however, traps all the entities in stasis and changes the shrine to feature himself instead of Mistress Death. Believing he has defeated all of his enemies, Thanos separates his consciousness from his body and assumes an astral form taking the place of Eternity. Nebula uses this opportunity to steal the now-discarded Infinity Gauntlet. After restoring herself, Nebula banishes Thanos to drift through interstellar space, but he is rescued and brought to Earth by Doctor Strange. Warlock advises Thanos that whilst in Soul World he was able to examine the Titan's soul. Courtesy of his bond with the Soul Gem, Warlock knew Thanos would eventually lose the Infinity Gauntlet because, at his core, Thanos felt himself unworthy of the power. Overwhelmed by this revelation, Thanos agrees to help Warlock, Doctor Strange, and the Silver Surfer oppose Nebula.

Thanos tricks Nebula into restoring the universe to its prior condition, inadvertently reverting into a burn victim in the process. Nebula wills herself back to health before Thanos can retrieve the gauntlet, but during this distraction Warlock returns to Soul World and uses his connection to the gem to create disharmony between the other gems. This causes Nebula to remove the gauntlet, which an emerging Warlock claims for himself. Preferring death to imprisonment, Thanos apparently dies in a suicide bomb blast. The heroes have reservations about Warlock keeping the gauntlet, but he returns them to Earth. Warlock then travels 60 days into the future to visit an unnamed planet where Thanos is living as a farmer. Thanos advises Warlock he has given up his quest for power and plans to lead a quiet, introspective life.

Reception

At release
The Infinity Gauntlet was an instant success and became one of the most influential storylines in comics from the 1990s. Both of the nationwide comic distributors at the time (Diamond Distribution and Capital City Distribution) reported each issue was one of their top ten sellers for the month of its release. When Capital City released their top 100 best selling single issues of 1991, Infinity Gauntlet issues fell between the 42nd and 64th positions. Aside from the first issue of The Punisher War Zone, all of the higher ranked entries were issues of Spider-Man, Robin II: The Joker's Wild!, or the X-Men franchise. Wizard, a comic magazine known for embracing speculation in the comic market, listed The Infinity Gauntlet #1 as the ninth "Hottest Book" in September 1991, and two lead-in issues of Silver Surfer were ranked sixth and tenth. The first issue's resale value rose above its $2.50 cover price in the back issue market, plateauing around $9 or $10 in late 1992.

The debut issue of the follow-up series, Warlock and the Infinity Watch, was the top recommendation from Wizard for December 1991. It led directly into the first sequel, The Infinity War, which began in June 1992. The next sequel, The Infinity Crusade, began in June 1993. The tie-ins  to The Infinity Gauntlet also sold well, leading the editors who had put limits on characters appearing in The Infinity Gauntlet to request their books tie in to its sequels. Although both sequels sold well, they were viewed by critics like Wizards Pat McCallum as being motivated by sales rather than storytelling because of their excessive tie-ins and slow narratives.

In later years
By the end of the decade, interest in the continuing story dwindled, with sequels poorly received by fans, and Warlock and the Infinity Watch canceled in 1995. The same year, Marvel moved the Infinity Gems from their main continuity to an alternate universe called the Ultraverse, a property Marvel acquired when it bought Malibu Comics. The Ultraverse comics were then canceled in 1996. By 1998, Wizard was no longer listing Infinity Gauntlet in its monthly price guide. The first edition of the paperback collection saw its last printing in 1999.

The iconography of the gauntlet remained popular, however. When Marvel partnered with fellow Disney subsidiary ESPN to create promotional images for the 2010–11 NBA season, the October 22, 2010 issue of ESPN: The Magazine included an advertisement showing Kobe Bryant wearing the gauntlet. When IGN released an unranked list of the all-time best comic book events in 2011, The Infinity Gauntlet was included and was noted for being "a template on which all future cosmic events were based". Its lasting appeal is often attributed to Pérez's artwork and Starlin's unusual treatment of classic heroes.

When Thanos made a cameo appearance in the 2012 film The Avengers, there was renewed interest in The Infinity Gauntlet. This was further heightened in October 2014 when the title of the third and fourth Avengers films were revealed to be Infinity War – Part I and Infinity War – Part II. As the 2018 release of Infinity War neared, several comic news websites produced articles explaining the storyline and speculating on which elements would be included in the adaptation. The renewed attention from the films made the paperback collection of The Infinity Gauntlet the best-selling graphic novel in 2018.

Not all evaluations were positive – in a 2013 review for Multiversity Comics, Drew Bradley felt the story was "only great" if read in its entirety. At the time of his article, the collected edition of Act One was out of print, with much of Act Two not been reprinted in any form. Bradley felt the story would not live up to its hype if readers skipped the lead-in material. Writing for Digital Spy, Hugh Armitage complained about the comic's lack of real consequences, calling it "essentially [...] a really bizarre love story".

Legacy in comics
Aside from its immediate spin-off and sequels, the events of The Infinity Gauntlet have impacted storylines in later comics, including Thanos in 2003, Avengers (vol. 4) in 2011, and Secret Wars in 2016. Several of these later stories have downplayed the power of the gauntlet, often showing someone possessing it being beaten by a more powerful opponent.

The storyline from The Infinity Gauntlet has been revisited by other comic books in the years since its release. The series What If...?, which explores alternate outcomes to important events in the Marvel Universe, featured several issues in which different characters stole the gauntlet from Thanos or obtained it in another fashion. Beginning in August 2010, writer Brian Clevinger and artist Brian Churillathe retold the story for a younger audience in the four-issue limited series Avengers and the Infinity Gauntlet as part of the Marvel Adventures imprint. He used the basic framework of the story, but purposefully wrote it in a fashion that did not invite comparisons to the original, with which he did not believe he could compete. During the 2015 crossover Secret Wars, a five-issue limited series by Gerry Dugan and Dustin Weaver reused the title and featured similar elements.

Merchandise
During initial publication, Tenacity Incorporated offered a licensed black T-shirt featuring cover artwork from the series. It was available exclusively through ads placed in Marvel comics. The front side had the cover artwork from issue four, and the back had the cover artwork from issue three.

Although no contemporary toys were created for the series, several Thanos action figures have been created in the years since that include the Infinity Gauntlet either as an accessory or as part of the sculpt, such as the 12 inch Marvel Select toy and the 2 inch Super Hero Squad toy. In 2011, a Marvel Universe toyline two-pack included Thanos, Warlock, an Infinity Gauntlet accessory for Warlock, and a reprint of The Infinity Gauntlet #3. Some toy sets have incorporated the series logo on their packaging, such as the 2009 Minimate set with Thanos, Warlock, Mephisto, and Drax the Destroyer or the San Diego Comic Con exclusive set with Marvel Universe editions of Thanos, Mistress Death, Eros, Nebula, and a wearable Infinity Gauntlet made of foam.

A variety of licensed merchandise shaped the like Infinity Gauntlet has been created as well, including a coin bank and earrings from Think Geek, a bottle opener from Diamond Select Toys, a coffee mug from Entertainment Earth, and an oven mitt from Loot Crate.

Adaptations
Capcom adapted the storyline into two video games shortly after its release. The first, Marvel Super Heroes, was a fighting game released as an arcade game in 1995 before being ported to Sega Saturn and PlayStation in 1997. The second, Marvel Super Heroes In War of the Gems, was a beat 'em up released in 1996 for the Super Nintendo Entertainment System.

After the animated television series The Super Hero Squad Show introduced an "Infinity Sword" in its first season, its second season (2010–2011) loosely adapted The Infinity Gauntlet. Griptonite Games released a tie-in video game, Marvel Super Hero Squad: The Infinity Gauntlet, for several platforms in 2010.

In October 2011, WizKids announced they would adapt The Infinity Gauntlet into an organized play tournament for their collectible miniatures game Heroclix in 2012. Vendors who wanted to participate qualified for free game kits by purchasing a minimum amount of new Heroclix booster packs. It began in January and a new round was held once a month through August. At each round, players received a special game piece for participating and winners received limited edition pieces based on characters from the storyline. The eight participation pieces could be combined to create Thanos' shrine to Death and featured all of the gems. At the time of release, it was the largest Heroclix tournament.

In 2014, the early episodes of the second season of the animated cartoon Avengers Assemble adapted the storyline. It also included elements from the Thanos-centric 2013 crossover comic series Infinity written by Jonathan Hickman and penciled by Jim Cheung, Jerome Opeña, and Dustin Weaver, such as Thanos' allies, the Black Order.

Capcom released Marvel vs. Capcom: Infinite for PlayStation 4, Xbox One, and Microsoft Windows in September 2017. While it features elements from the series, it is not a direct adaptation. To coincide with the game's release, Capcom held a global tournament series called "Battle for the Stones". The winner of the tournament received a cash prize and a light-up Infinity Gauntlet trophy.

An Infinity Gauntlet prop with gems was included in the 2011 film Thor as an Easter egg for fans before Marvel Studios decided the Avengers films would adapt The Infinity Gauntlet. A post-credits scene in Avengers: Age of Ultron (2015) showed Thanos with a gauntlet without gems, and the one from Thor was stated to have been a fake in Thor: Ragnarok (2017). The 2018 film Avengers: Infinity War drew inspiration from The Infinity Gauntlet and depicts Thanos collecting the Infinity Stones and using them to kill half of the universe. Its 2019 sequel, Avengers: Endgame, focuses on the Avengers' attempts to undo Thanos' actions.

Notes

References

External links

Comic book limited series
Comics by George Pérez
Comics by Jim Starlin
Marvel Comics adapted into films
Comics set on fictional planets
Marvel Comics storylines
Marvel Comics titles
Silver Surfer
Crossover comics

The Infinity Gauntlet


Indisk vipstjert () er en spurvefugl, der lever på det sydlige Himalaya og i det indiske subkontinent.

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Adem Ljajić (în , ; )  un fotbalist sârb care joacă pe postul de mijlocaș ofensiv pentru Beșiktaș, fiind împrumutat de la Torino și pentru echipa națională a Serbiei.

Ljajić și-a început cariera cu FK Jošanica, iar mai târziu la Partizan, cu care și-a făcut debutul în Superligă și în Liga Campionilor UEFA. În ianuarie 2010, el ar fi trebuit să ajungă la echipa engleză Manchester United, dar clubul și- retras opțiunea de a-l aduce în decembrie 2009. În schimb, s-a alăturat echipei Fiorentina pentru o aproximativ 8 milioane de euro în ianuarie 2010. În august 2013, după trei ani în Florența, Ljajić a semnat cu AS Roma pentru o sumă de transfer de 11 milioane de euro, semnând un contract de patru ani. În iulie 2016 a fost vândut la Torino. În 2018 a fost împrumutat de Torino la Beșiktaș.

Ljajić și-a făcut debutul pentru naționala Serbia în 2010. Din 2012 până în 2014 nu a fost chemat la națională de către Siniša Mihajlović pentru că a refuzat să cânte imnul național al Serbiei. El a făcut parte din echipa Serbiei de la Campionatul Mondial din 2018.

Cariera pe echipe

Partizan
Născut la Novi Pazar, în regiunea sârbă a Republicii Federale Socialiste Iugoslavia, Ljajić a ajuns la Partizan la vârsta de 14 ani în 2005, fiind adus de la echipa din ligile inferioare FK Jošanica. Ljajić a fost primul jucător care a purtat numărul 22 pentru Partizan după ce Saša Ilić s-a transferat la Galatasaray în 2005. Primul meci jucat de Ljajić pentru Partizan a avut loc în turul celei de-a doua runde de calificare a Ligii Campionilor UEFA 2008-2009, pe 29 iulie 2008, intrând în a doua repriză din postura de rezervă El a mai jucat în retur și în returul celui de-al treilea tur preliminar. A marcat primul gol pentru Partizan pe 23 noiembrie 2008 într-un meci de campionat împotriva lui OFK Belgrad.

În octombrie 2008, Manchester United l-a chemat pe Ljajić să dea probe, nespecificându-se public perioada de timp pe care a petrecut-o acolo. La 2 ianuarie 2009, Manchester United a anunțat că a semnat un contract cu Ljajić și coechipierului său din Partizan, Zoran Tošić. Tošić a fost adus pe loc, în timp ce Ljajić a rămas la Partizan pentru restul anului 2009, alăturându-se echipei United în ianuarie 2010.

În ciuda faptului că nu putea să alătura clubului până în ianuarie 2010, Ljajić a făcut Manchester pe tot parcursul anului 2009 mai multe drumuri spre orașul englez pentru a se antrena cu echipa  echipă, astfel încât antrenorii clubului să-i poată monitoriza progresul. Cu toate acestea, United au decis să nu își exercite dreptul de a-l aduce pe Ljajić din cauză că nu a putut să-i obțină un permis de muncă. După ce transferul nu s-a mai realizat, antrenorul lui Partizan, Goran Stevanović, a afirmat că Ljajić a suferit inițial un "șoc psihologic", dar că a "gestionat bine situația". Directorul tehnic al lui Partizan, Ivan Tomić, a declarat: "Cred că vor regreta această decizie în viitor".

Fiorentina

Pe 13 ianuarie 2010, clubul italian Serie A Fiorentina a anunțat transferul lui Ljajić. După ce a trecut de testele medicale, Ljajić a semnat un contract pe cinci ani iar Partizan a primit 8 milioane de euro pentru jucător. Ljajić și-a făcut debutul în remiza, scor 2-2, obținută de Fiorentina în fața lui Cagliari, pe 31 ianuarie 2010, înlocuindu-l în minutul 82 pe Manuel Pasqual. Antrenorul Cesare Prandelli l-a folosit puțin.

Sosirea compatriotului lui Ljajić, Siniša Mihajlović, ca antrenor principal, i-a sporit șansele în prima echipă pentru Ljajić. A marcat primul gol pentru formația Viola dintr-un penalty cu Lazio, pe 18 septembrie 2010, meci pe care Fiorentina l-a pierdut cu 1-2.

La 2 mai 2012, Ljajić a fost înlocuit într-un meci împotriva lui Novara. În urma acestei schimbări el l-a aplaudat sarcastic pe antrenorul Delio Rossi, care l-a prins de mână și a încercat să-l pocnească pe Ljajić. Fiorentina a anunțat după meci că Rossi a fost concediat și că se vor lua măsuri proporționale și împotriva lui Ljajić. Coechipierul lui Ljajić, Valon Behrami, care se afla pe banca de rezerve în momentul incidentului, a spus că nimeni, incluzându-se și pe el, nu l-au auzit pe Ljajić insultându-l pe Rossi, care susținea că Ljajić i-a insultat familia. Behrami a adăugat că lui Rossi ar trebui să-i fie rușine pentru acțiunile sale, precum și pentru minciunile proliferate în mass-media.

Ljajić a înscris o dublă într-un meci cu Internazionale Milano, câștigat cu scorul de 4-1 pe 17 februarie 2013.

AS Roma
Pe 28 august 2013, Ljajić a semnat un contract pe patru ani cu AS Roma, clubul plătind în schimbul său 11 milioane de euro, sumă care se putea ridica la 15 milioane, în funcție de rezultatele obținute de echipă. El a ales tricoul numărul 8, lăsat vacant de Erik Lamela, pe care Ljajić îl poartă și la echipa națională a Serbiei. La 1 septembrie 2013, Ljajić și-a făcut debutul pentru AS Roma într-un meci împotriva lui Hellas Verona, intrând în locul lui Alessandro Florenzi; Ljajić a marcat golul final în victoria cu 3-0 obținută în fața veronezilor. În primul său sezon la Roma, Ljajić a marcat 6 goluri în 32 de meciuri.

La 30 august 2014, Ljajić a debutat în sezonului 2014-2015 într-o victorie scor 2-0 pentru Giallorossi împotriva fostei sale echipe, Fiorentina. La 24 septembrie a marcat primul său gol al sezonului într-o victorie scor 2-1 a Romei asupra Parmei  Pe 6 decembrie a marcat prima sa dublă pentru AS Roma, care i-a permis Romei să revină în meciul de acasă împotriva lui Sassuolo, terminat cu scorul de 2-2. La 26 februarie 2015, a marcat primul său gol în UEFA Europa League pentru club, primul din victoria cu 2-1 cu Feyenoord. El a încheiat sezonul cu 41 de meciuri și 9 goluri, fiind cel de-al doilea cel mai bun marcator al echipei, după Francesco Totti.

Împrumut la Internazionale Milano
La 31 august 2015, Ljajić a fost împrumutat la Internazionale Milano pentru un sezon, iar Inter i-a plătit lui AS Roma 1,75 de  milioane de euro, având opțiunea de a-l transfera permanent la sfârșitul sezonului pentru 11 milioane de euro. La 1 decembrie 2015, Ljajić șa marcat primul gol Inter în deplasare scor cu 2-1 cu Napoli.

Torino
După ce Inter a optat să nu își exercite opțiunea de cumpărare, Ljajić a fost vândut la Torino la 18 iulie 2016 pentru 8,5 milioane de euro, plus 500.000 de euro în bonusuri.

La 31 august 2018, Ljajić s-a alăturat clubului turc din Süper Lig Beșiktaș fiind împrumutat timp de un sezon.

Cariera la națională

Ljajić a reprezentat echipele Serbiei sub 17 ani și sub 19 ani. La 7 septembrie 2008, el a debutat la naționala sub 21 de ani în cadrul unui meci de calificare la Campionatul European împotriva Ungariei. La 26 octombrie 2010, antrenorul Serbiei, Vladimir Petrović, a anunțat că Ljajić va primi prima sa convocare împotriva Bulgariei într-un meci amical care a avut loc pe 17 noiembrie 2010.

Ljajić a fost scos din lotul țării sale de către antrenorul Siniša Mihajlović după ce a refuzat să cânte imnul național al Serbiei într-o partidă amicală pierdută cu scorul de 2-0 împotriva Spaniei pe 28 mai 2012 din motive personale. Ljajić semnase anterior un cod de conduită stabilit de Mihajlović, care includea, printre altele, cântarea imnului național al Serbiei, "Bože pravde" ("Doamne, fă dreptate"). Ljajić a confirmat declarația lui Mihajlovic, susținând în același timp că iubește Serbia și că își dorește să joace pentru echipa națională, dar a adăugat că trebuie să se respecte pe el însuși, sugerând că nu va mai juca sub Mihajlović.

La 17 februarie 2014, noul antrenor al echipei naționale a Serbiei, Ljubinko Drulović, a declarat că nu le va cere jucătorilor să cânte imnul național, ci să-și dea totul pentru țara lor pe teren. Ljajić a marcat primul său gol la echipa națională pe 7 iunie 2015 într-o victorie obținută în meciul amical împotriva Azerbaidjanului, scor 4-1.

În iunie 2018, Ljajic a fost inclus în lotul definitiv al Serbiei pentru Campionatul Mondial din Rusia, în care a jucat în toate cele trei meciuri din grupă, în urma cărora Serbia a fost eliminată din competiție.

Statistici privind cariera

Club

 Începând cu 18 mai 2019

Meciuri la națională

 Până în data de 25 martie 2019

Goluri la națională

 Coloana "Scor" menționează scorul după golul marcat de Ljajić.

Viața personală

Ljajić este un musulman practicant.

Titluri

Club

 Superliga Serbiei: 2008-2009
 Cupa Serbiei: 2008-2009

Referințe

Legături externe

Fotbaliști ai Campionatului Mondial de Fotbal 2018
Fotbaliști ai lui Internazionale Milano
Fotbaliști ai lui AS Roma
Fotbaliști ai Fiorentinei
Fotbaliști internaționali sârbi
Atacanți
Mijlocași
Fotbaliști sârbi
Sportivi sârbi în viață
Nașteri în 1991
Nașteri pe 29 septembrie

Adem Ljajić


Théodore Salvator de Habsbourg-Toscane (en allemand : ), né au château de Wallsee à Wallsee-Sindelburg, Autriche-Hongrie, le , et mort à Amstetten, Autriche, le , est un archiduc d'Autriche et prince de Toscane.

Biographie

Famille
Troisième fils et cinquième des dix enfants de l'archiduc François-Salvator de Habsbourg-Toscane (1866-1939) et de sa première épouse l'archiduchesse Marie-Valérie d'Autriche (1868-1924), Théodore Salvator de Habsbourg-Toscane naît au château de Wallsee, le . Par sa mère, il est le petit-fils de François-Joseph , empereur d'Autriche et roi de Hongrie et de son épouse, Élisabeth de Wittelsbach, la célèbre Sissi. Son prénom se réfère à son grand-oncle maternel et parrain, le duc Charles-Théodore en Bavière.

Carrière
Théodore Salvator étudie l'agronomie et devient ingénieur agronome. Il gère ensuite le domaine agricole et forestier de Wallsee, en Basse-Autriche, où il réside.

Mariage et postérité
Le  Théodore Salvator épouse au château de Zeil, Leutkirch im Allgäu, Marie-Thérèse de Waldbourg à Zeil, née à Neu-Trauchbourg, le  et morte à Munich, le , fille de Georg  prince de Waldbourg à Zeil et Trauchbourg et de Marie-Thérèse altgravine zu Salm-Reifferscheidt-Raitz.

Le couple a quatre enfants :

 François Salvator de Habsbourg-Toscane (né au château de Wallsee le  et mort le ), épouse en premières noces en 1962, Anne-Amélie de Schönbourg-Waldenbourg (1936-1966), sans postérité, puis épouse en secondes noces en 1980 Hedwige de Lichem-Löwenbourg (1938-2000), dont deux filles ;
 Thérèse de Habsbourg-Toscane (née au château de Wallsee le ), épouse en 1955 le prince Rasso de Bavière (1926-2011), dont sept enfants ;
 Marie Immaculée de Habsbourg-Toscane (née au château de Wallsee le  et morte à Engelskirchen le ), épouse en 1959 Reinhart comte de et à Hoensbroech auf Kellenberg (1926-2005), dont sept enfants ;
 Charles Salvator de Habsbourg-Toscane (né au château de Wallsee le ), épouse en 1970 Edith Wenzl baronne de Sternbach (née en 1943), dont six enfants.

Mort
Veuf depuis 1967, Théodore Salvator de Habsbourg-Toscane meurt, à l'âge de , à Amstetten, le . Il est inhumé au cimetière de Sindelburg.

Honneurs
Théodore Salvator de Habsbourg-Toscane est :
  1241 Chevalier de l'ordre de la Toison d'or d'Autriche (1948).
  Chevalier de l'ordre souverain de Malte.

Ascendance

Références

Voir aussi

Bibliographie
 .
 .

Liens externes

Théodore Salvator
Chevalier de l'ordre autrichien de la Toison d'or (XXe siècle)
Chevalier de l'ordre souverain de Malte
Naissance en octobre 1899
Décès en avril 1978
Décès à Amstetten
Décès à 78 ans

Théodore Salvator de Habsbourg-Toscane


La Estación Central de Maguncia (en alemán Mainz Hauptbahnhof) es el mayor centro ferroviario de larga distancia del estado federado alemán de Renania-Palatinado y nodo de intercambio con los sistemas de transporte regional y urbano en tren y en buses de Maguncia (S-Bahn y buses del MVG y el ORN).

Edificio
La Estación Central de Maguncia es un edificio en arenisca de Flonheim construido entre 1882 y 1884 por el arquitecto Philipp Johann Berdellé, en estilo del Neorrenacimiento. Las naves laterales encuadran la nave central de la estación, destacada en su remate con alegorías de la vida como el "Trabajo" y el "Bautismo", así como otras representaciones clásicas (Minerva, Mercurio) y propias del Renacimiento.

Historia

La primera estación de trenes de Maguncia inició sus operaciones en 1853. La urbanización del barrio de Neustadt ("ciudad nueva") necesitaba la construcción de un túnel subterráneo. Durante la II Guerra Mundial, la estación fue destruida en gran parte. Se reconstruyó en varias fases, hasta que en 2003 se terminó la renovación de una nueva sala de acceso.

Características
Es una estación a dos niveles. En la superficie llegan los trenes de larga distancia, en la otra las conexiones del transporte urbano y regional de la ciudad.

Conexiones

Referencias

 Eisenbahn in Hessen. Kulturdenkmäler in Hessen. Denkmaltopographie Bundesrepublik Deutschland, publicación de Landesamt für Denkmalpflege Hessen, Theiss Verlag Stuttgart, 2005, 3 Bände, ISBN 3-8062-1917-6, Bd. 2.1, S. 232f (Strecke 014).
 Franz Dumont, Ferdinand Scherf, Friedrich Schütz (Hrsg.): Mainz – Die Geschichte der Stadt. (Maguncia - Historia de la ciudad) 2. Auflage. Verlag Philipp von Zabern, Maguncia 1999, ISBN 3-8053-2000-0
 Ciudad de Maguncia (pub.): Vierteljahreshefte für Kultur, Politik, Wirtschaft, Geschichte. (cuadernos trimestrales) Verlag Krach, 1981, ISSN 0720-5945
 Heinrich Wohte (Hrsg.): Mainz – Ein Heimatbuch. Verlag Johann Falk Söhne, Maguncia 1928
 Rosel Spaniol: Frühe Eisenbahnanlagen in Mainz (einst und jetzt). Ein Beitrag zur Stadtgeschichte und -archäologie. Herausgeber: DGEG, Karlsruhe 1979 (en alemán)

Enlaces externos

Maguncia
Transporte de Maguncia
Edificios y estructuras de Maguncia
Arquitectura neorrenacentista de Alemania
Arquitectura de 1884
Estaciones de ferrocarril inauguradas en 1884

Estación Central de Maguncia


طوزة مدينة تونسية صغيرة تابعة لمعتمدية قصيبة المديوني في ولاية المنستير. أحدثت بلدية المدينة في 25 أفريل 1996 ويبلغ عدد سكانها 8000 نسمة.

إحصائيات المدينة
 تاريخ الإحداث :25 أفريل 1969
 المساحة الجمليـّة : 990 هكتار
 عدد السـكان: 8000 نسمة
 عدد المساكن : 1436 مسكن
 عدد الأسـر : 1350 أسرة
 عدد العـمادات : 01
 نسبة التزوّد بالنـّور الكهربائيّ :99 %
 نسبة التـّزوّد بالماء الصــّالح للشــّراب : 99 %
 نسبة الربط بشبكة التطهير : 75 %
 نسبة الإنارة العموميـّة بالأحياء والأنهج : 95 %

مراجع

أماكن مأهولة في ولاية المنستير
بلديات تونس
مدن تونس

طوزة


Microcambeva barbata é um peixe siluriforme endêmico do sudeste do Brasil, sendo encontrado nas drenagens costeiras do Rio de Janeiro e Espírito Santo. Pertence à família dos tricomicterídeos (Trichomycteridae). O maior comprimento relatado foi de um macho de 2,6 centímetros. Em 2005, foi classificada como vulnerável na Lista de Espécies da Fauna Ameaçadas do Espírito Santo; e em 2018, como quase ameaçado em perigo na Lista Vermelha do Livro Vermelho da Fauna Brasileira Ameaçada de Extinção do Instituto Chico Mendes de Conservação da Biodiversidade (ICMBio).

Tricomicterídeos
Fauna da Mata Atlântica
Peixes do Rio de Janeiro (estado)
Peixes do Espírito Santo (estado)
Espécies citadas no Livro Vermelho da Fauna Brasileira Ameaçada de Extinção
Espécies citadas na Lista de Espécies da Fauna Ameaçadas do Espírito Santo

Microcambeva barbata


Minimalna plaća u Hrvatskoj uređena je Zakonom o minimalnoj plaći i određena kao najniža mjesečna plaća (bruto) isplaćena zaposleniku za cijeli radni dan na temelju 40-satnoga radnoga tjedna. Za radnike koji ne rade puno radno vrijeme, minimalna plaća je niža i razmjerna njihovome radnomu vremenu. Dodatna naknada za prekovremeni rad, noćni rad i rad nedjeljom i praznicima nije uključena u minimalnu plaću. Minimalna plaća preračunava se jednom godišnje i vrijedi za sljedeću kalendarsku godinu.
Od 1. siječnja 2018. godine minimalna bruto plaća u Hrvatskoj iznosi 3 439 kuna (oko 460 €), što je istovrjednik neto iznosu od 2 752 HRK (oko 370 EUR) ili 43% prosječne mjesečne plaće. U siječnju 2018. godine, minimalna plaća primilo je 45 245 radnika, u usporedbi s 80 000 radnika u 2014. godini.

Od 1. siječnja 2019. godine bruto minimalna plaća u Hrvatskoj iznosi 3 749 HRK (506,68 €), što odgovara neto iznosu od 3 000 HRK (405,36 €) ili 44,85% prosječne mjesečne plaće. Minimalna bruto plaća u 2019. godini povećala se za 310 HRK (41.89 €) s 3439 HRK (464,79 €) na 3749,80 HRK (506,68 €), a neto za 9%, za 248 HRK (33,51 €) iz 2752 HRK (371,85 EUR) do 3000 HRK (405,36 EUR). To je bilo najveće jednokratno povećanje minimalne plaće od 2008. godine. Prema procjenama hrvatskoga Ministarstva rada, oko 37 000 ljudi trenutno prima minimalnu plaću, tako da je to povećanje povećalo standarde za većinu ugroženih skupina. To su radnici koji rade u tekstilnoj, kožnoj, metalurškoj i drvnoj industriji.

Izvori

Literatura
 Zakon o minimalnoj plaći
 Zakon o minimalnoj plaći od 30. svibnja 2008
 Zakon o minimalnoj plaći od 22. ožujka 2013
 Izmjena i dopuna Zakona o minimalnoj plaći od 15. prosinca 2017

Vanjske poveznice
 Minimalna plaća u svijetu
 Povećanje minimalne plaće u Hrvatskoj
 Hrvatska povećava minimalnu plaću u zemlji

Gospodarstvo Hrvatske
Pravosuđe u Hrvatskoj

Minimalna plaća u Hrvatskoj


Rudolph Lepke's Kunst-Auctions-Haus war ein Berliner Kunsthandels- und Auktionshaus.

Geschichte

Gründung und frühe Jahre
Rudolph Lepke (1845–1904) lernte zunächst Buchhändler und begann in den frühen 1860er Jahren als Kunsthändler im 1812 vom Großvater N. L. Lepke gegründeten Familienunternehmen, der Berliner Kunsthandlung Lepke, die nach dem Tod des Großvaters gemeinschaftlich von seinem Vater Louis Eduard Lepke und seinem Onkel Julius Lepke unter der Firma N.L. Lepke fortgeführt wurde. 1869 eröffneten sie den Gemäldesalon Lepke im Haus des Preußischen Ministeriums der geistlichen, Unterrichts- und Medicinal-Angelegenheiten im ehemaligen Palais Cumberland Unter den Linden 4a, Ecke Wilhelmstraße (heute Unter den Linden 71, genutzt vom Deutschen Bundestag). 1885/86, nach dem Tod der Brüder, übernahm Rudolph das nunmehr als Rudolph Lepke's Kunst-Auctions-Haus firmierende Unternehmen und zog in die Kochstraße 28/29, die Räume Unter den Linden übernahm Eduard Schulte. 1875 erschien Lepkes 100. Katalog, 1884 der 500. und 1895 der 1000. Katalog. Innerhalb der ersten 500 Kataloge – abgerechnet die fast zwölfmonatige Pause während der Kriegszeit 1870/71 – kamen auf drei Jahre immer 100 Kataloge zur Ausgabe, doch wurden außerdem noch einige Versteigerungen ohne Katalog abgehalten, während in späterer Zeit durchschnittlich 50 Katalogauktionen jährlich stattfanden.

Lepke entwickelte sich zu einem der bedeutenden Auktionshäuser Berlins. Sein Spezialgebiet war die Versteigerung ganzer Nachlässe und Stücke der preußischen Geschichte und des Königshauses, womit er einen eigenen Sammlermarkt in Berlin aufbaute.

Lepke war mit Wilhelm von Bode befreundet, der 1887 bei Lepke 1062 Gemälde aus dem Depot der Nationalgalerie zur Deakzession versteigern ließ. Er war lange Jahre hindurch Sachverständiger für Kunstsachen am Königlichen Landgericht I und städtischer Auktionskommissar.

Besitzerwechsel und Neubau
1900 gab Lepke das Auktionshaus ab. Neue Eigentümer wurden zu je einem Drittel sein langjähriger Mitarbeiter, der Kunsthistoriker und Händler Hans Carl Krüger (* 9. Mai 1870; †5. Juli 1949), sowie die Brüder Adolf Wolffenberg (* 26. Juli 1870; † um 1954) und Gustav Wolffenberg (* 27. Mai 1873;† 1953). Sie führten es unter der bisherigen Firma Rudolph Lepke's Kunst-Auctions-Haus fort und bauten seine Stellung im Berliner Kunstmarkt noch bedeutend aus.

1912 konnte ein großzügiger fünfstöckiger Neubau in der Potsdamer Straße 122a/b bezogen werden. Die Pläne stammten von Adolf Wollenberg, der bei diesem Projekt mit Wilhelm Bröker zusammenarbeitete. Bröker übernahm die technische Leitung, während sich Wollenberg um die künstlerische Gestaltung kümmerte. Das um zwei große Innenhöfe gruppierte Gebäude enthielt neben Verwaltung- und Ausstellungsräumen einen großen Saal für die Auktionen. Die Zeitschrift Deutsche Kunst und Dekoration schrieb in einem Kommentar:

Im Ersten Weltkrieg verlor das Haus seine Führungsrolle am Berliner Markt an Paul Cassirer und Hugo Helbing.

Im Zuge der Verstaatlichung der Königlichen Sammlungen Dresden kam es in der unmittelbaren Nachkriegszeit zu zwei spektakulären Auktionen durch Lepke: am 7. und 8. Oktober 1919 in Berlin (Katalog 1835: Porzellane und Waffen aus den Kgl. Sächsischen Sammlungen in Dresden) und vom 12. bis zum 14. Oktober 1920 in Dresden (Katalog 1854: Porzellan: Meissen – China – Japan, Elfenbeinskulpturen, Gemälde und Waffen aus den Sächsischen Staatssammlungen – Johanneum – Grünes Gewölbe – Gemäldegalerie in Dresden).

Die Russenauktionen
Rudolph Lepke's Kunst-Auctions-Haus war in den 1920er Jahren der wichtigste westliche Partner der sowjetischen Regierung beim Verkauf von Kunstgegenständen gegen Devisen.  Seit 1923 konnte das Unternehmen direkt vor Ort in Petrograd, später Leningrad durch eigene Experten Ware auswählen – drei Jahre lang sogar ohne Konkurrenz. Die sowjetische Regierung diversifizierte und verstärkte die Verkäufe mit verschiedenen Partnern und auch direkt im Rahmen ihres ersten Fünfjahresplans ab 1928, was zu Lepkes berühmt-berüchtigten und von der Presse so genannten Russenauktionen führte.

Anfang 1928 kam Hans Carl Krüger nach Leningrad, um Ware für die Jubiläumsauktion im Herbst auszuwählen, die dann im Juni über Stettin nach Berlin verschifft wurde. Zum 60. Jahrestag der Firmengründung organisierte das Haus eine für zwei Tage (6. und 7. November) anberaumte Auktion sowjetischer Kunst und Antiquitäten im Auftrag der Handelsvertretung der Sowjetunion in Deutschland. Dazu brachte das Auktionshaus seinen 2000. Katalog heraus, der von Wilhelm von Bode und Otto von Falke verfasst wurde. Der Katalog Kunstwerke aus den Beständen Leningrader Museen und Schlösser: Ermitage, Palais Michailoff, Gatschina u. a. verzeichnet insgesamt 447 Arbeiten, vornehmlich des 18. Jahrhunderts. Darunter war wenig genuin Russisches, sondern vor allem französische und deutsche Möbel, Gobelins, Golddosen, Goldbronzen und Gemälde. Die Auktion fand im Großen Saal des Brüdervereinshaus in der Kurfürstenstraße 115/116 (später Sitz des Eichmannreferats; 1961 abgerissen) statt.

Im Vorfeld gab es eine Reihe von Klagen russischer Emigranten in Berlin und London, die ihr (ehemaliges) Eigentum erkannt hatten. Sie führten zwar zur zeitweiligen Konfiszierung einzelner Lose, wurden aber alle zurückgewiesen. Dabei gab im angelsächsischen Rechtsraum die Act-of-State-Doktrin den Ausschlag; aber auch die deutschen Gerichte lehnten die Einmischung ab und wiesen die Sammelklagen unter Hinweis auf die sowjetischen Enteignungsdekrete ab.

Zu den Spitzenstücken der legendären Auktion zählten Möbelstücke von David Roentgen. Das Kreismuseum in Neuwied erwarb die Apollo-Uhr von Roentgen und Peter Kinzing aus der Sammlung von Iwan Iwanowitsch Schuwalow.

Das Spitzenlos bei den Gemälden war eine Madonna mit Kind von Cima da Conegliano mit einem Zuschlag bei 55.000 Reichsmark. Der Gesamterlös von über 2 Millionen RM überstieg deutlich die Schätzung von 1,7 Millionen RM.

Der zweite Teil der Auktion fand am 4. und 5. Juni 1929 statt (Katalog 2013). Diese Auktion war bei weitem nicht so erfolgreich; es machte sich ein erster Preisverfall bemerkbar, der sich durch die Weltwirtschaftskrise noch verstärkte.

Am 12. und 13. Mai 1931 fand die dritte der Auktionen statt (Katalog 2043: Sammlung Stroganoff, Leningrad: im Auftrag der Handelsvertretung der Union der Sozialistischen Sowjet-Republiken.) Das Museum im Stroganow-Palais wurde 1929 aufgelöst und Teile der Sammlung hier versteigert, vermischt mit Stücken anderer Provenienz, die nicht immer deutlich gemacht wurde. Ein Roentgen-Schreibtisch aus der Auktion ist seit 1975 Teil der Sammlung des Bayerischen Nationalmuseums in München.
Mehrere Lose wurden später Gegenstand von Restitutionsforderungen: Die Lose Portrait of Antoine Triest, Bishop of Ghent (Triest Portrait) von Anthony van Dyck und eine Diderot-Büste von Houdon (Los 225, heute Metropolitan Museum of Art in New York) waren Gegenstand des Verfahrens Stroganoff-Scherbatoff vs. Weldon. Für Peter Paul Rubens' Allegorie der Ewigkeit einigte sich das San Diego Museum of Art mit neun Erben von Jakob and Rosa Oppenheimer, Inhabern der Berliner Galerie van Diemen, in deren Besitz sich das Gemälde von 1932 bis 1935 befand. Das ebenfalls mit der Sammlung Stroganoff versteigerte Doppelgemälde Adam und Eva von Lucas Cranach d. Ä., ersteigert von Jacques Goudstikker und seit 1971 im Besitz des Norton Simon Museums, ist Gegenstand eines komplizierten, viel beachteten Restitutionsverfahrens in den USA, das vorerst 2016 mit einer Entscheidung zugunsten des Museums seinen Abschluss fand.

Arisierung und Ende
Zum 31. Dezember 1935 wurde das Auktionshaus vom Mitgesellschafter Hans Carl Krüger durch Übernahme der Anteile der Gebrüder Wolffenberg "arisiert". Das Auktionshaus beteiligte sich ab 1936 auch an der Verwertung der beweglichen Vermögenswerte jüdischer Bürger und wurde bis Ende 1938 betrieben. Die letzte Auktion fand im November 1938 statt. Die Gebrüder Wolffenberg entkamen dem Holocaust und sind ab 1939 in Akten des Schweizerischen Bundesarchivs erfasst. Adolf Wolffenberg findet sich auf den Ausbürgerungslisten, die im Reichsanzeiger veröffentlicht wurden. In der Datenbank Lost Art der Koordinierungsstelle für Kulturgutverluste sind im Zusammenhang mit der Erfassung von Ansprüchen aus Einlieferungen bei Lepke in der Datenbank Kunst- und Kulturgutauktionen 1933–1945 auch die Einlieferungen von Gustav Wolffenberg mit aufgeführt. Laut einer Nachricht in der Weltkunst vom 7. Mai 1939 zog das Auktionshaus wegen Räumung des Tiergartenviertels für die neue nationalsozialistische Städteplanung an das Großadmiral-von-Koester-Ufer 61. Krüger war weiter als Kunsthändler tätig, führte jedoch keine Versteigerungen mehr durch.

Rechtliche Behandlung
Vermerke und Hinweise auf Versteigerungen durch das Auktionshaus indizieren mit Beginn der Gleichschaltung des Kunsthandels durch die Nationalsozialisten heute die Einstufung als Fluchtgut und werfen hinsichtlich der Provenienz solcher Kunstwerke Rechtsfragen hinsichtlich des rechtmäßigen Eigentumserwerbs auf. Im Zweifel war das Rechtsgeschäft sittenwidrig und damit nichtig, so dass kein Übergang des Eigentums auf den Ersteigerer stattgefunden hat.

Restitutionen

2017 erreichten die Erben nach James von Bleichröder eine Restitutions-Einigung mit den Bayerischen Staatsgemäldesammlungen. Als Teil der Sammlung von Bleichröder war 1938 im Auktionshaus Rudolph Lepke das Bild Auferweckung des Lazarus versteigert worden. Es kam über die Kunsthandlung Julius Böhler in München in die Kunstsammlung von Hermann Göring und 1961 als Überweisung aus Staatsbesitz in die Bayerische Staatsgemäldesammlungen. Nachdem die Erben die Restitution forderten, kam es 2017 zur Einigung über die Restitution und den Ankauf des Gemäldes.

Literatur

 Georg Malkowsky: Rudolph Lepke's Kunst-Auctions-Haus; ein Beitrag zur Geschichte des Berliner Kunsthandels. Seydel, Berlin 1912; .
 Waltraud Bayer (Hrsg.): Verkaufte Kultur; die sowjetischen Kunst- und Antiquitätenexporte 1919–1938. Lang, Frankfurt am Main etc. 2001, ISBN 3-631-38380-0.
 Gute Geschäfte – Kunsthandel in Berlin 1933–1945. Katalog zur Ausstellung des Aktiven Museums im Centrum Judaicum. 3. Auflage. Berlin 2013, ISBN 978-3-00-034061-1.

Weblinks

 Auktionshäuser in Berlin. arthistoricum.net

Einzelnachweise

Kunst-Auktionshaus
Ehemaliges Unternehmen (Berlin)
Arisiertes Unternehmen
Künstlerische Organisation (Berlin)
Potsdamer Straße

Rudolph Lepke’s Kunst-Auctions-Haus


Arteriyoller veya atardamarcıklar arterlerin (atardamar) daha küçük dalları olan ve kendileri de kılcal damarlar diye adlandırılan daha küçük dallara ayrılan kan damarlarıdır.

Arteriyol ismi Fransızca, aynı anlamlı, artériole sözcüğünden gelmektedir. Arteriyoller, besledikleri dokuların kan akımı içim olan ihtiyaçlarını giderme amacıyla daralma veya genişlemelerini sağlayan kas oluşumunda duvar ve sinirlere sahiptirler.

Kan akışının düzenlenmesinde arteriyollerin fizyolojik rolü
Vücudun ölçeğinde genel çevresel direnç, kalbin inme hacmi ile birlikte arteriyel basıncı belirleyen arteriyollerin tonuna bağlıdır. Sonuç olarak, fonksiyonel sınıflandırmaya göre, arteriyoller dirençli damarlara refere edilir. Ek olarak, arteriyol tonu belirli bir organ veya dokuda lokal olarak değişebilir. Toplam periferik direnç üzerinde gözle görülür bir etkiye sahip olmayan arteriyol tonundaki yerel bir değişiklik, bu organdaki kan akış miktarını belirleyecektir. Böylece, arteriyol tonu çalışma kaslarında belirgin şekilde azalır, bu da kan dolaşımında bir artışa yol açar.

Anjiyoloji

Arteriyol


Léon Le Minor (* 16. April 1920 in Pont-l'Abbé; † 21. April 2021 in Saint-Rémy-lès-Chevreuse) war ein französischer Mikrobiologe, der Laborleiter am Institut Pasteur war.

Leben und Wirken
Le Minor besuchte das Collège de La Tour d'Auvergne in Quimper und studierte Medizin in Tours (Abschluss 1940) mit anschließender praktischer Ausbildung im Krankenhaus von Tours (1941). Ab 1943 war er am Institut Pasteur, wo er 1945 Assistent wurde und 1947 für das Salmonellen-Labor verantwortlich wurde, dessen Chef er ein Jahr später wurde. 1945 wurde er in Medizin promoviert (Docteur en médecine) und 1958 zum Dozenten (Maître de conférences) ernannt. 1959 wurde er Leiter der Abteilung Enterobakterien und Professor am Institut Pasteur. 1965 folgte eine zweite Promotion (Docteur d'état ès sciences naturelles) und im selben Jahr wurde er Leiter des zur WHO gehörigen internationalen Salmonellenzentrums. Er war seit 1967 Professor ohne Lehrstuhl an der medizinischen Fakultät in Paris und ab 1970 Professor für Bakteriologie und Virologie an der Fakultät für Medizin Necker (Faculté de médecine Necker). 1977 bis Mitte der 1990er Jahre leitete er die Forschungsgruppe der französischen nationalen Forschungsorganisation für Medizin INSERM zu Enterobakterien. Zuvor war er schon in ab 1952 im Unter-Komitee Enterobakterien der internationalen Vereinigung mikrobiologischer Gesellschaften, in den 1960er Jahren Mitglied der Kommissionen des INSERM zu Bakteriologie und Virologie und im wissenschaftlichen Leitungsrat des Institut Pasteur. 1989 emeritierte er, behielt aber eine Ehrenprofessur an der Fakultät für Medizin Necker und blieb Chef de Service Honoraire am Institut Pasteur.

Le Minor war ein führender französischer Mikrobiologe. Ende der 1940er Jahre gelang ihm die Isolierung und Charakterisierung einer großen Zahl von Salmonellenstämmen, die damals gefährliche Epidemien besonders bei Kindern auslösten. Auch später war er ein international führender Experte für Salmonellentaxonomie (von denen heute über 2500 Serotypen bekannt sind). Ab den 1950er Jahren studierte er Enterobakterien, speziell Escherichia coli, deren Taxonomie und Pathogenität als Verursacher von Durchfallerkrankungen. Dabei wandte er früh biochemische Methoden an wie mit Patrick A. D. Grimont die RFLP-Technik oder den Analytical Profile Index (API) mit Claude Richard.

1947 erhielt er die Silbermedaille der Académie nationale de Médecine (deren Mitglied er ab 1983 war) und 1958 den Prix La Caze der Académie des Sciences. 1965 erhielt er den Paul-Ehrlich-und-Ludwig-Darmstaedter-Preis. Er war Offizier der Ehrenlegion (1968), Kommandeur des Ordre national du mérite und des Ordre de la santé publique (1955). 1957 wurde er Generalsekretär der französischen Gesellschaft für Mikrobiologie (Société Française de Microbiologie).

1985 erfolgte die Erstbeschreibung einer Gruppe von Enterobakterien (zuvor als Enteric Group 57 bezeichnet), deren Gattungsname ihm zu Ehren gewählt wurde: Leminorella. In ihrer Veröffentlichung verweisen Hickman-Brenner et al. auf seinen bedeutenden Beitrag zur Nomenklatur und Erforschung der Serotypen der Salmonellen, zur Erforschung von Plasmiden, die durch Konjugation zwischen Bakterienspezies ausgetauscht werden, und die biochemischen Schnellmethoden zur Identifizierung von Enterobakterien. Zugleich betonen sie, dass der Gattungsname Leminorella auch zu Ehren seiner Frau und Kollegin Simone Le Minor gewählt wurde und verweisen auf ihren Beitrag zu den Enterobakterien als Leiterin des nationalen Salmonellen-Zentrums von Frankreich sowie die Erforschung der Serotypen von Serratia.

Schriften
 Le Diagnostic de laboratoire des entérobactéries, 3. Auflage, Éditions de la Tourelle, Paris 1967
 mit M. Véron Bactériologie médicale, Flammarion Médecine-Sciences, Paris 1989
 Méthodes de laboratoire pour l'identification des entérobactéries, Institut Pasteur, Paris 1993
 Er war Bearbeiter des Salmonellen-Abschnitts in mehreren international verbreiteten Standardwerken wie Bergey´s Manual of Determinative Bacteriology, The Prokaryotes, A Handbook of the Biology of Bacteria, Methods in Bacteriology.

Einzelnachweise

Weblinks
 Biographie bei der Inserm

Mikrobiologe
Träger des Paul-Ehrlich-und-Ludwig-Darmstaedter-Preises
Träger des französischen Nationalverdienstordens (Kommandeur)
Mitglied der Ehrenlegion (Offizier)
Mitglied der Académie nationale de médecine
Hundertjähriger
Franzose
Geboren 1920
Gestorben 2021
Mann

Léon Le Minor


عبد الله بن عمر بلخير (1915- 2002)، شاعر وكاتب وإعلامي سعودي، وهو مترجم للملك عبد العزيز، أنشأ المديرية العامة للإذاعة والصحافة والنشر، وكان المسؤول والمشرف عليها، وقد ساهم في وضع أسس الإعلام السعودي، وألّف رفقة محمد سعيد عبد المقصود كتابًا رائدًا، هو (وحي الصحراء) الذي ضم ترجمات لأوائل أدباء السعودية، تولى الكثير من المناصب العليا، منها رئاسة مكتب شؤون الجامعة العربية والمؤتمرات الدولية في ديوان الملك عبد العزيز، ورئيسًا بالنيابة لديوان الملك سعود، وعُيّن وزير دولة لشؤون الإذاعة والصحافة والنشر.

مولده ونشأته
ولد بقرية غيل بلخير بدوعن عام 1333 هـ الموافق 1912م، تعلم في طفولته مبادئ القراءة والكتابة في غيل بلخير بحضرموت، فحفظ القرآن ودرس شيئا من الحساب وتعلم فن الخط. انفطر مبكرا على ميدان الشعر والتعلق به منذ نعومة أظفاره، فكان والده يصطحبه معه إلى الأفراح التي تقع قريبا وهو ما زال طفلا في حضرموت، وكان دائما يتشوق لحضورها ويحفظ من أشعار الزوامل ويرويها عن ظهر قلب مع أحداثها.

انتقاله إلى مكة المكرمة
هاجر مع والده من حضرموت وهو في الثانية عشرة من عمره، واستقر بهم المقام في حي الشبيكة بمكة المكرمة، وأتيحت له فرصة التعليم النظامي بالمدرسية الأهلية، ثم مدارس الفلاح عند إنشائها، وكان والده حريصا أن يكون عبد الله بلخير مدرسا في الحرم المكي.

اختير ضمن أفراد البعثة الدراسية في الجامعة الأمريكية في بيروت، وعاد بعد إكمال الدراسة للمملكة ليعمل في وزارة المالية أولا، ثم انتقل إلى الشعبة السياسية بديوان الملك عبد العزيز آل سعود مترجما بـ(قسم الاستماع)، حيث كانت هناك إدارة أنشئت في منتصف الخمسينات الهجرية 1354 هـ سميت بشعبة الإذاعة تابعة للشعبة السياسية التي كان لها شأن كبير في ذلك الوقت، حيث كانت تعادل وزارة الخارجية ومن عمل هذه الشعبة السياسية رصد الإذاعات العالمية 3 مرات في اليوم وترفع تقريرها للملك عبد العزيز آل سعود.

مناصبه وأعماله السياسية
كان أحد الرجال القلة الذين تكونت منهم إدارة الملك عبد العزيز بن عبد الرحمن بن فيصل آل سعود، وكان الملك عبد العزيز، يصطحبه في رحلاته المختلفة داخل وخارج المملكة، ونظرا لإجادة معالي الشيخ عبد الله بلخير للغة الإنجليزية فقد اعتبره الملك عبد العزيز من أهم مترجميه، حيث ترجم للملك عبد العزيز في لقائه التاريخي إبان الحرب العالمية الثانية مع الرئيس الأمريكي روزفلت، ورئيس الوزراء البريطاني تشرشل، في أربعينيات القرن الماضي.

رافق الشيخ عبد الله بلخير، الأميرين فيصل وخالد في أربعينيات القرن الماضي في رحلتهما الشهيرة إلى أوروبا والولايات المتحدة، حيث عمل مترجماً في لقاء الأميرين مع روزفلت وتشرشل.

وكان الملك فيصل كلما زار مصر أو الشام يسأل عنه، ويستدعيه لاستشارته في بعض الأمور التي تتصل بتخصصه وتهم الدولة، ورافق الأمير فيصل ـ ولي العهد ـ لمؤتمر دول عدم الانحياز في باندونغ.

من أهم المناصب الإدارية والسياسية التي تقلدها في الدولة السعودية رئاسته لديوان الملك سعود بن عبد العزيز، ونتيجة لثقة الملك سعود به كلفه بإنشاء المديرية العامة للإذاعة والصحافة والنشر عام 1374 هـ.

ويتوهم بعض الباحثين أن عبد الله بلخير هو أول وزير إعلام سعودي، لكن الباحث الدكتور عبد الرحمن الشبيلي يُصحح هذه المعلومة ويؤكد أنه "لم يُسمَّ وزيراً للإعلام"، بل "عين وزير دولة لشؤون الإذاعة والصحافة والنشر"، وأن أول وزير إعلام سعودي هو جميل بن إبراهيم الحجيلان.

عندما عاد الأمير فيصل من مؤتمر باندونغ لاحظ الملك سعود بن عبد العزيز ان الوفد السعودي لم يحظ بتغطية صحفية مصورة في الصحافة العربية وكذلك الصحافة السعودية، فاقترح على الشيخ عبد الله عمر بلخير أن يؤسس (مديرية للإذاعة والصحافة والنشر)، وأصبح مديرا عاما للمديرية في الفترة بين (1374 ـ1382 هـ) الموافق (1954 ـ1962 م)، وهو أول مدير للمديرية في عهد الملك سعود، فهي بمثابة حقيبة وزارية للإعلام.

وفي عهد بلخير ازدهرت الإذاعة والإعلام فتم إنشاء إذاعة صوت الإسلام، وإنشاء مجلة الإذاعة، ونقل الإذاعة من مكة إلى جدة، وظهور أكثر من 12 صحيفة لايزال بعضها مستمرا.

أصدر جلالة الملك سعود بن عبد العزيز مرسوما ملكيا بمنح الشيخ عبد الله عمر بلخير، رتبة وزير مفوض، وعينه مشرفا على المديرية الجديدة للصحافة والنشر، وقد جاء في المرسوم الملكي ما يلي:

«نحن سعود بن عبد العزيز ملك المملكة العربية السعودية بناء على دواعي المصلحة أمرنا بما هو آت: منح سكرتيرنا عبد الله بلخير مرتبة وزير مفوض من المرتبة الأولى تقديرا لأعماله، وعلى رئيس مجلس الوزراء إنفاذ أمرنا هذا بإبلاغه لمن يلزم».

وأصدر الملك سعود بن عبد العزيز المرسوم الملكي التالي:

«نحن سعود بن عبد العزيز، ملك المملكة العربية السعودية نظرا إلى أهمية وتنظيم المطبوعات ووسائل النشر وتركيزها مع مرجع واحد أمرنا بما هو آت: إنشاء مديرية عامة تسمى (المديرية العامة للصحافة والنشر) مهمة هذه المديرية التنظيم والتنسيق على جميع وسائل النشر في المملكة ونشر الحقائق والمعلومات، تربط بهذه المديرية (المديرية العامة للإذاعة) وإدارة المطبوعات والصحافة ومختلف وسائل النشر في حدود الأنظمة المعتمدة، ويقوم سكرتيرنا الوزير المفوض عبد الله بلخير بالإشراف على هذه المديرية وعلى مسئوليتها».

اصطحب جلالة الملك سعود بن عبد العزيز، في زيارته للهند بعد انعقاد مؤتمر باندونغ باندونيسيا سكرتيره عبد الله بن عمر بلخير والمدير العام للإذاعة والصحافة والنشر بتاريخ 29 ديسمبر 1955 م، وقد عقد الوزير المفوض عبد الله بلخير، سكرتير جلالة الملك مؤتمرا صحفيا في فندق (تاج محل) في مومباي، تحدث فيه للصحفيين الهنود عن سياسة بلاده الخارجية ومنها دعوة بلاده للدول الآسيوية والأفريقية للحضور لمؤتمر باندونغ لتحقيق السلام العالمي، ومما جاء في بيانه في المؤتمر الصحفي:

«لقد أعلن جلالة الملك في الحفلة التي أقامتها الجمعية العربية عن بالغ تقديره للجهود الكبيرة التي بذلها رئيس وزرائكم المحبوب البانديت جواهر لال نهرو وحكومته في سبيل نهضة بلادكم وتقدمها، وأعلن جلالة الملك عن امتنانه للمعاملة العادلة التي يحظى بها (40) مليون مسلم في الهند».

حينما زار صاحب العظمة السلطان حسين بن علي الكثيري، سلطان الدولة الكثيرية بحضرموت، جدة في أغسطس 1955 م، أرسل الملك سعود بن عبد العزيز، الوزير المفوض وسكرتيره الشيخ عبد الله عمر بلخير، لاستقباله في مطار الملك عبد العزيز الدولي، كما أنزله على ضيافة الحكومة السعودية في فندق الكندرة ـ أفخم فندق بجدة وقتذاك ـ وكان في استقباله أيضا زعماء الحضارم وأعيانهم بالبلاد السعودية وعلى رأسهم محمد أبوبكر باخشب، وأحمد سعيد بقشان، وسالم أحمد بن محفوظ، ومحمد بن عوض بن لادن، وغيرهم كثير.

تنقل الشيخ عبد الله بلخير، في مناصب عديدة منها شئون الجامعة العربية والمؤتمرات ومنها رئاسته لديوان إمارة الرياض في عهد الأمير سلطان بن عبد العزيز عام 1953 م.

جدت أمور وحدثت أحداث، جعلته ينسحب من الساحة السياسية بهدوء، ويغادر البلاد بصحبة عائلته إلى بيروت، وأمضى ما يقارب 20 عاما، إما مقيما في بيروت أو القاهرة أو سائحا في أنحاء المعمورة.

من شعره
 أول ما لفت انتباهه، وهو ما زال طالبا ان بلاده المملكة العربية السعودية بدون أناشيد وطنية فكتب ما يقرب من 15 نشيدا وطنيا للناشئة وقدمها إلى لجنة المسابقات التي اختارت 13 نشيدا منها، وأقرتها ثم عممتها على مدارس المملكة العربية السعودية. منها نشيد:

 ومن روائع بلخير الشعرية (ملحمة قرطبة) التي أصبحت مشهورة في عواصم البلاد العربية الثقافية من بغداد إلى القاهرة وبيروت فالخرطوم وعدن.
 وقال بيته المشهور مجيبا وفد الكشافة العراقي الوافد إلى مكة عام 1353هـ الموافق 1932م:
شبه الجزيرة موطني وبلادي
من حضرموت إلى حمى بغداد
أشدو بذكراها وأهتف باسمها
في كل جمع حافل أو نادي
 من شعره أيضاً:

من أصدقائه
الأمير شكيب أرسلان، يونس بحري، علي أحمد باكثير، أحمد سعيد بقشان، محمد بن عوض بن لادن، عبد الله سعيد بقشـان، سالم أحمد بن محفوظ، محمد أبوبكر باخشب.

وفاته
توفي عن عمر يناهز 87 عاما، حيث توفي يوم الأحد الرابع من شوال 1423 هـ أثناء تلقيه العلاج الطبي وهو في سن الشيخوخة في أحد المستشفيات اللبنانية، وكان قد أوصى أنجاله بأن يدفن في مكان وفاته أيا كان تيمنا بالسنة النبوية المطهرة.

انظر ايضاً
 عبد الله عبد الغني خياط
 عبدالله الغذامي

وصلات خارجية
 «عبد الله بلخير».. مترجم الملك عبد العزيز في لقائي «روزفلت» و«تشرشل».

المراجع

أصول حضرمية
خريجو الجامعة الأمريكية في بيروت
مواليد 1333 هـ
مواليد 1915
وزراء سعوديون سابقون
وفيات 1423 هـ
مترجمون سعوديون
كتاب سعوديون في القرن 20
شعراء بالعربية في القرن 20
شعراء بالعربية في القرن 21

عبد الله بن عمر بلخير


Jan Birkelund (født 10. november 1950, død 28. februar 1983) var en norsk fodboldspiller (forsvarer).

Birkelund startede sin karriere hos Skeid, og skiftede i 1977 til Lillestrøm. Hos Skeid var han med til at vinde den norske pokalturnering i 1974, mens det hos Lillestrøm blev til ét mesterskab i 1977, samt to pokaltitler i henholdsvis 1977 og 1978.

Birkelund spillede spillede desuden 33 kampe for Norges landshold som han debuterede for 6. juni 1973 i en venskabskamp mod Irland.

Birkelund stoppede sin karriere i 1978 da han blev diagnosticeret med en hjertefejl. Han døde fem år senere af et hjertetilfælde.

Titler
Tippeligaen
 1977 med Lillestrøm

Norsk pokalturnering
 1974 med Skeid
 1977 og 1978 med Lillestrøm

Referencer

Eksterne henvisninger

Fodboldspillere fra Norge
Fodboldspillere fra Skeid Fotball
Fodboldspillere fra Lillestrøm SK
Personer fra Oslo

Jan Birkelund


152233 Van Till este un asteroid din centura principală de asteroizi.

Descriere
152233 Van Till este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Calvin-Rehoboth la Observatorul Calvin College. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 3,14 ua, o excentricitate de 0,21 și o înclinație de 0,8° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 152001-153000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2005
Centura de asteroizi

152233 Van Till


est une comédie muette américaine réalisée par Donald Crisp et sortie en 1918.

Synopsis

Fiche technique

 Réalisation : Donald Crisp
 Scénario : Frances Marion
 Photographie : Henry Kotani
 Production : Artcraft Pictures Corporation, Famous Players-Lasky Corporation
 Distributeur : Paramount Pictures
 Durée : 50 minutes (5 bobines).
 Date de sortie :

Distribution
Fred Stone : Chuck McCarthy
Fanny Midgley : Mme. McCarthy
Charles McHugh : M. McCarthy
Rhea Mitchell : Bijou Lamour
Sylvia Ashton : le bébé vampire
Philo McCullough : Marmaduke X. Caruthers
Winifred Greenwood : Molly O'Connors
Charles Stanton Ogle : le directeur Graham
Ernest Joy : le responsable du studio
Clarence Geldart : le directeur de casting

Notes et références

Liens externes

Film américain sorti en 1918
Comédie américaine
Moyen métrage américain
Film américain en noir et blanc
Film muet américain
Film sur un acteur

The Goat (film, 1918)


ولد بيت موندريان  في 7 آذار 1872 في أميرسفوورت (هولندا). وكان والده كالفينيا (حركة دينية) متعصبا لما يؤمن به بشدة.

حياته
بدأ بيت موندريان دراسة الفن في تشرين الثاني من عام 1892في أكاديمية ريجكاس للفنون في أمستردام. و تابع فيها حتى عام 1897. التقى موندريان 1912 بالفن التكعيبي في باريس و بدأ فورا (باعتناقه) و ممارسته، حيث تأثر بإتجاه بابلو بيكاسو وجورج براك أكثر من إتجاهات فرناند ليجر وروبرت ديلوناي.

عاد إلى أمستردام عام 1914 و أنهى عدة أعمال كان إيقاع البحر عاملا أساسيا فيها.

في عام 1916 التقى موندريان مع بارت فان ديرليك و بعد هذا اللقاء بعام أسس الاثنان مع ثيو فان ديوسبورغ مجموعة فنية سميت النمط (de Stijl).

رجع موندريان في عام 1919 إلى باريس حيث أخذ مرسما وبقي هناك حتى عام 1936 وفي عام 1938 سافر إلى لندن وبقي هناك حتى رحل و لجأ إلى نيويورك 1940. حيث إنضم هناك إلى مجموعة من الفنانيين التجريديين ونشر معهم مقالات وأعمال عن التصميم الجديد (néoplasticisme) كما سمى موندريان إتجاهه التكعيبي.

وفاته
توفي بيت موندريان سنة 1944 في نيويورك بعد إصابته بالتهاب رئوي.

أعماله
أعمال موندريان (تتحلى) بصفة التجريد القوية. من أهم أشكاله التي استخدمها هو مساحات المربع الملونة بالألوان الأساسية (الأحمر والأزرق و الأصفر).

رسم موندريان في بداية شهرته 1909 في دومبيرغ كالانطباعيين وبعد ذلك كالانطباعيين الجدد ويلاحظ من أعماله أنه ترك الطريقة التمثيلية (رسم الأشياء أو المواضيع) (Representational Painting) في الرسم بالتدريج.

عرضت أعماله في الدوكومنتا1 Documenta) 1955 ) و الدوكومنتا2 1959 والدوكومنتا 3 1964 في كاسل kassel الألمانية.

خلده الفنان دان فلافين بعمل تركيب ضوئي، محاولا تجنب الألوان المركبة فيه كالأخضر والبنفسجي والبرتقالي.

تأثرالكثيرون بأعمال موندريان، منهم مصمم الأزياء الفرنسي إيف سان لوران.

من خلال البحث عن الهيكل، والإيقاع والتوازن، بدأ موندريان يضع جانبا التمثيل الواقعي، ليؤلف صور ابتدأ من الخطوط الأفقية والعمودية، وبعدد محدود من الألوان، وترتيبها على سطح ثنائي الأبعاد. وما يبحث عنه الفنان، هي العلاقات بين العناصر.

روابط خارجية

مراجع

وفيات الالتهاب الرئوي في مدينة نيويورك
أشخاص من آمرسفورت
العصر الإدواردي
دي ستايل
رسامو القرن 19 من هولندا الشمالية
رسامو الفن الحديث
رسامون تجريديون
رسامون هولنديون
رسامون هولنديون في القرن 20
فنانون معاصرون
فنانون هولنديون في القرن 19
فنانون هولنديون في القرن 20
فنون
مدرسية في باريس
مغتربون هولنديون في الولايات المتحدة
مواليد 1872
مواليد في آمرسفورت
هولنديون مغتربون في فرنسا
وفيات 1944
وفيات بأمراض معدية في نيويورك
وفيات بسبب ذات الرئة
وفيات في نيويورك
وفيات الالتهاب الرئوي في ولاية نيويورك

بيت موندريان


Wimbledon-mesterskabet i herredouble 2015 var den 123. herredoubleturnering ved Wimbledon-mesterskaberne i tennis. Mesterskabet blev vundet af det fjerdeseedede par bestående af Jean-Julien Rojer fra Holland og Horia Tecău fra Rumænien, som dermed begge vandt sin første grand slam-titel i herredouble og deres anden grand slam-titel i alt. Tecău havde tidligere tabt tre Wimbledon-finaler i herredouble i træk i årene 2010, 2011 og 2012 sammen med Robert Lindstedt. I finalen besejrede de Jamie Murray fra Storbritannien og John Peers fra Australien (seedet 13) med 7-6 (7-5), 6-4, 6-4.

Vasek Pospisil og Jack Sock var forsvarende mestre, men det tredjeseedede par tabte allerede i tredje runde til de senere finalister Jamie Murray og John Peers med 3-6, 6-7 (6-8), 7-6 (7-5), 6-3, 6-8, og de var dermed det eneste af de fire højst seedede par, der ikke mindst nåede frem til kvartfinalerne.

Der var dansk deltagelse i rækken, eftersom de tidligere vindere Jonathan Marray og Frederik Løchte Nielsen genoptog deres samarbejde fra 2012 og modtog et wildcard til turneringen. Den dansk-britiske konstellation blev slået ud i tredje runde af det andenseedede par bestående af Ivan Dodig og Marcelo Melo med 6-1, 6-4, 7-6 (8-6).

Præmier

Den samlede præmiesum i herredoubleturneringen androg £ 1.540.000 ekskl. per diem, hvilket var en stigning på 5,0 % i forhold til året før.

Hovedturnering

Spillere

Hovedturneringen havde deltagelse af 64 par. Heraf havde 54 par kvalificeret sig i kraft af deres ranglisteplacering, fire par havde spillet sig gennem kvalifikationen (Q), mens seks par havde modtaget et wildcard (WC). Efterfølgende meldte to par afbud, hvilket gav plads til to lucky loser-par.

Resultater

Kvartfinaler, semifinaler og finale

Første til tredje runde

Kvalifikation

Spillere

Kvalifikationsturneringen havde deltagelse af 16 par, der spillede om fire pladser i hovedturneringen.

Resultater

Se også
 Wimbledon-mesterskabet i herresingle 2015
 Wimbledon-mesterskabet i damesingle 2015
 Wimbledon-mesterskabet i damedouble 2015
 Wimbledon-mesterskabet i mixed double 2015

Kilder / eksterne henvisninger
 Wimbledon
 Wimbledon - News - Doubles joy for Rojer and Tecau (11. juli 2015)

Noter

Herredouble
2015


Avicularia nigrotaeniata es una especie de araña que pertenece a la familia Theraphosidae (tarántulas).

Véase también
 Lista de especies de Theraphosidae

Fuente

  (2009): El catálogo de las arañas del mundo, versión 10.0. American Museum of Natural History.

Enlaces externos

Theraphosidae
Taxones descritos por Cândido Firmino de Mello-Leitão

Avicularia nigrotaeniata


Marcela Alejandra Ríos Tobar (Santiago, ) est une sociologue, politologue et femme politique chilienne, membre du parti Convergence sociale (CS). Elle est ministre de la Justice et des Droits humains du gouvernement de Gabriel Boric du  au .

Biographie

Études
Fille de l'écrivain Carlos Gonzalo Ríos Gordillo et d'Hilda Luisa Tobar Silva, elle effectue ses études supérieures en sociologie à l'université d'York au Canada, et obtient un doctorat en science politique à l'université de Wisconsin-Madison aux États-Unis et un magíster en sciences sociales à la Faculté latino-américaine de sciences sociales, lieu où elle est également coordinatrice du programme de gouvernance de 2005 à 2007.

Trajectoire professionnelle
Elle exerce sa profession dans le secteur public et privé, en travaillant en particulier pendant plus de quatorze ans pour le Programme des Nations unies pour le développement (PNUD) en tant qu'assistante résidente représentative, puis en tant que vice-présidente du directoire de l'organisation  (Communauté femme).

Par ailleurs, pendant la première présidence de Michelle Bachelet, elle intègre la Commission pour la réforme du système électoral en 2006, et pendant la seconde présidence de Michelle Bachelet, elle participe aux commissions pour la réforme du système de pensions en 2014 et 2015 et, la commission Engel contre les conflits d'intérêts, le trafic d'influences et la corruption en 2015.

Trajectoire politique
Féministe et militante du parti Convergence sociale (CS), elle est désignée le  par le président élu Gabriel Boric comme ministre de la Justice et des Droits humains. Elle est investie le 11 mars 2022, le même jour que le président Boric et l'ensemble du nouveau gouvernement. Le , elle remet sa démission au chef de l'État en raison du scandale provoqué par les grâces accordées aux personnes condamnées à la suite du mouvement de contestation en 2019.

Références

Féministe chilienne
Ministre chilien de la Justice
Ministre chilienne
Ministre du gouvernement Boric
Femme sociologue
Sociologue chilien
Naissance en décembre 1966
Étudiant de l'université du Wisconsin à Madison
Naissance à Santiago
Étudiant de l'université d'York

Marcela Ríos


İki çenekliler ya da ödikotlar (, İngilizce: Dicotyledones), embriyonlarında iki çenek (kotiledon) bulunan bir çiçekli bitki sınıfıdır.

Yaklaşık 199.350 türle temsil edilirler. Çiçekli bitkilerden tek çenekliler, iki çeneklilerden farklı olarak, tek embriyonik yaprak (çenek) içerirler. Genel olarak otsu ve odunsu özelliklerdir. Tek yıllık, iki yıllık ve çok yıllık olabilirler. İletim demetleri dairesel dizilişlidir. Çok yıllık olanların iletim demetlerinde floem ile ksilem arasında bulunan kambiyum sayesinde sekonder kalınlaşma görülür. Yapraklar geniş olup, ağsı damarlanma gösterirler. Çiçek parçalarının sayısı çok değişiktir. Çiçek örtüsü (periant), çanak yaprak (sepal) ve taç yaprak (petal) olarak farklılaşmıştır. Tohumları iki çenek (kotiledon) bulundurduğu için dikotil bitkiler olarak adlandırılmışlardır. Ana kök iyi gelişmiştir ve üzerinde sekonder kökler bulunur.

Genel Özellikler

 Tohumlarında iki çenek bulunur,
 İki ya da daha çok yıl yaşayabilirler,
 Gövdelerinde odun ve kambiyum bulunur,
 Yaprak damarları ağ biçiminde şekillenir,
 Kökleri kazık kök olarak görülür,

Taksonomi
İki çenekli bitkiler sınıfı, 3 altsınıfa ayrılmaktadır:

 Apetalae (Petalsizler)
 Dialypetalae (Ayrı petalliler)
 Sympetalae (Birleşik petalliler)

APG III sistemine göre takımlar
Buxales - Proteales - Ranunculales - Sabiaceae - Trochodendrales

Kaynakça

Eudicots

İki çenekliler


Alejandro Emilio Albarracín fue un médico y político argentino del  que llegó a desempeñarse como gobernador de la provincia de San Juan.

Biografía
Alejandro Emilio Albarracín Porvén nació en San Juan (Argentina) en 1849 en el seno una de las familias más tradicionales de esa provincia cuyana.

Se doctoró en medicina en la Facultad de Medicina de la Universidad de Buenos Aires.

Discípulo de Guillermo Rawson, ejerció su profesión en San Juan hasta que se volcó prioritariamente a la actividad política.

Fue senador provincial y en 1890 resultó elegido gobernador en reemplazo del doctor Manuel José García. Su primer vicegobernador, José María Flores Videla renunció al cargo el 21 de agosto de 1891 por lo que cerró su mandato con Pedro Cordero como nuevo vicegobernador.

En 1892 fue el responsable de la aprobación de la norma destinada al ordenamiento general de la legislación del riego en San Juan, Ordenanza General de 104 artículos divididos en 15 capítulos que intentó «reglamentar las leyes vigentes sobre irrigación y agricultura en el sentido de la mejor aplicación de sus conceptos, y arregladas a la índole y necesidades actuales».

Durante su gobierno efectuó una fuerte emisión en letras del tesoro provincial y la provincia sufrió una importante inflación.
Debió soportar los «alborotos y amagos de reconciliación con la perspectiva de un acuerdo» del que sería su sucesor, Domingo Morón.

Finalizado su mandato regresó al ejercicio de su profesión.
Estaba casado con Librada Albarracín con quien tuvo varios hijos: Elena María (casó con el destacado médico sanjuanino Ventura Lloveras), Carlos (médico), Martha (casó con Antonio Lloveras), Eduardo (médico) y Alida (casada con Juan Crisóstomo Albarracín Lozada). Vivía con su familia en la calle San Luis, entre Mendoza y General Acha.

Falleció el 1 de enero de 1899.

El Hospital de Valle Fértil lleva su nombre.

Notas y referencias

Bibliografía
Vicente Osvaldo Cutolo, Nuevo diccionario biográfico argentino (1750-1930), Editorial Elche, 1968
César Eduardo Quiroga Salcedo, Aída Elisa González de Ortiz, El terremoto de San Juan del 27 de octubre de 1894: sus efectos en el contexto cultural de la provincia, Universidad Nacional de San Juan, Facultad de Filosofía, Humanidades y Artes, 1987

Enlaces externos
Albarracín, en diariodecuyo.com.ar
Familia Lloveras
Riego, Estado y legislación en San Juan (Argentina) 1850-1914

Gobernadores de San Juan

Un tesoro de más de cien años en las paredes del Centro Cívico

Ginecólogos de Argentina
Médicos de Argentina del siglo XIX
Médicos de Argentina del siglo XX
Médicos de San Juan
Gobernadores de San Juan
Senadores provinciales de Argentina (San Juan)
Alumnado de la Facultad de Medicina de la Universidad de Buenos Aires

Alejandro Emilio Albarracín


Die Liste der Biografien führt alle Personen auf, die in der deutschsprachigen Wikipedia einen Artikel haben. Dieses ist eine Teilliste mit 3 Einträgen von Personen, deren Namen mit den Buchstaben "Stw" beginnt.

Stw

Stwe
 Stwertka, Julius (1872–1942), österreichischer Violinist und Konzertmeister

Stwo
 Stwolinski, Helmuth von (* 1901), deutscher Fotograf, Kameramann und Erfinder
 Stwolinsky, Sylvius Ferdinand von (1717–1787), preußischer Generalmajor, Chef des Infanterieregiments Nr. 10

Liste der Biografien/Stw


37 هـ هي سنة في التقويم الهجري امتدت مقابلةً في التقويم الميلادي بين سنتي 657 و658.

أحداث
 موقعة صفين

مواليد
 الأعرج

وفيات
 أبو أمامة سهل بن حنيف
 أبي بن قيس النخعي
 أويس القرني المرادي
 ذو الكلاع الحميري
 عبد الله بن بديل
 محمد بن جعفر بن أبي طالب
 هاشم بن عتبة
 خباب بن الأرت
 خزيمة بن ثابت
 عبيد الله بن عمر بن الخطاب
 عمار بن ياسر

مراجع

تقويم هجري

37 هـ


Adris grupa danas jedna je od vodećih hrvatskih i regionalnih kompanija te lider po kriterijima profitabilnosti i inovativnosti. Organizirana je u tri osnovne strateške poslovne jedinice. Turističkom upravlja Maistra d.d., uz snažno rastući segment prehrambene industrije koji predvodi Cromaris. Početkom 2014. godine, Adris grupa je postala vlasnikom najstarije hrvatske osiguravateljne kuće – Croatia osiguranja, čime Adris postaje i regionalni lider na tržištu osiguranja.

U sastavu SPJ Turizam do 2005. bili su: Adria Resorts d.o.o. Rovinj, Jadran-turist d.d. Rovinj, Anita d.d. Vrsar i Jadran-trgovina d.o.o. kada su se Anita d.d. Vrsar i Jadran-turist d.d. Rovinj spojili u novo društvo Maistra d.d. Rovinj. Jadran trgovina d.d. prodana je Konzumu d.d. 2007. Jedinica ima program ulaganja u postojeće smještajne kapacitete unutar grupacije i vlasničkoga preuzimanja novih trg. društava iz turističko-ugostiteljske djelatnosti na jadranskoj obali, čime bi se stvorila vodeća turistička kompanija u Hrvatskoj. Ujedinjena je Adris Grupa snažno dioničko društvo, koje ima oko 2900 zaposlenika, a prema rezultatima anketa Privrednog vjesnika posljednjih je desetak godina ostvarila najbrži rast dobiti u konkurenciji od 400 najvećih tvrtki u Hrvatskoj. Dobitnik je Zlatne dionice na hrvatskom tržištu kapitala za 2003. i drugih priznanja.

Vanjske poveznice
Službena stranica

Hrvatske tvrtke

Adris Grupa


An Trichotosia katherinae in uska species han Liliopsida nga syahan ginhulagway ni Alex Drum Hawkes, ngan ginhatag han pagkayana nga asya nga ngaran ni Peter Francis Hunt. An Trichotosia katherinae in nahilalakip ha genus nga Trichotosia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trichotosia

Trichotosia katherinae


Munktells

 30-40 hk (1913-15)
 18-20 hk (1916)
 20-24 hk (1917-20)
 Typ 22 (1921-34)
 Typ 30 (1927-35)
 Typ 25 (1934-38)

Bolinder-Munktell

 BM 2 (1939-46)
 BM 3 (1939)
 BM 4 (1939-44)
 GBMV-1 (1944-45)
 BM 20 (1945-50)
 BM 21 (1951-52)
 BM 10 (1947-52)
 BM 200/210 Teddy (1954-59)
 BM 24/25 (1953-55)
 BM 31-34 (1954-57)
 BM 35-36 (1952-59)
 BM 55 (1953-59)
 BM 230 Victor (1955-61)
 BM 15 (1956)
 BM 425 Terrier (1957-62)
 BM 350 Boxer (1959-67)
 BM 470 Bison (1959-66)
 BM 320 Buster (1961-64)

Volvo

 T 41-43 (1943-50)
 T 21-25 (1946-59)
 T 31-34 (1949-57)
 T 35-36 (1953-59)
 T 55 (1953-59)
 T 230 (1956-61)
 T 15 (1956)
 T 425 Krabat (1957-62)
 T 350 Boxer (1959-67)
 T 470 Bison (1959-66)
 T 320 Buster (1961-64)

BM-Volvo

 T 350 Boxer (1959-67)
 T 470 Bison (1959-66)
 T 320 Buster (1961-64)
 T 400 Buster (1964-69)
 T 430 Buster (1969-73)
 T 600 Boxer (1966-70)
 T 650 (1970-73)
 T 800 (1966-73)
 T 810-814 (1969-73)

Volvo BM

 T 430 (1973-78)
 T 500 (1975-78)
 T 650 (1973-82)
 T 700 (1976-82)
 T 800 (1973-79)
 T 810-814 (1973-79)
 Volvo BM 2200/2204 (1978-81)
 Volvo BM 2250/2254 (1978-81)
 Volvo BM 2650/2654(1979-83)

Volvo BM Valmet

 305/405 (1985-86)
 505/605/705/805 (1983-86)
 2005/2105 (1985-86)

Traktormærker

Liste over traktormodeller fra BM


Me, myself & Martin Laursen er en dokumentarfilm instrueret af Anthony Tullberg efter manuskript af Flemming Christian Klem.

Handling
Mød Anthony Tullberg. Tidligere fodboldspiller med en karriere, der ifølge ham selv burde have været meget mere glorværdig end tilfældet var. Han nåede aldrig til en topklub. Han spillede foran 1.000 mennesker. Men det var til hans store ærgrelse slet ikke så mange, som Martin Laursen spillede foran. Og det på trods af, at de er lige gamle, lige høje, vejer det samme og begge er højrebenede. Som han i en særdeles ærlig tone udfordrer sig selv med at spørge, 'Hvorfor er det ham. som er stjerne, når det burde være mig?'. Det bliver starten på en film, hvor Anthony prøver at forstå hvem Martin Laursen er. Både mennesket og fodboldspilleren. Han graver dybt i Martins karriere, hvor han udspørger tidligere kollegaer og trænere som Michael Laudrup, Paolo Maldini, Morten Olsen, Carlo Ancelotti, Martin Jørgensen, Zlatan Ibrahimovic samt adskillige andre stjerner fra fodboldens verden, om Martin Laursens styrker og svagheder.

Referencer

Eksterne henvisninger

Danske film fra 2012

Dokumentarfilm fra Danmark

Me, myself & Martin Laursen


Bisera Turković (Sisak, 8. prosinca 1954.), bosanskohercegovačka je diplomatkinja i političarka. Bila je prva veleposlanica ikada imenovana u Bosni i Hercegovini te veleposlanica BiH u Hrvatskoj, Mađarskoj, Sjedinjenim Američkim Državama, Meksiku, Brazilu, Belgiji i u Kataru. Diplomirala je pravo, poslijediplomski studij kriminologije te doktorirala međunarodne odnose. Trenutno je ministrica vanjskih poslova Bosne i Hercegovine. Članica je SDA.

Obrazovanje
Godine 1979. diplomirala je na Pravnom fakultetu Sveučilišta u Sarajevu.

Godine 1987. završila je preddiplomski studij kriminalistike na Philip institutu u Melbournu, a iduće godine je kriminalistiku i magistrirala na LaTrob Sveučilištu u Melbournu.

Godine 1995. doktorirala je međunarodne odnose na Pacific Western Sveučilištu u SAD-u.

Karijera
Njezini prvi zadaci veleposlanice bili su u Hrvatskoj (1993–1994), Mađarskoj (1994–1996) i u Stalnoj misiji Bosne i Hercegovine pri Organizaciji za sigurnost i suradnju u Evropi u Beču (1996–2000). Od 2000. do 2001. godine radila je kao ministrica za europske integracije Bosne i Hercegovine, a od 2001. do 2004. godine bila je izvršna direktorica Centra za sigurnosne studije u BiH.

Radila je u Stalnoj misiji Bosne i Hercegovine pri Ujedinjenim narodima i OSCE-u u Beču (2004–2005). Bila je veleposlanica BiH u SAD-u (2005-2009.), veleposlanica BiH u Kraljevini Belgiji (2012-2015.) te veleposlanica BiH u Katru (2018-2019.). U prosincu 2019. postala je ministrica vanjskih poslova Bosne i Hercegovine.

Privatni život
Jedino je dijete Katarine Kraus i Muharema Rešića.

Njena je majka iz imućne obitelji koja je živjela u dvorcu Januševac nadomak Zagreba, a otac joj je iz velike obitelji s obzirom na to da je njegov djed imao 32 djece.

Roditelji su joj se rastali kada je bila jako mala, pa je većinu dijetinjstva provela s bakom u Bosanskoj Kostajnici. Majka joj se preselila u Australiju. Kad je krenula u školu, preselila se u Zagreb i živjela s ocem.

Godine 1973. udala se za Saliha Turkovića i preselila u Sarajevo. Iz tog braka ima troje dijece. Godine 1984. preselila se u Australiju.

Povezani članci
 Vijeće ministara Bosne i Hercegovine
 Ministarstvo vanjskih poslova Bosne i Hercegovine

Izvori

Vanjske poveznice

Sestrinski projekti

Mrežna mjesta
Vijeće ministara Bosne i Hercegovine: Ministrica vanjskih poslova Bisera Turković

Bosanskohercegovački političari od 1989.
Bosanskohercegovački veleposlanici
Pravnici

Bisera Turković


Helieae, tribus biljaka iz porodice sirištarki. Pripadaju mu 23 roda čije su vrste raširene po Južnoj Americi, iznimka je Zonanthus cubensis sa Kube.. Oko 220 vrsta u 23 roda. Macrocarpaea je najveći rod.

Rasprostranjenost
Samo neotropi (američki tropi): od Meksika do Bolivije i Paragvaja.

Stanište
Prašume, oblačne šume, savane, travnjaci, rjeđe rubovi cesta i druga staništa. Od nizina do visokih planina. Mnoge vrste pojavljuju se samo u vrlo malim, ograničenim područjima.

Karakteristike
Grmovi, polugrmovi ili višegodišnje ili jednogodišnje biljke. Listovi sjedeći ili s peteljkama. Cvatovi obično monohazijalno ili dihotomno razgranati cimes, rijetko aksilarni i/ili sa pojedinačnim cvjetovima. Cvjetovi (4–)5(–6)-brojni, često veliki i upadljivi. Čaške (srasle čašice) često debele/kožaste, često sa zadebljanom kobilicom na stražnjoj strani svake čašice. Vjenčići (srasle latice) cjevasti, ljevkasti ili plosnati, zvonasti. Prašnici i stil (dio pistila) blago zigomorfni kod mnogih vrsta. Kada su zigomorfni, cvjetovi imaju blago savijenu vjenčičnu cijev s prašnicima skupljenim u gornjem ili donjem dijelu ušća vjenčića i vrhom povijenim prema donjoj strani ušća vjenčića. Prašnici često sa sterilnim vršnim dodacima i jako zakrivljeni (ili su niti oštro savijene). Pelud kao monade, tetrade ili poliade. Stigme su često široko dvoslojne. Plod tanka ili drvenasta čahura.

Evolucija i srodne biljke
Helieae je najbliže povezana s plemenima Gentianeae i Potalieae. Unutar Helieae, studije koje su koristile metode molekularne filogenetike pokazale su da postoje tri glavne skupine - klada Macrocarpaea (Chorisepalum, Macrocarpaea i Tachia), klada Irlbachia (samo Irlbachia) i klada Symbolanthus (Aripuana, Calolisianthus, Chelonanthus, Symbolanthus, Tetrapollinia, Wurdackanthus).

Gospodarska upotreba
Chelonanthus alatus se koristi u medicinske svrhe u ekvadorskoj Amazoniji.

Oprašivanje
Oprašivanje šišmišima poznato je kod Chelonanthus alatus (Machado et al., 1998), a cvjetovi koji podsjećaju na oprašivanje šišmišima također se javljaju kod rodova Macrocarpaea i Symbolanthus. Oprašivanje kolibrićima nalazi se kod Symbolanthusa s ružičastim cvjetovima, a vjerojatno je prisutno i kod crvenih vrsta s cjevastim cvjetovima Lagenanthus, Lehmanniella i Purdieanthus. Cvjetovi tipa jastrebovog moljca poznati su kod Aripuane i Chelonanthusa.

Rodovi

Tribus Helieae Gilg
 Prepusa Mart. (6 spp.)
 Senaea Taub. (2 spp.)
 Celiantha Maguire (3 spp.)
 Sipapoantha Maguire & B. M. Boom (2 spp.)
 Macrocarpaea (Griseb.) Gilg (120 spp.)
 Chorisepalum Gleason & Wodehouse (5 spp.)
 Tachia Aubl. (14 spp.)
 Zonanthus Griseb. (1 sp.)
 Neblinantha Maguire (2 spp.)
 Irlbachia Mart. (8 spp.)
 Aripuana Struwe, Maas & V. A. Albert (1 sp.)
 Roraimaea Struwe, S. Nilsson & V. A. Albert (2 spp.)
 Lehmanniella Gilg (4 spp.)
 Yanomamua J. R. Grant, Maas & Struwe (1 sp.)
 Tetrapollinia Maguire & B. M. Boom (1 sp.)
 Symbolanthus G. Don (30 spp.)
 Calolisianthus Gilg (5 spp.)
 Adenolisianthus (Spruce ex Progel) Gilg (1 sp.)
 Rogersonanthus Maguire & B. M. Boom (2 spp.)
 Chelonanthus (Griseb.) Gilg (11 spp.)

Izvori

Sirištarke

Helieae


ජපානයේ පිහිටි සියළු වැදගත් උද්භිද උද්‍යාන මෙහි ලැයිස්තු ගත කෙරේ.

 Higashiyama Zoo and Botanical Gardens (Nagoya, Aichi)

භාහිර සබැඳි
 BGBI Garden Search for Japan
 Jardins Botaniques Japonais (French)

ආශ්‍රිත
 List of botanical gardens

Botanical gardens in Japan
Japan
Botanical gardens

ජපානයේ උද්භිද උද්‍යාන ලැයිස්තුව


141. længdegrad kan henvise til:

 141. vestlige længdekreds
 141. østlige længdekreds

141. længdegrad


Alexander Schüller est un bobeur allemand, né le  à Leipzig.

Biographie
Il remporte aux Championnats du monde de bobsleigh la médaille d'or de bob à quatre en 2020 et en 2021 et la médaille d'or de bob à deux en 2021.
Aux Jeux olympiques d'hiver de 2022, il est sacré champion olympique de bob à quatre avec Francesco Friedrich, Thorsten Margis et Candy Bauer.

Palmarès

Jeux Olympiques
  : médaillé d'or en bob à 4 aux JO 2022.

Championnats monde
  : médaillé d'or en bob à 2 aux championnats monde de 2021.
  : médaillé d'or en bob à 4 aux championnats monde de 2020, 2021 et 2023.
  : médaillé d'argent en bob à 2 aux championnats monde de 2023.

Coupe du monde
 40 podiums  :
 en bob à 2 : 14 victoires, 3 deuxièmes places et 2 troisièmes places.
 en bob à 4 : 22 victoires, 3 deuxièmes places et 1 troisième place.

Détails des victoires en Coupe du monde

Liens externes

Naissance en mai 1997
Naissance à Leipzig
Bobeur allemand
Champion du monde de bobsleigh
Champion olympique allemand
Champion olympique de bobsleigh
Bobeur aux Jeux olympiques d'hiver de 2022
Médaillé aux Jeux olympiques d'hiver de 2022

Alexander Schüller