Güher ve Süher Pekinel Kardeşler (d. 29 Mart 1953 - İstanbul), Türk ikiz piyano sanatçılarıdır.

Tek yumurta ikizi olan Güher ve Süher Pekinel, uluslararası üne sahip piyano ikilisidir, dünyanın en iyi piyano ikililerinden biri olarak kabul edilirler. İkili, birbirini görmeden çalmayı tercih eder ve alışılagelenden farkı olarak konserlerinde piyanolarını yan yana ve bir metre ara ile yerleştirir. 1991'den bu yana devlet sanatçısı unvanına sahip olan Pekinel kardeşler, klasik müziğin yanı sıra modern müzik repertuvarındaki eserleri de icra etmektedir.

Yaşamları
1951 yılında İstanbul'da dünyaya gelen Pekinel kardeşler, ilk müzik eğitimlerini piyano çalan annelerinden aldılar ve küçük yaşta Ferdi Statzer'in öğrencisi oldular.  İkili, altı yaşında devrin cumhurbaşkanı huzurunda verdikleri konserle ilk kez seyirci karşısına çıktı.  Bu ilk konserden üç yıl sonra,  Hikmet Şimşek'in yönettiği Ankara Filarmoni Orkestrası eşliğinde, Ankara Radyosu'nda canlı olarak yayınlanan ilk orkestra konserlerini verdiler. İlkokuldan sonra ortaöğrenime Notre Dame de Sion Lisesi'nde başladılar.

Müzik eğitimi için 1963'te Fransa'ya giden ikiz kardeşler, Paris Konservatuvarı'nda Yvonne Loriod ile iki yıl çalıştıktan sonra Almanya'ya giderek Frankfurt Yüksek Müzik Okulu'nda August Leopold ile, ardından ABD'ye giderek Philadelphia'daki Curtis Institute of Music'te  20. yüzyılın en önemli Beethoven yorumcularından Rudolf Serkin ile çalıştılar. Ayrıca New York'ta Julliard Müzik Okulu'nda Claudio Arrau ve Leon Fleisher ile de çalışma fırsatını buldular. 1978'de Juilliard Müzik Okulu ve paralel olarak Frankfurt Yüksek Müzik Okulu'nda yaptıkları yüksek lisans çalışmalarını üstün başarıyla bitirdiler.

İkiz kardeşler, 18 yaşına geldiklerinde müzik yaşamlarına iki yıl ara verdiler. Süher Pekinel Frankfurt Üniversitesi'nde felsefe, Güher Pekinel ise psikoloji eğitimi aldı. Bu aradan sonra tekrar müziğe dönüp çeşitli uluslararası yarışmalarda gerek solo, gerekse ikili olarak ödüller aldılar. 1978'de Bratislava'da UNESCO Dünya Müzik Haftası kapsamında düzenlenen piyano yarışmasında Federal Almanya Cumhuriyeti'ni temsil ederek kazandıkları birincilik ödülü bu ödüller arasında yer alır.

1984'te Herbert von Karajan tarafında keşfedilerek Salzburg Festivali'ne davet edilen sanatçılar o zamandan beri ünlü orkestralarla dünya çapındaki müzik kariyerlerine başladılar
 Aralarında Berlin Filarmoni, Viyana Filarmoni, New York Filarmoni, İsrail Filarmoni, Londra Filarmoni, Concertgebouw Amsterdam, Los Angeles Filarmoni, İngiliz Oda Orkestrası, Fransız Ulusal Orkestrası, Accademia Nazionale di Santa Cecilia, Tokyo Filarmoni, Leipzig Gewandhaus'un da bulunduğu ünlü orkestralarla birlikte çaldılar.

Pekinellerin uzun resital turneleri sırasında Avrupa, Amerika Birleşik Devletleri ve Japonya'nın en önemli müzik merkezlerinde konserler verdiler. ABD, Almanya, İtalya ve Fransa'da yapılan uluslararası yarışmalarda her ikisi de hem ikili hem de solo olarak birincilik ödüllerini kazandılar.  1991 yılında Devlet Sanatçısı unvanı almanın yanı sıra Boğaziçi Üniversitesi Fahri Doktora unvanına sahiptirler. 2013 yılında İKSV Onur Ödülü kendilerine takdim edilmiştir.

Pekinel Kardeşler, ikili piyano repertuvarının en önemli eserlerini Deutsche Grammophon, CBS, Teldec, Warner Classics gibi yapımcılarla kaydettiler. Leonard Bernstein, Jacques Loussier ve Bob James'in kendilerine özel olarak yazdıkları eser ve düzenlemeleri de kayıtları arasında bulunur. Leonard Bernstein'ın kendileri için düzenlediği ve ithaf ettiği Batı Yakası Hikâyesi iki piyano versiyonu yılın plağı seçildi. Jacques Loussier'nin yine kendilerine ithaf ettiği caz projesi "Take-Bach"  satış rekorları kırdı. Warner Classics'ten çıkan Bach'ın 2'li ve 3'lü piyano konçertoları ve Brahms ve Saint-Säens eserlerini içeren kayıtları ise Daily Telegraph ve Guardian gazeteleri tarafından "Haftanın ve Ayın En İyi Albümleri" seçildi.

Son yılların en önemli konserleri arasında Zubin Mehta yönetiminde Viyana Filarmoni Orkestrası ile Eurovision konseri ve İsrail Filarmoni ile sekiz şehirlik turne, Orchestre de Toulouse'un 50. Yıldönümü konseri, Colin Davis ve İngiliz Oda Orkestrası ile İspanya ve İngiltere'de gerçekleştirdikleri turneleri, Luzern Piyano Festivali açılış konseri, 2007 Zürih ve Luzern Yeniyıl konserleri sayılabilir. İkilinin bu konserleri Arthaus Musik tarafından pazara sunulan "Güher&Süher Pekinel: Lıve in Concert" DVD'sinde yer alır.

Pekineller konser kariyerlerinin yanı sıra Türkiye'de müzik eğitimi ile ilgili sosyal sorumluluk projeleri gerçekleştirmektedir.

Pekineller'in hayatı konu alan iki önemli belgesel film bulunur.  İlki, Alman ZDF kanalı tarafından gerçekleştirilmiştir.  ARD-ARTE kanallarının ortak yapımı olan "İkiz Yaşam" adlı ikinci belgeselin ise, yayın hakları UNITEL tarafından devir alınmıştır ve zaman zaman dünya televizyonlarında tekrarlanarak yayımlanır.

Nisan 2020'de COVID-19 Virüsüne yakalanıp hastalığı atlatmışlardır.

Pekinel kardeşler, "müzik alanında dünya çapında çalışmaları ve kültür-sanat alanında global diyaloğu güçlendiren hayat boyu kariyer ve katkıları nedeni ile" 2021 yılının Ocak ayında Almanya Federal Cumhuriyeti Liyakat Nişanı ile ödüllendirildiler.

Sosyal sorumluluk projeleri
Pekinellerin ilk sosyal sorumluluk projesi, müzik eğitiminin ilköğretimden başlayarak ortaöğretim sonuna kadar yeniden müfredata entegre edilmesini sağlamak üzere çalışmalarını sürdürmektedir.  İlk pilot proje olarak Türkiye'nin her yöresinden seçilmiş üstün yetenekli çocukların okuduğu özel yatılı vakıf okulu olan TEVİTÖL  bünyesinde finansmanını üstlenerek 2007 yılında müzik bölümü  kurmuş ve müzik eğitimini müfredata entegre etmişlerdir.

Müzik eğitimi alanındaki diğer bir çalışmaları "Dünya Sahnelerinde Genç Müzisyenler" projesidir. Bu proje Türkiye'deki müzik alanında yetenekli gençlerin, eğitimlerini yurtdışında dünyanın önde gelen müzisyenleri ve pedagogları ile sürdürmelerini ve önemli uluslararası yarışmalara katılmaları için burs sağlamaktadır.

Üçüncü projesi ise  çocuklara analitik düşünce, yaratıcılık ve özgüven aşılayan "Orff-Schulwerk Müzik Eğitimi" kavramının Türkiye'de anaokulu ve ilkokullarda uygulanması için öğretmenlerin yetiştirilmesi amacını  taşır. Bu çalışma 2010'dan bu yana Türkiye Cumhuriyeti Millî Eğitim Bakanlığı ile 9 ile de yürütülmektedir.

Dış bağlantılar
İkiz Yaşam (belgesel)
İKSV tarafından hazırlanan Pekinel kardeşler videosu

Kaynakça

Türk piyanistler
Türk müzik grupları
Türk klasik piyanistler
Klasik müzik grupları
İkiz müzisyenler
Yaşayan insanlar

Pekinel Kardeşler


Autofagia eller Autosarcofagi (selv-kannibalisme; at fortære sin egen krop) er en meget sjælden adfærdsforstyrrelse, hvor man føler sig tvunget til at tilføje smerte på sig selv ved at bide og/eller fortære dele af sin krop. Forstyrrelsen ses undertiden hos personer med schizofreni, psykose og Lesch-Nyhan syndrom.

Autofagia klassificeres ikke som en psykisk forstyrrelse eller et symptom på psykisk forstyrrelse i Diagnostic and Statistical Manual of Mental Disorders (DSM), som udgives af American Psychiatric Association (APA), men klassificeres under DSMs Impulse-Control Disorders Not Elsewhere Classified. Majoriteten af individer, som lider af lidelsen føler ofte en spænding eller ophidselse inden, at vedkommende begår handlingen, og oplever efterfølgende behag, tilfredsstillelse eller lettelse efter, at handlingen er begået. Når handlingen er begået, kan personen ofte føle anger, selvbebrejdelse eller skyld.

En lignende opførsel er observeret hos laboratorierotter i eksperimenter ved rygmarvsskader og skader i det perifere nervesystem, hvor rotterne efter skaden kan ses slikke og efterfølgende bide i sine kløer og tåspidser, muligvis som en reaktion på fantomsmerter i lemmerne. I ekstreme tilfælde æder rotterne hele tæer eller til og med foden. Dyr reagerer negativt på bitter smag, og ved i forsøg at smøre et meget bittert præparat (en blanding af metronidazol og sårbehandlingsmidlet New Skin) på rotternes fødder, kunne denne form for selvskade begrænses.

Referencer

Psykiske sygdomme

Autofagia


Ana Maria Mîrcă (n. Olariu, ) este o handbalistă română care joacă pentru clubul CS Dacia Mioveni 2012 pe postul de portar.

Biografie
Ana Maria Mîrcă a început să joace handbal la nivel de senioare la HCM Roman, iar între 2003 și 2005 a jucat la SC Mureșul Târgu Mureș. În 2007 s-a întors la HCM Roman, unde a rămas până în 2010, când a dat probe la Rulmentul Brașov, dar a semnat cu CB Salud Tenerife din Spania. Handbalista a petrecut un an la Tenerife și încă un an la BM Gijón și s-a întors apoi în România, unde a jucat șase sezoane pentru Corona Brașov. În anul 2018, clubul brașovean nu i-a mai înnoit contractul, iar Mîrcă a plecat la CSM Roman. După desființarea acestei echipe din motive financiare, handbalista a semnat cu SCM Gloria Buzău. În 2022 Mîrcă s-a transferat la CS Dacia Mioveni 2012.

Palmares
Cupa Cupelor:
Turul 3: 2014

Liga Europeană:
Turul 3: 2021, 2022

Cupa EHF
Semifinalistă: 2016
Optimi de finală: 2015
Turul 2: 2017

Liga Națională:
 Locul 2: 2014
 Locul 3: 2015, 2016

Cupa României:
 Câștigătoare: 2021
 Finalistă: 2013
 Locul 3: 2014

Supercupa României:
 Câștigătoare: 2021

Note

Legături externe
 Ana Maria Mîrcă pe pagina EHF

Jucătoare de handbal din România
Nașteri în 1984
Sportivi români în viață
Handbaliste ale Corona Brașov
Handbaliști expatriați
Români expatriați în Spania
Brașoveni

Ana Maria Mîrcă


Pessoas
 Geraldo Bretas — ocutor e comentarista esportivo brasileiro.
 Marcelo Bretas — magistrado brasileiro.
 Sotirios Bretas - ciclista grego.

Outros
 Supermercados Bretas - rede de supermercados brasileira

Bretas


بلدية سان خوسيه ديل فالي ، هي إحدى بلديات مقاطعة قادس, التي تقع في منطقة الأندلس جنوب إسبانيا.

يبلغ عدد سكانها 4.233 نسمة وفقاً لإحصائية سنة (2002).

أعلام
 لويس ألبرتو روميرو
 لويس ألبرتو

مراجع

أماكن مأهولة في قادس
بلديات قادس

سان خوسيه ديل فالي


Simferopol Rayonu (Kırım Tatarcası: Aqmescit rayonı, Rusça: Симферопольский район, Ukraynaca: Сімферопольський район), Simferopol şehrini içermeyen rayon adlı idari bölgedir ve şehrin etrafındaki bölgeyi kapsar.

Meskûn yerler

Köylerin resmi Rus adlarını parantez içinde yazılmıştır.

 Acı Qal köy şurası
 Acı Qal (Çistenkoye)
 Livadki (Levadki)
 Molla Eli (Kamışinka)
 Qaraç (Trudolyubovo)
 Seymanlarköy (Novozburyevka)
 Terek Eli (Tryohprudnoye)
 Yağmurça (Fontanı)
 Badana köy şurası
 Badana (Perovo)
 Acı İbram (Klyuçi)
 Atman (Vesyoloye)
 Bödke (Dubki)
 Çeşmeci (Tyoploye)
 Çumaq Qarı (Obrıv)
 Kaştanovoye
 Kesek Aratuq (Klinovka)
 Konstantinovka
 Moloçnoye
 Novonikolayevka
 Qarağaç (Kizilovka)
 Qurçı (Ukrainka)
 Sabla (Partizanskoye)
 Topolnoye
 Zalesye
 Bulğanaq köy şurası
 Bulğanaq (Kolçugino)
 Cav Cürek (Ravnopolye)
 Prudovoye
 Bulğanaq Badraq köy şurası
 Bulğanaq Badraq (Pojarskoye)
 Ağaç Eli (Lekarstvennoye)
 Demyanovka
 Qoyaş (Vodnoye)
 Çelle köy şurası
 Çelle (Novoandreyevka)
 Acı Keç (Haritonovka)
 Cağa Mamış (Suhoreçye)
 Çoyunçı köy şurası
 Çoyunçı (Urojaynoye)
 Beke Eli (Jivopisnoye)
 Eski Lez köy şurası
 Eski Lez (Skvortsovo)
 Peredovoye
 Üç Quyu Tarhan (Kolodeznoye)
 Yañı Lez (Mejgornoye)
 Goropaşnik köy şurası
 Goropaşnik (Novosyolovka)
 Kerneüç köy şurası
 Kerneüç (Donskoye)
 Aşağı Asma (Nijnekurgannoye)
 Dermenci (Spokoynoye)
 Qalmuq Qara (Dmitrovo)
 Şeyhköy (Davıdovo)
 Tuatay (Klyonovka)
 Yuqarı Asma (Verhnekurgannoye)
 Mamut Sultan köy şurası
 Mamut Sultan (Dobroye)
 Anğara (Perevalnoye)
 Büyük Yanköy (Mramornoye)
 Colman (Pionerskoye)
 Eski Orda (Lozovoye)
 Petropavlovka
 Şumhay (Zareçnoye)
 Tahta Cami (Andrusovo)
 Tavel (Krasnolesye)
 Tavşan Bazar (Privolnoye)
 Totayköy (Fersmanovo)
 Yañı Sala (Çaykovskoye)
 Mazanka köy şurası
 Mazanka
 Atalıq Eli (Solovyovka)
 Krasnovka
 Tav Dayır (Lesnoselye)
 Tolban (Opuşki)
 Miñlerçik köy şurası
 Miñlerçik (Juravlyovka)
 Azat (Storojevoye)
 Kelembet (Sumskoye)
 Mirnoye köy şurası
 Mirnoye
 Aqtaçı Qıyat (Beloglinka)
 Gruşevoye
 Molodyojnoye kasaba şurası
 Molodyojnoye
 Qulumbet Eli (Solneçnoye)
 Nikolayevka kasaba şurası
 Nikolayevka
 Aleksandrovka
 Cabaş (Petrovka)
 Dört Kül (Razdolye)
 Kün Tuvğan (Teplovka)
 Qaraçora (Klyuçevoye)
 Vinnitskoye
 Qıtay köy şurası
 Qıtay (Şirokoye)
 Prolyotnoye
 Qazançı (Divnoye)
 Uzqastı (Kuprino)
 Qulçuq köy şurası
 Qulçuq (Rodnikovo)
 Cabanaq (Kubanskoye)
 Novıy Mir
 Qart Mışıq (Şafrannoye)
 Taqıl (Arkadyevka)
 Ulu Çoqraq (Kurgannoye)
 Sarabuz kasaba şurası
 Sarabuz (Gvardeyskoye)
 Kiçkine (Malenkoye)
 Novıy Sad
 Qaraç Qañğıl (Krasnaya Zorka)
 Sofiyevka
 Şkolnoye köy şurası
 Şkolnoye
 Tegeş köy şurası
 Tegeş (Pervomayskoye)
 Çolğarı (Krasnoye)
 Çüyke (Çaykino)
 Trudovoye köy şurası
 Trudovoye
 Akropolis
 Ana Yurt
 Aykavan
 Bura (Lazarevka)
 Cafer Berdi (Drujnoye)
 Cañatay (İvanovka)
 Mamaq (Strogonovka)
 Suin Acı (Denisovka)
 Yañı Sarabuz köy şurası
 Yañı Sarabuz (Ukromnoye)
 Temir Ağa (Sovhoznoye)

Ukrayna'nın rayonları

Simferopol Rayonu


Miofibroblast (lat. myofibroblastus, TH: H2.00.03.0.01013 ) je vrsta stanice koja je u fenotipu između fibroblasta i stanice glatkog mišićnog tkiva.

Smatra se da kad je tkivo ozlijeđeno, da fibroblasti koji su predvladavajuće mezenhimalne stanice nastaju od fibrocita ili možda od glatkih mišićnih krvnih žila ili žlijezda. Uobičajeno fibroblasti izražavaju glatkomišićni aktin, oblik aktina koji nalazimo u stanicama glatkih mišića i ne nalazimo ih u mirujućim fibrocitima. Fibroblate koji izražavaju ovaj oblik aktina nazivamo miofibroblastima.

Stanična biologija

Miofibroblast


Kraljevina Portugal (port. Reino de Portugal, lat. Regnum Portugalliae), poznata kao i Ujedinjeno Kraljevstvo Portugala, Brazila i Algarvesa (port. Reino Unido de Portugal, Brasil e Algarves) te Kraljevina Portugala i Algarvesa (port. Reino de Portugal e dos Algarves, lat. Regnum Portugalliae et Algarbiae), bila je portugalska monarhija i prekretnica moderne Republike Portugal. Postojala je u različitim razmjerima između 1139. i 1910. godine. Često se naziva Portugalsko Carstvo zbog svojih prekomorskih kolonija.

Prethodnica Kraljevine Portugal bila je Grofovija Portugal, koju je u 9. stoljeću kao dio rekonkviste osnovao Vímara Peres, vazal kralja Asturije. Okrug je 1097. postao dio Kraljevine León, a portugalski grofovi uspostavili su se kao vladari nezavisne kraljevine u 12. stoljeću, nakon bitke kod São Mamedea. Kraljevinom je vladala dinastija Alfonsine do krize između 1383. i 1385., nakon čega je prijestolje pripalo dinastiji Aviz.

Tijekom 15. i 16. stoljeća, portugalsko istraživanje uspostavilo je ogromno kolonijalno carstvo. Od 1580. do 1640. Kraljevina Portugal bila je u personalnoj uniji s Habsburškom Španjolskom.

Nakon Portugalskog restauracijskog rata (1640. – 1668. godine), prijestolje je pripalo dinastiji Braganza, a potom dinastiji Gotha. Od tada je utjecaj Portugala opao, ali je ostao velika europska i svjetska sila zahvaljujući svojoj najvrijednijoj koloniji – Brazilu. Nakon stjecanja nezavisnosti Brazilskog Carstva, Portugal je nastojao širiti se u Africi, ali je na kraju bio prisiljen zaustaviti svoje širenje zbog ultimatuma puno moćnijeg Britanskog Carstva iz 1890. godine, što je na kraju dovelo do kolapsa kraljevine u revoluciji 5. listopada 1910. i uspostave Portugalske Republike.

Kraljevina Portugal bila je apsolutna monarhija do 1822. godine, a izmjenjivala se između apsolutne i ustavne monarhije od 1822. do 1834. godine, kada je ostala ustavna monarhija sve do svog pada.

Začetci
Kraljevina Portugal nalazi svoj začetak u Grofoviji Portugal (1096. – 1139.), koja je bila poluautonomna grofovija Kraljevine León. Nezavisnost od Leóna odvijala se u 3 faze:

 26. srpnja 1139., kada je Afonso Henriques interno proglašen portugalskim kraljem;
 5. listopada 1143., kada je Alfons VII. priznao Afonsa Henriquesa za kralja putem Ugovora iz Zamore;
 Papinska bula Manifestis Probatum (1179.), u kojoj je papa Aleksandar III. priznao nezavisnost Portugala.

Nakon što je Portugal postao nezavisan, potomci Afonsa I. vladali su Portugalom do 1383. godine. Čak i nakon promjene u dinastijama, svi monarsi Portugala potječu od Afonsa I.

Pozadina
Osnutak Kraljevine Portugal leži u rekonkvisti, postupnom ponovnom osvajanju Pirenejskog poluotoka od Maura. Nakon što se uspostavio kao zasebno kraljevstvo 1139. godine, Portugal je dovršio ponovno osvajanje maurskog teritorija dolaskom do Algarvea 1249. godine, ali je njegova neovisnost i dalje bila ugrožena zbog susjedne Krune Kastilije sve do potpisivanja Ugovora iz Ayllóna (1411. godine).

Oslobođen prijetnji svom postojanju i neosporan ratovima koje su vodile druge europske države, portugalska pozornost usmjerila se prekomorskim zemljama prema vojnoj ekspediciji na muslimanske zemlje sjeverne Afrike. Bilo je nekoliko vjerojatnih motiva za njihov prvi napad na Marinidski Sultanat u današnjem Maroku. Ponudio je priliku za nastavak kršćanskog križarskog rata protiv islama, a to je obećavalo slavu na bojište i ratni plijen. To je također bila prilika za proširenje portugalske trgovine i rješavanje ekonomske krize.

Godine 1415. izvršen je napad na Ceutu, strateški smještenu sjevernoafričku muslimansku enklavu duž Sredozemnog mora te jednu od luka saharske trgovine zlatom i robljem. Osvajanje je bilo vojni uspjeh i označilo je jedan od prvih koraka u portugalskom širenju izvan Pirenejskog poluotoka, ali se pokazalo skupim za obranu od muslimanskih snaga koje su ga ubrzo opsjele. Portugalci ga nisu mogli koristiti kao bazu za daljnje širenje u zaleđe, a saharske karavane samo su promijenile svoje rute kako bi zaobišle Ceutu i koristile alternativne muslimanske luke.

Carstvo

Portugalsko Carstvo nastalo je na početku doba velikih geografskih otkrića, a moć i utjecaj Kraljevine Portugal s vremenom su se proširili diljem svijeta. Nakon rekonkviste, portugalski pomorci počeli su istraživati obalu Afrike i atlantske otočja 1418. – 1419. godine, koristeći najnovija dostignuća u navigaciji, kartografiji i pomorskoj tehnologiji, kao što je karavela, s ciljem pronalaženja morskog puta do izvora unosne trgovine začinima. Godine 1488. Bartolomeu Dias zaobišao je Rt dobre nade, a 1498. Vasco da Gama stigao je do Indije. Godine 1500., bilo slučajnim spuštanjem na kopno ili tajnim dizajnom krune, Pedro Álvares Cabral stigao je do današnjeg Brazila, a još je upitno je li bilo slučajnim spuštanjem na kopno ili tajnom ekspedicijom krune.

Tijekom sljedećih desetljeća, portugalski pomorci nastavili su istraživati obale i otoke istočne Azije, uspostavljajući utvrde i tvornice. Do 1571. niz pomorskih predstraža povezivao je Lisabon s Nagasakijom duž obala Afrike, Bliskog istoka, Indije i južne Azije. Ta trgovačka mreža i kolonijalna trgovina imale su značajan pozitivan utjecaj na portugalski gospodarski rast (1500. – 1800.).

Kada je španjolski kralj Filip II. preuzeo portugalsku krunu 1580. godine, započela je šezdesetogodišnja personalna unija Španjolske i Portugala, koja je u kasnijoj historiografiji poznata kao Iberijska unija. Kako je španjolski kralj bio i kralj Portugala, portugalske su kolonije postale predmetom napada 3 suparničke europske sile neprijateljski raspoložene prema Španjolskoj – Republike Nizozemske, Engleske i Francuske. Sa svojim manjim stanovništvom, Portugal nije mogao učinkovito obraniti svoju prenapregnutu mrežu trgovačkih postaja, a Carstvo je počelo dugo i postupno propadati. Brazil je postao najvrednija kolonija, sve dok se nije odvojio 1822. godine.

Treće doba carstva obuhvaća završnu fazu portugalskog kolonijalizma nakon stjecanja nezavisnosti Brazila 1820-ih. Do tada su se kolonijalni posjedi sveli na utvrde i plantaže duž afričke obale, portugalski Timor te enklave u Indiji i Kini (portugalski Makao).

Nasljeđe
Zajednica zemalja portugalskog jezika služi kao kulturni i međuvladin nasljednik Portugalskog Carstva.

Makao je Kini vraćen 20. prosinca 1999. prema uvjetima sporazuma oko kojeg su pregovarali Narodna Republika Kina i Portugal. Unatoč tome, portugalski jezik ostaje suslužbeni s kantonskim kineskim u Makau.

Iako je Portugal 1975. započeo proces dekolonizacije Istočnog Timora, on se od 1999. – 2002. ponekad smatrao posljednjom preostalom kolonijom Portugala, budući da Portugal nije opravdao indonezijsku invaziju Istočnog Timora.

Osam bivših kolonija Portugala imaju portugalski kao službeni jezik. S Portugalom, one su sada članice Zajednice zemalja portugalskog jezika, koje zajedno zauzimaju ukupno 10.742.000 km², tj. 7,2% kopnene površine Zemlje. Šest je pridruženih promatrača Zajednice – Gruzija, Japan, Mauricijus, Namibija, Senegal i Turska. Štoviše, 12 zemalja ili regija kandidatkinja podnijelo je zahtjev za članstvo u ZZPJ-u i čekaju odobrenje.

Danas je portugalski jedan od glavnih svjetskih jezika, 6. s približno 240.000.000 govornika diljem svijeta. Također je 3. jezik po broju govornika u Americi, uglavnom zahvaljujući Brazilu, iako postoje i značajne zajednice u zemljama poput Kanade, SAD-a i Venezuele. Osim toga, postoje brojni kreolski jezici koji se temelje na portugalskom.

Kako su portugalski trgovci vjerojatno bili prvi koji su u Europu uveli slatku naranču, u nekoliko suvremenih indoeuropskih jezika to voće je nazvano po njima.

U svijetlu njegove međunarodne važnosti, Portugal i Brazil vode pokret za uključivanje portugalskog kao jednog od službenih jezika Ujedinjenih naroda.

Pad
Početkom 20. stoljeća, republikanizam je u Lisabonu rastao u broju i podršci među naprednim političarima i utjecajnim tiskom. Bez obzira na manjinu u odnosu na ostatak države, a vrhunac republikanizma imao je političku korist od lisabonskog atentata 1. veljače 1908. godine. Dok su se vraćali iz vojvodske palače, kralj Karlo I. i princ Luís Filipe ubijeni su u atentatu. Smrću kralja i njegovog prijestolonasljednika, drugi sin Karla I., Manuel II., postao je kralj. Manuelova vladavina je bila kratka, a okončana je revolucijom 5. listopada 1910. godine. Manuel je završio u progonstvu u Britanskom Carstvu, a Kraljevina Portugal postaje današnja Portugalska Republika.

Dana 19. siječnja 1919. u Portu je proglašena Monarhija Sjevera, koja je svrgnuta mjesec dana kasnije i od tada se nije dogodila nijedna druga monarhistička kontrarevolucija u Portugalu.

Nakon republikanske revolucije u listopadu 1910. godine, preostale kolonije Kraljevine postale su prekomorske pokrajine Portugalske Republike do kraja 20. stoljeća.

Državni simboli

Izvori

Povijest Portugala

Kraljevina Portugal


La Academia de Pintura fue el primer instituto chileno en impartir la enseñanza profesional del arte en Chile. Creada en Santiago el 17 de marzo de 1849 e impulsada por el gobierno de Manuel Bulnes para el fomento de las Bellas Artes, se ubicó en un principio en el edificio perteneciente a la Universidad de San Felipe, actual Teatro Municipal de Santiago. En 1891 se trasladó de lugar y cambió su nombre original por el de Escuela de Bellas Artes; desapareció, en esencia, en 1910 tras unir sus dependencias con el Museo de Bellas Artes, pasando a depender su dirección de la Universidad de Chile en 1932.

La Academia dio al país sus primeros artistas nacionales y fue el inicio para destacados pintores chilenos, entre los que se cuentan los cuatro grandes maestros de la pintura chilena, los seguidores de Pedro Lira y Antonio Smith, y la generación del 13. Sus primeros directores fueron el napolitano Alejandro Cicarelli, el alemán Ernesto Kirchbach, el florentino Juan Mochi, Cosme San Martín (el primer chileno en asumir la dirección) y el escultor Virginio Arias.

Muchos de sus alumnos eran de regiones alejadas de la capital, como Valenzuela Puelma y Alfredo Helsby (Valparaíso) y Valenzuela Llanos (San Fernando).

Historia

La creación de la Academia de Pintura formó parte del plan educativo que intensificó el gobierno de Manuel Bulnes para preparar a la juventud en todos los campos de la actividad intelectual, el que se materializó en la creación de escuelas primarias y de preceptores, de liceos y de la Universidad de Chile. También se evidenció en la promoción de las artes de todo tipo con la creación de la Escuela de Artes y Oficios (1849), el Conservatorio de Música (1850), las clases de Arquitectura (1849) a cargo del francés François Brunet de Baines, y las clases de Ornamentación y Escultura (1854) en la Chile bajo la dirección del compatriota de este, Auguste François.

Terminado el conflicto con la confederación Perú-Boliviana, el 4 de enero de 1849 se firma la aprobación para la creación de la Academia de Pintura, instituto alentado por escritores y filólogos como José Victorino Lastarria, Hermógenes Irisarri y Jacinto Chacón. La fundación oficial ocurre el 17 de marzo del mismo año bajo la dirección del pintor napolitano Alejandro Cicarelli, en las instalaciones del Instituto Nacional.

Según Memoria Chilena:

En la obra fundamental La pintura en Chile. Desde la colonia hasta 1981, Gaspar Galaz y Milan Ivelic afirman:

Este es el primer periodo donde se busca alcanzar una unidad de estilo en Chile mediante los gustos neoclásicos del maestro Cicarelli. En Europa las academias eran fuente de uniformidad, estableciendo parámetros estrictos que permitían asegurar que "el verdadero arte" mantuviera su rumbo, y esta misma idea se intentó traspasar al nuevo ambiente chileno utilizando la como base la metodología francesa.

En un inicio, el curso que impartía la academia estaba conformado por tres secciones: estudio de cabezas y extremidades, figura entera, luego el segundo curso era de escultura y el tercero era de modelo vivo, ropaje del natural y anatomía. Más tarde y con el pasar de los años se ampliarían los cursos y profesores para el creciente número de alumnos de la institución tras su fusión con las instalaciones del Instituto Nacional.

Críticas a la Academia
A pesar de la importancia que tuvo la Academia, la crítica de arte en general marca este periodo como uno de los menos brillantes de la historia nacional. En Europa, el estilo de pintura en caballete llevaba siglos de perfeccionamiento, sus maestros eran abundantes además de mantener grandes colecciones de arte y haber mecenas por todo el continente, Chile, en cambio, era un país recién iniciado dentro del mundo artístico y casi no poseía pintura autóctona ni identidad nacional establecida. La pretensión de llevar todos los elementos del viejo continente solamente tomando sus técnicas resultó un fracaso en términos de alumnado, en especial para el que fuera su primer director por más de 20 años, Alejandro Cicarelli.

Cicarelli, en palabras del español Antonio Romera, era:

El mismo autor aclara que Cicarrelli fue incapaz de educar discípulos que siguieran sus enseñanzas tal como él quería sino que al contrario, sus alumnos más aventajados se desentendieron de él y comienzan a emigrar a otros estilos y talleres por su cuenta, como, por ejemplo, Pedro Lira y Antonio Smith.

Lira coincide en que el fracaso del italiano tiene razones fundadas. A mediados de siglo del XIX los aristócratas chilenos no poseían ningún conocimiento artístico notable sino era por medio de los "precursores de la pintura chilena". Esto impedía avances significativos en la enseñanza y complicó de sobremanera al neoclásico italiano. Su estricto rigor le valió las críticas de varios de sus alumnos pero a la vez cimiento un nuevo gusto por la pintura neoclásica en Chile.

Directores
 Alejandro Cicarelli (1849-1869)
 Ernesto Kirchbach (1869-1875)
 Giovanni Mochi (1876-1881)
 Cosme San Martín (1881-1893)
 Pedro Lira (1893-1900)
 Virginio Arias (1900-1911)
 Fernando Álvarez de Sotomayor (1911-1915)

Alumnado de Cicarrelli (1849-1869)

El estilo extracontemporáneo que desarrolló el maestro, el neoclásico, se manifiesta en pinturas de temáticas nunca antes tocadas en Chile como fueron la pintura mitológica, y la de historia antigua relacionada con las culturas clásicas.

Entre sus alumnos existió una resistencia de las enseñanzas de su maestro en especial entre los más destacados como Lira y Smith. Independiente de su aprendizaje en la Academia, se cuentan a continuación algunos de los alumnos más destacados que pasaron por el taller de Cicarelli:

Pedro Lira: Es considerado como el líder natural de la Academia, según el libro Pintura chilena 200 años, de Ricardo Bindis. Es el primero y más reconocido de los cuatro grandes maestros de la pintura chilena. Historiadores como Romera lo consideran parte de la Generación del medio siglo.
Antonio Smith: Pintor romántico, creador de la escuela paisajista nacional y primer caricaturista de Chile, trabajó en el Correo Literario.
Manuel Antonio Caro: Pintor histórico costumbrista, forma parte de los precursores de la pintura chilena, pintó cuadros como La abdicación de O'Higgins y La zamacueca.
Pascual Ortega:  Pintor de temática costumbrista y religioso. Posee similitudes en estilo con Cicarrelli.
Onofre Jarpa: Pintor romántico, paisajista y diplomático.
Cosme San Martín: Destacado pintor, futuro y primer director chileno de la Academia.
Abraham Zañartu: Pintor de género y retratos al óleo.
Miguel Campos: Alumno destacado de la Academia, se distinguió como dibujante en París.

Otros alumnos del maestro fueron Luciano Lainez, Manuel Mena, José Castañeda, Nicolás Guzmán, Albina Elguín, Clarisa Donoso Bascuñán y, en 1866, aparece en los registros la primera estudiante mujer, Agustina Gutiérrez.

Ya después de algunos años, el maestro napolitano cambió su rumbo «sea por presión de algunos de sus discípulos o por el fruto de una evolución personal», llevando también la esencia del paisaje a sus telas.

El pintor Antonio Smith fue un duro crítico de su maestro. De él escribió en el Correo Literario:

Llega a estas bellas regionesun pintor que era un portento:
mostró placas, distincionesy medallas por cajones...
pero no mostró, talento.

Es importante recordar que la rebeldía artística chilena se materializó durante el periodo de este director aunque sólo vería sus frutos varias décadas después.

En 1859 la Academia adquirió, mediante decreto supremo, el carácter de establecimiento de instrucción superior y pasó a formar la "Sección Universitaria de Bellas Artes", fusionándose con las clases de arquitectura y de escultura que hasta entonces se impartían por separado. Este decreto también termina fusionando la academia con las dependencias del Instituto Nacional, lo sería de no menor importancia ya que varios de alumnos pertenecieron simultáneamente ambos planteles.

En el mismo año, bajo gobierno de Manuel Montt, un nuevo decreto reorganizó la división de Escultura separándola en estatuaria y monumental.La Academia de Pintura en Artistas Plásticos Chilenos, s/f; acceso 08.08.2013

Finalmente el italiano, tras 20 años a cargo de la Academia, abandona su puesto en 1869 en favor del alemán Ernesto Kirchbach.

 Alumnado de Ernesto Kirchbach (1869-1875)

El pintor alemán Ernesto Segismundo Kirchbach nació en Dresde, Alemania en 1832 y falleció en el mismo país en 1880. Comenzó a trabajar en Chile a la edad de 37 años imponiendo rigidez académica y también un renovado estilo para sus alumnos, el romanticismo.

Según Ivelic y Galaz:

Kirchbach, según nos cuenta el propio Lira, tenía una cierto tendencia a la locura y los estallidos de nervios, por lo que sus alumnos no gustaban tener clases con él, sin embargo, reconocían su habilidad al pintar.

Entre sus alumnos destacados estuvieron varios que también acompañaron en su tiempo a Cicarelli:

Pedro Lira:Reconocido pintor, también fue alumno de Cicarrelli.
Cosme San Martín: Pintor y futuro director de la Academia, también fue alumno de Cicarelli.
Alberto Orrego Luco: Paisajista chileno, el autor Ricardo Bindis lo califica entre "...los máximos pintores chilenos del siglo XIX"
Alfredo Valenzuela Puelma: Miembro de los cuatro grandes maestros de la pintura chilena. Trajo a Chile la tendencia de pintar desnudos.
Onofre Jarpa: Pintor paisajista romántico, también fue alumno de Cicarrelli.
Pedro León Carmona: Según Kirchbach, uno de sus mejores alumnos. Fue fundador de la Academia de Pintura del Círculo Católico y de la Academia de Pintura de la Pontificia Universidad Católica de Chile.

Alumnado de Juan Mochi (1876-1883)

El tercer director de la Academia fue el florentino Giovanni Mochi Pinx, conocido en Chile como Juan Mochi. Fue el primero en dejar discípulos directos, gracias a su tendencia renovadora que se preocupaba por guiar y estimular las habilidades naturales de sus alumnos dejando de lado el rigor académico de los pasados años.

El pintor también fue el primer director en generar aprecio dentro de sus estudiantes y producir resultados relevantes en términos de desarrollo personal de los mismos, muchos de ellos fueron capaces de alcanzar sus propios estilos. Debido a que su estadía coincide con la guerra del Pacífico muchos de sus cuadros tienen relación con el conflicto.

La tendencia renovadora del pintor también se puede notar en su propia obra. Aunque en un principio perteneció al movimiento romántico, se adaptó a Chile con un aire más próximo al realismo, tanto así que su labor costumbrista es comparada por Ivelic y Galaz con la de Manuel Antonio Caro, Mauricio Rugendas y Ernesto Charton de Treville. El director estimuló a sus alumnos a una pintura más libre y alejada de cánones clásicos y fue el que mejor asimiló la pintura criolla con la europea.

Pasaron por su taller importantes figuras de las bellas artes nacionales, entre ellos, tres de los cuatro tradicionales grandes maestros de pintura chilena:

Alfredo Valenzuela Puelma: Pintor académico, popular por sus retratos y óleos apegados a la estricta forma natural del individuo.Gran maestro de la pintura chilena, estudió también con Kirchbach.
Alberto Valenzuela Llanos: Pintor paisajista y gran maestro de la pintura nacional que, según algunos autores, es el artista chileno más premiado en el extranjero. Entre sus condecoraciones destacan la Cruz de Caballero de la Legión de Honor francesa.
Juan Francisco González: Pintor que algunos historiadores clasifican como impresionista. Su obra y su labor en la docencia impulsó movimientos como la generación del trece y el Grupo Montparnasse.

También educó a Ernesto Molina, Nicanor González Méndez, Abraham Zañartu, las hermanas Aurora Mira y Magdalena Mira y a Celia Castro, la primera pintora profesional de Chile.

Después de dejar su puesto de director, trabajó hasta 1891 como profesor de pintura y es considerado por gran parte de los historiadores como uno de los mejores que tuvo la Academia. Su periodo finaliza al tiempo que la institución comienza su proceso de decadencia.

Otro elemento de importancia durante su periodo fueron la abundancia de artistas chilenos ya consagrados trabajando por su cuenta. Pedro Lira y su séquito de seguidores, Antonio Smith y sus tendencias paisajistas, Orrego Luco, Juan Francisco González, Thomas Somerscales y su estudiante Casanova Zenteno demostraban ya que la docencia de la pintura no se limitaba a la academia sino que ellos mismos eran capaces de crear sus propios estilos y grupos. Su ideal finalmente se materializa al alero del maestro español Fernando Álvarez de Sotomayor quien le da el empuje final al que sería el inicio del arte puramente chileno, la generación del 13.

Las datos bibliográficos sobre los eventos que sucedieron la dirección de Mochi no son muy claros y varían en fechas esenciales, pero se sabe que Cosme San Martín fue director interino, el primer chileno de la Academia, aunque como profesor de arte ya se había desempeñado con anterioridad iniciando a pintores de la talla de Enrique Lynch, Pablo Burchard, Marcial Plaza Ferrand y Arturo Gordon.

En 1891 la Academia pasó a llamarse Escuela de Bellas Artes y se trasladó a la calle Matucana.

 Virgino Arias (1900-1911)

Arias fue nombrado director de la Escuela de Bellas Artes tras una década de inoperancia y falta de alumnos que terminó desprestigiando la institución. El prestigioso escultor chileno tuvo la capacidad de contratar buenos profesores y el mismo se puso en práctica para completar los estudios de sus pupilos. Una de sus mejores adiciones a su plantel educacional fue el español Fernando Álvarez de Sotomayor, quien brindó a Chile el gusto por la pintura de corte goyesco.

Otro dato importante es que, a partir de 1908, la Escuela pasó a depender de la Universidad de Chile. En 1910, sufrió uno de sus últimos cambios al trasladar sus instalaciones al recién fundado Museo Nacional de Bellas Artes.

Álvarez de Sotomayor (1911-1915)

Fernando Álvarez de Sotomayor tomó mando de la Escuela de Bellas Artes en 1911 tras la salida de Virginio Arias. Había llegado a Chile algunos años antes contratado por el Gobierno como profesor de colorido.

El español se preocupó de traer la herencia ibérica influyendo de manera directa en sus discípulos, como se puede ver en los miembros de la generación del 13. Tras la conformación oficial del grupo, Sotomayor pasa a segundo plano y regresa, terminado su contrato, a España, donde llegará a ser director del Museo del Prado y de la Academia de San Fernando.

Para el crítico de arte Luis Álvarez Urquieta:

 Legado

A través del proceso histórico, la pintura chilena perdió todo lo que a priori podría haberla caracterizado: ya no era una muestra del arte nativo como en la época prehispánica, ni un método de enseñanza y unión para las clases como ocurrió en la época colonial, ni una suma de estilos dispersos como lo fue durante el tiempo de los precursores.

Ahora la Academia, por consiguiente la pintura y la escultura, era en exclusivo para la clase más acomodada del país, con cuadros que sólo se podían entender una vez vistos los maestros del viejo continente. Chile perdió todo ápice de originalidad nacional limitándose a copiar a los antiguos maestros europeos.

Si bien los primeros años la Academia representó un retroceso en muchos aspectos, también sindica por primera vez el interés del país por alcanzar un nivel de mejor calidad en las artes en general y representa el punto de inicio de varios pintores independientes que, aburridos por el dogamatismo de la institución, se lanzan a la búsqueda de nuevos horizontes y técnicas.

La Academia-Escuela de Bellas Artes deja un legado de alumnos que despiertan el interés intelectual sobre la pintura chilena. Grupos como la generación del trece y los grandes maestros de la pintura chilena'' estudiaron en su mayoría en esa institución. La mayoría de los cuadros provenientes de la misma se encuentran actualmente en manos de coleccionistas privados, sin embargo, abundan museos y recintos públicos chilenos donde se pueden encontrar óleos y esculturas de esta primera Escuela de Bellas Artes.

Instituciones con los artistas de la Academia
 Museo Nacional de Bellas Artes de Chile, Santiago de Chile
 Casa del Arte, Concepción
 Museo Histórico O'Higginiano, Talca
 Museo Municipal de Bellas Artes de Valparaíso
 Congreso Nacional (Chile), Valparaíso
 El Taller Ilustrado

Referencias

Véase también
Museo Nacional de Bellas Artes de Chile
Precursores de la pintura chilena
Generación del 13
Facultad de Artes de la Universidad de Chile

Enlaces externos
Material Sobre la historia de la pintura chilena
Resumen Pintura chilena, resumen

Academias artísticas
Pintura
Chile en 1849

Academia de Pintura (Chile)


Pearls Before Swine (also known as Pearls) is an American comic strip written and illustrated by Stephan Pastis. The series began on December 31, 2001. It chronicles the daily lives of an ensemble cast of suburban anthropomorphic animals: Pig, Rat, Zebra, Goat, and a fraternity of crocodiles, as well as a number of supporting characters, one of whom is Pastis himself. Each character represents an aspect of Pastis's personality and worldview. The daily and Sunday comic strip is distributed by Andrews McMeel Syndication (by United Feature Syndicate until 2011).

The strip's style is notable for its black comedy, simplistic artwork, self-deprecating fourth wall meta-humor, social commentary, mockery of itself or other comic strips, and occasional elaborate stories leading to a pun.

Publication history
Before creating Pearls Before Swine, Pastis worked as a lawyer in California. Bored in his law school classes, he doodled a rat, eventually casting it in a non-syndicated comic strip he called Rat. Rat became one of the main characters in Pearls Before Swine. Pastis continued to draw comics; the character Pig came from a failed strip, The Infirm. In 1999, Pastis first submitted Pearls Before Swine to syndicates. Several expressed interest and three accepted it, but they could not convince their sales staff that it was marketable. Amy Lago, an editor at United Media, saw the strip's potential and launched it on the United Media website in November 2000 to see what kind of response it would generate. Pastis recalled in 2009:

Pearls Before Swine debuted in 2001 as a website strip under United Feature Syndicate. When Scott Adams, creator of Dilbert and a supporter of the strip, told his fans about Pearls Before Swine, interest skyrocketed, and the strip was taken to print. Aiding Pastis with the strip's artistic elements was Darby Conley, creator of the comic strip Get Fuzzy.

United Feature Syndicate launched the strip in newspapers on December 31, 2001, in The Washington Post. On January 7, 2002, Pearls was running in approximately 150 papers. Since 2011, it has been appearing in 750 newspapers worldwide.

In January 2021, Andrews McMeel delayed the circulation of a comic arc that depicted a fictional American coup d'état, worrying that readers might think of it as inspired by the 2021 United States Capitol attack. Pastis and the company both clarified that the strips were a pure coincidence and had been drawn before the riots happened.

Influences
Pearlss style and humor are inspired by several comic strips, chiefly Peanuts, Dilbert, Calvin and Hobbes, Bloom County and The Far Side. Pastis has drawn tributes to these influences in his strip. When asked in an interview whether his profession as an attorney inspired the humor in the comic, he said, "I was very unhappy as a lawyer, and humor is a reaction to and defense against unhappiness. ... if you dislike what you're doing to the extent that I did, it gives you the impetus to get out."

Conley helped teach Pastis the technical aspects of cartooning. The two remain friends, sometimes poking fun at each other in their strips.

Characters

This is a partial list of the strip's major and secondary characters:

Pig

Personality
Pig is a gentle, optimistic, but dimwitted pig. He is also quite immature, with Pastis stating that he views Pig "as a little kid". He believes that there is good in every being, even his cynical housemate Rat. Pig's lack of knowledge often leads him to misunderstand world issues and social norms; this is compounded by the fact that, when they are explained to him, he frequently mishears or misinterprets important parts of the explanation. Pig also tends to be easily manipulated by Rat's writings; he tends to uncritically believe them and make strident proclamations of support for Rat's viewpoints.

Pig has a deep love for food. On several occasion, he has befriended sentient food items; he has also dated a maple syrup bottle named "Ms. Bootyworth" and founded a religion centered on cheese. He also regularly eats bacon, despite being a pig himself. In addition to his voracious eating habits, Pig is generally slothful and avoids physical activity, causing him to be obese. While he is generally content with his body, he occasionally attempts to lose weight; however, he usually takes only minimal efforts to do so.

Pig has an on-again, off-again relationship with a female pig known as Pigita. Pig's tendency to misspeak often leads him to offend Pigita by unwittingly making rude or sexually forward remarks; Pig's routinely immature behavior is another source of friction in their relationship. Pig tends to get along with his family, though he tends to receive fairly little respect from them.

Character history
Pig's beginnings lie in The Infirm, a third attempt by Pastis to get syndicated. In this strip, Pastis based the story on a lawyer named Bob Grossman who screwed up a lawsuit brought by a sausage company and was forced to work at the farm the sausage company owned until he made up the difference. Grossman worked with pigs, one of whom told him he was "screwed" because the farmer was only paying minimum wage.

Although The Infirm was rejected, Pastis liked the pig characters so much that he eventually simplified the artwork and one became known simply as "Pig" in the first Pearls strips Pastis sent to the syndicators. In fact, it was Pig's addition to the strip that caused it to be known as Pearls Before Swine – Rat would consistently be imparting his "pearls of wisdom" on Pig only to have it fall on deaf ears. (Pastis also said this was a play on a Biblical verse, part of which reads "neither cast ye pearls before swine".)

Rat

Personality
Rat is a megalomaniacal, misanthropic rat. He is contemptuous toward almost everyone he meets, including the general public, his friends and associates, and even the author of his own comic. Rat holds a high opinion of his own intelligence, frequently inventing sweeping theories about human nature, but ironically he is often fairly poorly informed himself; Pastis describes this trait as Rat's "exaggerated sense of self", which he says is "key" to Rat's character. In addition to his arrogance, Rat is high-strung and impatient, and frequently unleashes angry tirades, physical violence, or elaborate revenge plots against people who anger him.

Rat has held numerous jobs throughout the comic's history. Most frequently, he is seen as a barista at a fictional café called Joe's Roastery. Though Rat tends to be openly rude or dismissive to his customers, he continues to hold this job, because Joe's Roastery has a stringent diversity policy that prevents them from firing the only rat in their staff. In addition to this job, Rat also frequently launches get-rich-quick schemes and runs for political office. His political campaigns are usually unsuccessful, although he did become President of the United States in a 2017 storyline. Rat's political stances are generally militaristic (e.g. advocating the invasion of France or Mexico); Pastis has described Rat's politics as "somewhere to the right of Dick Cheney".

Rat is also prolifically creative, and is frequently seen attempting to write novels or draw comics. Recurring characters in Rat's writing include Angry Bob, a character who tends to die violently while pursuing happiness and inner peace; Elly Elephant and Henry Hippo, who typically appear in cynical parables about romance; and a nameless, corrupt congressman. Rat has also drawn comics about a misanthropic, alcoholic donkey named Danny Donkey, who briefly came to life in a 2006 storyline.

Though Rat seems to dislike or disdain everyone he meets – including his family, who he generally strives to avoid whenever possible – he does occasionally show moments of kindness. Pig is the most frequent recipient of these moments, as Pastis often uses them "to answer the question, 'Why would Pig be friends with this guy?'" Rat has also nursed romantic feelings for Pig's sister Farina during her rare appearances in the strip.

Character history
Pastis started drawing Rat in law school, often killing him off for the sake of humor. He would often doodle Rat in classes while bored, and in his early stages Rat was more of a depressed, philosophical character as opposed to the cynical egomaniac he is today. Pastis titled his doodled strips Rat after his title character.

Later, as he began attempting to get syndicated, Pastis added a second character as Rat's companion. This resulted in the creation of Poe, an amorphous blob that resembled nothing. Newspapers deemed Rat too depressing and Pastis stopped drawing the strip.

Rat was later put into another one of Pastis's comics, Bradbury Road, which was also rejected.

Bradbury Road is the story of Gus, a ten-year-old boy who is befriended by Rat, a cynical rodent who gnaws his way through the wall into Gus' room. Gus, the child of divorced parents, lives with his mother and very rarely sees his father. Reserved and slightly awkward, he spends a lot of time in his own room. For those times when Gus is not around, Rat talks with Jingles, a stuffed, court jester doll that lives on a shelf in the boy's room.

After some rejection, Pastis eventually wrote Pearls Before Swine, an attempt to revive Rat with a less depressing tone. Poe was replaced by Pig, and began syndication by United Media on December 31, 2001.

Goat

Personality
Goat is an intelligent, well-read goat who enjoys discussing world news and philosophical issues. He frequently clashes with Rat due to Rat's poorly informed and relentlessly cynical viewpoints. Goat also attempts to teach Pig about various matters, generally without success. For this reason, he is described on the Pearls website as "the voice of reason that often goes unheard".

Despite his intellect and his generally amiable personality, Goat tends to be socially inept – he is usually uncomfortable around new people, and has fairly little knowledge of pop culture. For this reason, while Goat regularly pursues romantic relationships, his efforts tend to be sabotaged by his awkward behavior. Consequently, when left to his own devices, Goat often prefers to read on his own rather than to spend his time sociably. He also maintains a blog that consistently receives few or no pageviews, a fact for which Rat often mocks him.

Name
As with most of other animal characters in the strip, Goat is only referred to by the name of his species. However, in a storyline where Goat travels home and visits his mother, it is revealed that "Goat" is a stage name and that his real name is Paris. This name was chosen as a tribute to Stephan Pastis's grandfather, Paris Tripodes.

Character history
Goat was the third main character to debut in the strip and was the first of two conceived specifically for Pearls (as opposed to Rat and Pig, who as noted appeared in Pastis' rejected strips). He was originally supposed to be a bear, but after the syndicates rejected the idea Pastis reworked the character into a goat. He first appeared on January 18, 2002. In his earliest appearances, he had a white goatee, but Pastis removed the goatee from Goat's design in the mid-2000s.

Zebra

Personality
Zebra is a supportive and caring zebra, who is often seen either writing to his predators or talking about recent deaths. Zebra was the fourth main character to be introduced, as Pastis said in Sgt. Piggy's Lonely Hearts Club Comic that his original intent was for Zebra to be in a limited run. His popularity forced Pastis to include him full-time.

In his earliest appearance, Zebra only communicated with his predators by sending letters back and forth, but he began interacting with them face-to-face after the fraternity of crocodiles moved into his neighborhood in January 2005. Zebra generally serves as a straight man to the crocodiles' schemes, pointing out the various ways in which their plots to eat him are doomed to fail. Zebra's other neighbors include Larry the crocodile's family and a pride of lions. Zebra also owns a pet cat named Snuffles, who commits a wide variety of crimes despite his innocent appearance.

In addition to his communication with predators, Zebra often writes to his relatives on the savannah with potential strategies to protect them against predation; however, these plans consistently fail. Not much is known about the surviving members of his family except for their names (usually named after Pastis' own relatives). Zebra has a brother named Peter, nicknamed "Stumpy" after a crocodile ate his left leg, and a niece named Joy in memory of Stephan Pastis' grandmother. Zebra has also called his father a few times, who is suggested to struggle with modern technology.

Character history
Zebra debuted in the February 4, 2002 strip and was only scheduled to be a limited run character. His debut saw him trying to sell cookies to Rat and Pig to raise money to help save his herd, but Rat declined because of not wanting to mess with natural selection. Reader reaction to Zebra eventually made Pastis decide to make Zebra a permanent character.

The Crocodiles
The Zeeba Zeeba Eata Fraternity is an all-crocodile fraternity that lives next door to Zebra. They consistently make attempts to kill and eat Zebra but, despite believing themselves to be capable hunters, the crocodiles always undermine their schemes due to their collective stupidity. The crocodiles' plans generally culminate with them killing each other instead; dozens of crocodiles have died over the strip's run. The crocodiles' plans are often elaborate and convoluted, but even so, they never successfully conceal the fact that their ultimate goal is to capture and eat Zebra. Because of their large numbers and short lifespans, most crocodiles do not have individual personalities outside of their schemes.

The crocodiles are known for their distinctive speech pattern; Pastis represents their speech with lowercase letters and phonetic spelling. They also pronounce some words in nonstandard ways, such as referring to Zebra as "zeeba" and themselves as "crockydiles". They often begin scenes with the catch phrase "Hullooo, zeeba neighba!" In describing the origin of the crocodiles' speech, Pastis has stated, "My inspiration was probably from a Saturday Night Live skit that had Tarzan and Frankenstein trying to talk [to each other]." More intelligent crocodiles, such as Larry's wife and son, usually speak standard English rather than using the crocodiles' register.

Larry, Patty and Junior
Larry (born February 9, 1969), his beehive-sporting wife Patty, and their son Junior, are a family of crocodiles who live near Zebra and the Zeeba Zeeba Eata fraternity house. Though "Larry" was originally one of the stock names that Pastis gave to the Zeeba Zeeba Eata crocodiles, he is now largely uninvolved with the fraternity.

Pastis describes Larry as "dumb like Pig, but mean-spirited and rude". Larry is also egotistical and defensive about his hunting abilities; he tries to portray himself as a skilled hunter and provider, but to keep up this impression, he frequently perpetrates schemes such as claiming fast food products to be zebra meat. Larry also holds old-fashioned views on gender roles, which frequently leads to tension in his marriage. Larry is also hostile and dismissive of most authority figures. Despite his negative attitudes toward most people, Larry has sincere love for his son, and the two have a close relationship.

Patty is far more intelligent than Larry, and is very critical of her husband's idiocy and self-centeredness.

Junior is a studious and highly intelligent young crocodile; he is also a pacifist and a vegetarian, as he thinks that killing wildlife is immoral. Junior is often frustrated by his father's stupidity, though he generally receives it in good humor; similarly, Larry is often confused by Junior's pacifist beliefs.

Junior has gradually aged over the course of the strip, and is currently a college student.

Stephan Pastis
(debut: June 1, 2003) – Pastis himself appears self-referentially in many strips as the cartoonist of the strip, usually discussing his experiences as a cartoonist or his childhood and background. His characters' attitudes toward him range from indifference to pity to contempt; Rat is particularly hostile toward him. Pastis particularly tends to offend his characters by writing elaborate pun strips; when forced to utter a convoluted pun, the characters generally follow it up by berating Pastis or inflicting violence upon him.

Pastis often depicts himself as smoking and drinking beer; the real Pastis does not smoke, although he does drink. In The Crass Menagerie, Pastis notes that people have criticized his character for seeming to glamorize smoking, though Pastis states that he intends the smoking to make him look more like a "loser".

The fictionalized version of Pastis split from his wife in 2014; this storyline led to widespread speculation that the real Pastis was going through a divorce, but he has since clarified that he remains married.

Guard Duck

Personality
(Debut: March 14, 2005) Guard Duck (formerly known as "Lil Guard Duck") is a violent duck, hired by Pig because the cost of a proper guard dog was too high. Initially simply a violent, sociopathic duck, he later took on the persona of a jaded soldier and mercenary, seeing the world as his battlefield. He frequently blows up the neighbors' property, assuming he is at war against the neighbors, and suggests militaristic solutions for neighborhood problems. Guard Duck sees Pig as his commander, often referring to him as "sir"; accordingly, Pig is often forced to mitigate Guard Duck's ability to cause damage, typically by locking him in a clothes hamper. Pastis has emphasized that Guard Duck has a predominantly "cool persona" in that, while he is prone to violence, he does not "freak out or panic".

In one storyline, Guard Duck fell in love with a non-anthropomorphic duck named Maura, who flew away from him and failed to return for over a year. Guard Duck thought he had lost her forever, as he had never learned how to fly, but one day she returned to him. He resigned his "commission" shortly thereafter and traveled to Paris with Maura, but soon afterward, Maura left him to work for Aflac.

Guard Duck frequently collaborates with Zebra's amoral pet cat, Snuffles, to perpetrate criminal schemes and occasional coups d'etat.

Minor characters
Pigita (debut: July 22, 2002) – Pig's on-and-off girlfriend, characterized by mood swings in her early appearances. She is frequently frustrated by Pig's immaturity, seeming to wish he would propose to her or make a similar gesture of commitment. They have apparently been dating since September 6, 2000, although Pigita frequently dumps Pig and takes him back.
Snuffles the Cat (debut: September 30, 2007) — A long-haired cat owned by Zebra. The crocodiles originally gave Snuffles to Zebra, intending for Snuffles to kill him, but the two ended up getting along. Snuffles now occupies his time committing various crimes and assisting in Guard Duck's schemes.
Comic Strip Censors – The Comic Strip Censors are a group of sophisticated men, recognizable by the labeled top hats they wear, who appear when potentially offensive material is referenced in the comic. Rat frequently makes innuendos to deliberately provoke them.
 Jef the Cyclist (originally Jeff the Cyclist) – A pompous cyclist who sees cyclists, and himself in particular, as inherently superior to all other people. He is rigorously obsessed with fitness, and describes non-cyclists as "commoners" and "scum". Pastis changed the spelling of Jef's name as a reference to Jef Mallett, the cartoonist of Frazz, who is an avid cyclist and a friend of Pastis.
Danny Donkey – A misanthropic, alcoholic donkey who hates everybody and spends most of his time either drinking and smoking, or torturing people. He is also the main character of Rat's comic strip of the same name. Pastis conceived Danny Donkey as "the anti-Hobbes... a stuffed animal who came to life but instead of being kind and wise was drunk and addicted to nicotine."
Elly Elephant and Henry Hippo – An elephant and hippopotamus who are dating each other. Elly has an idealistic, romantic nature, and often finds her idealism betrayed by Henry Hippo's apathetic approach to their relationship. Elly and Henry primarily appear in Rat's comics.
Neighbor Bob – A bald man who lives next to Rat and Pig. He is frequently mentioned, but is usually only seen in person when he has a dispute with Rat over neighborhood issues. He is most often a victim of Rat's hostility, but if sufficiently provoked, will also respond in kind.
Gary, the coffee shop manager – Gary is Rat's long-suffering manager at Joe's Roastery. Powerless to fire Rat due to the cafe's stringent diversity policies, Gary is regularly forced to try to cajole Rat into treating his customers appropriately.
Andy – A dog who makes big plans for his life, only to have them dashed by the fact he is tied to a pole in his backyard. Despite the repeated crushing of his hopes, Andy retains a hopeful personality. Pastis describes Andy as "a metaphor meant to symbolize how we learn to live with the limitations imposed on us". For a period of time Andy shared the backyard with a female dog named Olive, who like Andy was chained to a post. She left him after her chain broke in the middle of the night. Andy once briefly escaped as well, to visit his dying father in the hospital. Andy and Olive are named for cartoonist Paige Braddock's pet dachshunds.
Farina (debut: August 19, 2002) – Pig's germophobic sister, who lives in a bubble to limit her exposure to pathogens. She had a romantic relationship with Rat, but left him abruptly. In Sgt. Piggy's Lonely Hearts Club Comic, Pastis said that he only draws her infrequently because her bubble requires a drafting compass to draw.
Viking Figurines – Pig has miniature Viking figurines that write in diaries and practice non-manly habits. Rat often attempts to push the Vikings into more archetypally Viking lifestyles, through tactics like showing them WWE or singing violent songs.
Jeffy Keane – A character from The Family Circus who shows up from time to time in Pearls for various reasons. Pastis often draws him in situations that are antithetical to Jeffy's character such as assaulting Pig or "battling demons".
Wise Ass on the Hill - He is a wise donkey who gives advice to people who question him. An old anthropomorphic ass who wears glasses and is mean, he sometimes even kicks people off his hill. Rat and Pig normally visit him and ask for advice.

Style
Artistically, Pearls is simple. Pastis stated, "People say that they like my strip's simplicity, but I'm doing the best I can to just to get up to that level. I'm not dumbing the art down."

Pearls is a meta-comic in that it often satirizes the comics medium, and its characters frequently break the fourth wall. Characters frequently communicate with the author or with characters from other strips. Some strips are based on the premise that the characters live in a comic strip: for example, the strip published on January 14, 2008, had "roof fish" sitting on top of the panel fishing for the characters, and other strips have had smeared newsprint or beer affect the appearance of the strip.

Pearls will often also mock older strips, such as Cathy and The Family Circus. The frequent comedic jabs at long-running comic strips has earned Pastis the disdain of many comic artists, which the author referenced in a storyline where the Pearls cast is not invited to the 75th-anniversary crossover party of Blondie.

Pastis will often employ a shaggy dog story, using a great amount of dialogue to spin an elaborate premise often resolved with a character's unforeseen death or near death. A variation known as a feghoot builds to an intentionally bad pun in the penultimate panel, with the final panel showing the cartoon version of Pastis as the target of criticism, hostility, or even physical violence from the characters, usually Rat.

Pearls uses dark humor, at times involving topics such as death, depression and human suffering.

Other media
In an interview on The Big Idea with Donny Deutsch that aired on February 7, 2008, Pastis mentioned that he had been approached by producers about an animated TV series based on Pearls.

In 2009, a line of Pearls plush dolls was released by Aurora World, Inc., featuring four characters (Rat, Pig, Zebra and Croc) from the comic, to which Pastis jokingly said he would use for reference when unsure how to draw the characters.

On October 20, 2010, RingTales launched their series of animated Pearls strips on Babelgum. Pastis has since begun to release these cartoons on YouTube.

Books

There are over a dozen Pearls Before Swine books, mostly strip collections and treasuries.

Awards
Pastis won the National Cartoonists Society's Division Award for Best Newspaper Comic Strip for Pearls in 2003, 2006 and 2014. He was also nominated for the award in 2002 and 2008.

Pastis was one of the National Cartoonists Society's nominees for Cartoonist of the Year in 2008, 2009, 2010, 2011, and 2012.

Stephan Pastis won the Reuben Award for Cartoonist of the Year for 2018 for his work on Pearls.

References

External links
  at GoComics

Albany, California
American comic strips
Black comedy comics
Gag-a-day comics
Metafictional comics
Comics about ducks
Comics about pigs
Comics about mice and rats
Comics about animals
Fiction about goats
Works about zebras
2001 comics debuts
Surreal comedy comics

Pearls Before Swine (comics)


Baste peut faire référence à :

Patronyme

 Karine Baste (née en 1982), journaliste française.
 Pierre Baste (1768-1814), général français.

Surnom
 Gérard Baste, nom de scène du rappeur français Matthieu Balanca.

Voir aussi
 Rue Baste, voie du 19e arrondissement de Paris.

Baste


Jürgen Gronholz  (* 28. April 1956 in Bremerhaven; † 29. Juli 2019) war ein deutscher Pop-Musiker, -Komponist und -Texter.

Leben
Mit der ersten Band namens The Mystery Sound, die er mit 13 Jahren gründete, trat er in der Aula des Pestalozzi-Gymnasiums während einer Unterrichtspause auf. Kurz darauf gründete er seine erste internationale Band "Deep Motive".
Sie spielten in Hamburger Läden wie Onkel Pö, Top Ten, Logo etc. Nach dem Abitur ging er für einige Monate nach Ulm, in die Schweiz und nach Österreich, um in verschiedenen Formationen Erfahrung zu sammeln.
1980 zog er dann nach München, wo er in Studios arbeitete und auch mit diversen Bands die Welt bereiste. 1985 stieg er bei Dschinghis Khan ein. Sie bestritten die Grand-Prix-Vorentscheidung in München. Danach tourte er in Korea, Japan, Russland, und Thailand.

1987  stieg er in eine Top-40-Band ein und bereiste u. a. Brasilien und die Golf-Emirate. Anfang der Neunziger leiteten Gronholz und sein Bruder Carsten die Band des Sängers David Hasselhoff. Sie wurden von Jack White entdeckt und produzierten ihre eigene CD. Gronholz lebte abwechselnd auf Ibiza und in Hamburg.

Diskografie (Auswahl)
 Mehr Als Je Zuvor, White Records, CD, Single, 1993
  Dschinghis Khan – James Bond
 Text von Sag mir wo die Träume sind (Inka Bause)
 Produzent von smiledesigner, 2001

Weblinks
 Eigene Website

Einzelnachweise

Schlagersänger
Komponist (Schlager)
Deutscher
Geboren 1956
Gestorben 2019
Mann

Jürgen Gronholz


Buckow (Märkische Schweiz) [], tidligere blot Buckow en by i Landkreis Märkisch-Oderland i den tyske delstat Brandenburg, og er administrationsby for Amt Märkische Schweiz. Den er hovedby i Naturpark Märkische Schweiz og en Kneippkuby.

Geografi

Byen ligger midt i Märkische Schweiz, og det skov- og sørige landskab ved Schermützelsee er dannet i den sidste istid; Schermützelsee gennemløbes af floden Stobber.

Nabokommuner

 Waldsieversdorf
 Garzau-Garzin
 Strausberg
 Oberbarnim
 Märkische Höhe
 Müncheberg

Eksterne henvisninger

 Officielt websted

Buckow (Märkische Schweiz)


UTC+5:30 er en tidszone som er 5 timer og 30 minutter foran standardtiden UTC.

UTC+5:30 bruges året rundt af:
 Indien (også benævnt Indisk standardtid, IST)
 Sri Lanka

Tidszoner

UTC+5:30


Sankt Clara Kloster var et nonnekloster i den centrale del af Odense grundlagt i 1521 af droning Christine (1461-1521), kong Hans' enke, der i 1519 havde fået tilladelse af paven til at stifte et kloster for nonner af franciskanerordenen.
Klosteret blev indrette i Dronningegården et hus tilhørende Christian II, som lå i firkanten mellem gaderne Holsedore og Klaregade, ned mod Odense Å.

Klosteret var viet til Sankt Clara og det tilhørte franciskanernes søsterorden Clarisserne.
Nonnerne flyttede ind som planlagt i 1522. Klosteret fungerede kun i kort tid, idet nonnerne i 1538 fraflyttede klosteret på grund af økonomisk trængsel efter reformationen. Bygningerne og haven blev herefter skænket til residens for den lutherske biskop for Odense Stift samt andre embedsmænd ved kirke og skole i Odense, og siden 1538 har de lutherske bisper resideret her på grunden.

Kilde
 Middelalderbyen Odense, Anemette S. Christensen med bidrag af Per Kr. Madsen, Centrum, 1988.

Odenses historie
Forsvundne bygninger, konstruktioner og anlæg i Danmark
Tidligere danske klostre

Sankt Clara Kloster (Odense)


Alessandro Contini Bonacossi (Ancône,  - Florence, ) est un marchand d'art et homme politique italien ; il avait le titre de comte et en 1939, il est nommé sénateur du Royaume par Victor-Emmanuel III. Il a été le protagoniste du marché philatélique et, plus encore, de celui de l'art, surtout ancien, dans la dernière période au cours de laquelle de grandes collections privées se sont constituées, qui ont ensuite donné naissance à des musées renommés.

Biographie

Origines et premières activités
Alessandro Contini Bonacossi nait à Ancône le  de Camillo Contini, d'origine bourgeoise (il est nommé comte en 1928 à l'initiative de Victor-Emmanuel III, et de la comtesse Elena Bonacossi Bermudez, d'une ancienne famille de Ferrare. À dix-neuf ans, orphelin de père, il s'installe à Milan, où il rencontre Erminia Vittoria Galli Feroldi (1871-1949) avec qui il se marie et a deux enfants (Augusto Alessandro en 1899 et Elena Vittoria en 1901). Il s'installe après son mariage à Barcelone.

En Espagne, il trouve un emploi dans la branche commerciale et juridique de la Chemical Works & Co. Limited de Chicago, jusqu'à ce qu'il devienne directeur, avec Arrigo Petruzzi, de la succursale de Madrid en 1904. Aidé financièrement par sa femme, il démarre son activité de collectionneur dans le domaine philatélique, se spécialisant notamment dans les timbres de l'empire espagnol dont il rachète toutes les séries existantes, gérant le prix sur le marché avec un esprit d'entreprise. Pendant la Première Guerre mondiale, il alterne les séjours entre l'Italie et l'Espagne, avant de s'installer définitivement à Rome en 1918.

Marchand d'art
En Italie, parallèlement à son intérêt pour les timbres, il commence également à se consacrer à l'activité de marchand de peintures et de sculptures, surtout anciennes (), de production espagnole et italienne, qui prend peu à peu une importance croissante dans son activité. En cela, il peut profiter, à partir de 1918, des conseils de l'historien de l'art Roberto Longhi, que son fils Alessandro Augusto a connu fortuitement dans l'armée à Gaète. À partir d'un contact ponctuel, naît une intense collaboration qui durera jusqu'à la fin de la Seconde Guerre mondiale. Le transitaire argentin Achillito Chiesa est un autre partenaire de Contini, qui est l'un de ses principaux clients à partir de 1920, d'abord pour les timbres, puis pour l'art. Infatigable, Chiesa rassemble bientôt à Milan une énorme collection de peintures anciennes italiennes et étrangères, principalement fournies par Contini lui-même, jusqu'à ce que l'effondrement financier de 1925 l'oblige à vendre ses collections à plusieurs reprises, lors de ventes aux enchères organisées jusqu'en 1927 à Milan et New York. Beaucoup des meilleures pièces sont rachetées par Contini lui-même, qui constitue ainsi le premier noyau de sa collection d'art personnelle.

Il est souvent aidé dans l'achat des œuvres par son épouse douée d'intuition et d'un grand amour pour l'art, comme le rappellent ses journaux. C'est par exemple elle qui reconnut à Londres la Majesté avec les saints François et Dominique d'un disciple très proche de Cimabue dans « un tableau laid et poussiéreux », qu'elle achète à bon prix en faisant semblant de s'intéresser à une autre œuvre.

Succès aux États-Unis
Au cours de voyages répétés aux États-Unis, Contini entre en contact avec divers collectionneurs américains, dont certains deviennent ses clients, tels que Felix Warburg, Simon Guggenheim, Jules Bache. Dans le contexte d'un marché très riche et très concurrentiel, ses relations avec Bache empiètent sur un autre acteur du marché, Joseph Duveen, ce qui provoque une violente campagne contre Contini, qui convint Bache de se débarrasser de toutes les œuvres achetées par l'Italien. Malgré cela, à partir de 1927, Contini est en contact à Rome avec l'homme d'affaires Samuel Henry Kress, le très riche propriétaire d'une chaîne de supermarchés à travers les États-Unis et l'un des plus importants collectionneurs d'art du . Lors des voyages annuels que Kress effectue en Italie, accompagné de sa compagne Delora Kilvert, Contini lui vend plusieurs centaines de peintures et sculptures, qu'il trouve sur les marchés italiens et étrangers, notamment sur les places de Londres et de New York. Les voyages de Kress se poursuivent avec régularité jusqu'en 1941, pour reprendre après la guerre, lorsque Contini organise d'importantes ventes à la Fondation Kress, notamment en 1948 et 1950. La collection Kress est aujourd'hui exposée en grande partie à la National Gallery of Art de Washington DC et, en partie moindre, dans des musées, des églises et des universités à travers les États-Unis, en particulier dans les endroits où Kress avait des succursales de ses supermarchés.

Le marché italien
En Italie également, d'importants collectionneurs font confiance à Contini. L'avocat turinois Riccardo Gualino lui achète un certain nombre de tableaux, jusqu'à ce que les relations soient brutalement interrompues par des désaccords entre son conseiller Lionello Venturi et Roberto Longhi. Contini aide aussi Vittorio Cini à constituer le noyau de ses collections à Venise, avant que des divergences sur les objectifs de la collection ne les séparent (Contini se spécialise dans les grands formats, Cini recherche les petits).

Dons
Entre-temps, Contini commence à organiser et à parrainer des expositions d'art ancien, en particulier à Rome, ainsi qu'à faire bénéficier certaines institutions publiques italiennes de dons. Par exemple, il meuble entièrement sept salles du musée du château Saint-Ange à Rome, il donne deux tableaux de Vitale da Bologna au Museo civico médiéval de Bologne, la maquette en terre cuite du monument funéraire de Louis XVI du Bernin à la Galerie Borghèse, la Pietà d'Attilio Selva à la Cathédrale du Sacré-Cœur-de-Jésus de Tripoli et une partie du mobilier de l'Institut national d'études de la Renaissance du Palais Strozzi, dont quelques peintures de Cosimo Rosselli et Andrea Schiavone (Cupidon et Psyché). Il finance également la restauration des fresques des Vies de saint Étienne et de saint Jean-Baptiste de Fra Filippo Lippi dans la cathédrale de Prato.

En recréant des environnements de la Renaissance, il s'inspire des études d'Attilio Schiapparelli sur La casa fiorentina e i suoi arredi nei secoli XIV e XV (« La maison florentine et son mobilier aux  ») (Florence 1908) et de l'exemple d'Elia Volpi au Palazzo Davanzati : ces principes sont mis en pratique dans sa florentine maison, la villa Stozzi qu'il renomme villa Vittoria, où il vit à partir de 1931. Le déménagement de Rome à Florence est accéléré par la critique violente d'une exposition d'art espagnol qu'il organise en 1930.

Villa Vittoria

Dans sa maison florentine, il organise sa collection d'art au rez-de-chaussée et au premier étage, y compris quelques grands chefs-d'œuvre, comme le Retable de la Madonna della Neve de Sassetta, anciennement dans la cathédrale Santa Maria Assunta de Sienne, un retable de Bramantino déjà dans la collection de la famille Trivulzio à Milan (Vierge à l'Enfant et huit saints), un triptyque d'Ugolino di Nerio et de nombreuses peintures du  (Agnolo Gaddi, Carlo Crivelli, Giuseppe Maria Crespi, Giovanni Paolo Panini, etc. ). Il y a peu de pièces de sculpture très choisies, parmi lesquelles le Saint Laurent sur le gril, marbre du Bernin se démarque, tandis que le nombre de meubles rares Renaissance, faïences, verres et tapisseries, est remarquable.

Constituée selon les critères muséographiques théorisés par Wilhelm von Bode, la collection est le résultat des talents peu communs d'un connaisseur d'art allié à un sens quasi infaillible de la reconnaissance de la qualité, malgré l'absence de formation académique. Le deuxième étage abrite la partie familiale, avec des meubles conçus par Gio Ponti, des peintures d'Ottone Rosai, Primo Conti, Filippo De Pisis, Mario Sironi, Arturo Tosi, Carlo Carrà, Alberto Martini, Marino Marini, Giorgio Morandi, Giovanni Michelucci. Il y a aussi hébergé une photothèque.

Guerre et après-guerre
Fasciste convaincu, Alessandro Contini reçoit de nombreuses distinctions au cours des années 1920, dont le titre de comte par filiation maternelle (1928) avec l'adjonction, à partir de 1930, du patronyme Bonacossi ; il est également sénateur du Royaume de 1939 à 1944. Faisant l'objet d'une enquêté par la Commission d'épuration d'après-guerre pour des relations avec les Allemands dans le trafic d'œuvres d'art, il est aidé par Bernard Berenson qui témoigne et intervient en sa faveur. Contini a en effet eu des relations avec Hermann Göring et avec son agent en Italie Hans Posse, et une partie des œuvres pour lesquelles il a servi d'intermédiaire ont été récupérées sous la pression des autorités allemandes par l'intermédiaire du Bureau de récupération d'art du Ministère des Affaires étrangères et de la Coopération internationale italien. Certaines d'entre elles cependant, vendues par les Alliés au gouvernement yougoslave, se trouvent aujourd'hui au musée national de Belgrade et font toujours l'objet de litiges>.

En 1949, il perd sa femme et se remarie avec Atala Pampaloni. En 1950, les relations avec Longhi se rompent brutalement. Il est remplacé par Bernard Berenson avec qui, jusqu'alors, les contacts avaient été purement formels en dehors de l'épisode d'après-guerre. La collaboration avec Berenson est fondamentale pour les ventes à la Fondation Kress dans les années 1950, dans le cadre de l'implantation de la National Gallery of Art.

La dernière année de la vie du comte est troublée par la mort de son neveu préféré « Sandrino » (juillet 1955), dont il avait perdu la trace à la suite d'un scandale et qui mit tragiquement fin à son existence vingt ans plus tard, lorsqu'il fut retrouvé pendu dans les environs de Washington : son épouse Vittoria avait également eu une fille née de son premier mariage, Beatrice, qui avait épousé le frère cadet d'Alessandro et de l'union duquel est né Sandrino, qui avait été adopté dans la famille après être devenu orphelin en 1914.

La collection

Dès 1945, le couple Contini-Bonacossi avait émis le souhait de faire don de l'intégralité de la collection, tant qu'elle resterait intacte. Alessandro a d'abord pensé à l'État du Vatican, mais ensuite il s'est tourné vers l'État italien, sans toutefois pouvoir parfaire la donation avant de disparaître en 1955. À sa mort, le seul patrimoine immobilier s'élevait alors à 300 milliards de lires.

La collection, en 1965, se composait de , comme le montre l'inventaire avant le transfert au Palazzo Capponi, lors de l'aliénation de la Villa Vittoria (elle abrite aujourd'hui le palais des congrès de Florence).

La donation partielle n'a été réalisée qu'en 1969 à l'initiative de sa seconde épouse. La collection de peintures et de sculptures anciennes, riche en œuvres importantes de l'école italienne et espagnole, aujourd'hui connue sous le nom de Collection Contini Bonacossi, a été sélectionnée par une commission d'experts et d'historiens de l'art et est restée à Florence. Après avoir été exposée dans différents sites, elle a finalement trouvé son siège dans un département du musée des Offices, où elle est exposée au public depuis le .

Sa collection philatélique a été dispersée dans diverses ventes aux enchères.

Notes et références

Articles connexes

 Collection Contini Bonacossi
 Musée des Offices

Collectionneur italien d'œuvres d'art
Sénateur de la XXXe législature du royaume d'Italie
Page utilisant P3954
Page utilisant P1986
Page utilisant P6706

Alessandro Contini Bonacossi


William John White (* 7. Oktober 1850 in der Nähe des Rice Lake, Kanada; † 16. Februar 1923 in Cleveland, Ohio) war ein US-amerikanischer Politiker der Republikanischen Partei. Vom 4. März 1893 bis 3. März 1895 war er Mitglied des Repräsentantenhauses der Vereinigten Staaten für den 20. Kongressdistrikt des Bundesstaates Ohio.

Biografie
In der Nähe des Rice Lakes in Kanada wurde White 1850 geboren. Im Alter von 7 Jahren zog er mit seinen Eltern in die Vereinigten Staaten. Sie ließen sich in Cleveland nieder. In Cleveland ging er zur Schule. 1869 begann er als Süßwarenhersteller sich eine eigene Existenz aufzubauen. Später produzierte seine Firma W.J. White Chicle Co. Kaugummi. 1889 war er Bürgermeister von West Cleveland, heute zu Cleveland gehörig.

Bei den Kongresswahlen 1892 trat White als Kandidat der Republikanischen Partei im 20. Wahlbezirk von Ohio an. Er konnte die Wahl für sich entscheiden und zog ins US-Repräsentantenhaus nach Washington, D.C. ein, wo er für seinen Wahlbezirk eine Legislaturperiode saß. Er beschloss, sich nicht mehr zur Wahl zu stellen. Er zog sich wieder in seine Firma zurück. Im Februar 1923 starb White in seiner Heimatstadt. Er wurde auf dem Lake View Cemetery begraben.

Weblinks

Mitglied des Repräsentantenhauses der Vereinigten Staaten für Ohio
Bürgermeister (Ohio)
Mitglied der Republikanischen Partei
US-Amerikaner
Geboren 1850
Gestorben 1923
Mann

William J. White