In electronics and signal processing, mainly in digital signal processing, a Gaussian filter is a filter whose impulse response is a Gaussian function (or an approximation to it, since a true Gaussian response would have infinite impulse response). Gaussian filters have the properties of having no overshoot to a step function input while minimizing the rise and fall time. This behavior is closely connected to the fact that the Gaussian filter has the minimum possible group delay. A Gaussian filter will have the best combination of suppression of high frequencies while also minimizing spatial spread, being the critical point of the uncertainty principle.  These properties are important in areas such as oscilloscopes and digital telecommunication systems.

Mathematically, a Gaussian filter modifies the input signal by convolution with a Gaussian function; this transformation is also known as the Weierstrass transform.

Definition
The one-dimensional Gaussian filter has an impulse response given by

and the frequency response is given by the Fourier transform

with  the ordinary frequency. These equations can also be expressed with the standard deviation as parameter

and the frequency response is given by

By writing  as a function of  with the two equations for  and as a function of  with the two equations for  it can be shown that the product of the standard deviation and the standard deviation in the frequency domain is given by
,

where the standard deviations are expressed in their physical units, e.g. in the case of time and frequency in seconds and hertz, respectively.

In two dimensions, it is the product of two such Gaussians, one per direction:

where x is the distance from the origin in the horizontal axis, y is the distance from the origin in the vertical axis, and σ is the standard deviation of the Gaussian distribution.

Digital implementation

The Gaussian function is for  and would theoretically require an infinite window length. However, since it decays rapidly, it is often reasonable to truncate the filter window and implement the filter directly for narrow windows, in effect by using a simple rectangular window function. In other cases, the truncation may introduce significant errors. Better results can be achieved by instead using a different window function; see scale space implementation for details.

Filtering involves convolution. The filter function is said to be the kernel of an integral transform. The Gaussian kernel is continuous. Most commonly, the discrete equivalent is the sampled Gaussian kernel that is produced by sampling points from the continuous Gaussian. An alternate method is to use the discrete Gaussian kernel which has superior characteristics for some purposes. Unlike the sampled Gaussian kernel, the discrete Gaussian kernel is the solution to the discrete diffusion equation.

Since the Fourier transform of the Gaussian function yields a Gaussian function, the signal (preferably after being divided into overlapping windowed blocks) can be transformed with a fast Fourier transform, multiplied with a Gaussian function and transformed back. This is the standard procedure of applying an arbitrary finite impulse response filter, with the only difference being that the Fourier transform of the filter window is explicitly known.

Due to the central limit theorem (from statistics), the Gaussian can be approximated by several runs of a very simple filter such as the moving average. The simple moving average corresponds to convolution with the constant B-spline (a rectangular pulse). For example, four iterations of a moving average yield a cubic B-spline as a filter window, which approximates the Gaussian quite well. A moving average is quite cheap to compute, so levels can be cascaded quite easily.

In the discrete case, the filter's standard deviations (in the time and frequency domains) are related by

where the standard deviations are expressed in a number of samples and N is the total number of samples. The standard deviation of a filter can be interpreted as a measure of its size. The cut-off frequency of a Gaussian filter might be defined by the standard deviation in the frequency domain:

where all quantities are expressed in their physical units. If  is measured in samples, the cut-off frequency (in physical units) can be calculated with

where  is the sample rate.
The response value of the Gaussian filter at this cut-off frequency equals exp(−0.5) ≈ 0.607.

However, it is more common to define the cut-off frequency as the half power point: where the filter response is reduced to 0.5 (−3 dB) in the power spectrum, or 1/ ≈ 0.707 in the amplitude spectrum (see e.g. Butterworth filter).
For an arbitrary cut-off value 1/c for the response of the filter, the cut-off frequency is given by

For c = 2 the constant before the standard deviation in the frequency domain in the last equation equals approximately 1.1774, which is half the Full Width at Half Maximum (FWHM) (see Gaussian function). For c =  this constant equals approximately 0.8326. These values are quite close to 1.

A simple moving average corresponds to a uniform probability distribution and thus its filter width of size  has standard deviation . Thus the application of successive  moving averages with sizes  yield a standard deviation of

(Note that standard deviations do not sum up, but variances do.)

A gaussian kernel requires  values, e.g. for a  of 3, it needs a kernel of length 17. A running mean filter of 5 points will have a sigma of . Running it three times will give a  of 2.42. It remains to be seen where the advantage is over using a gaussian rather than a poor approximation.

When applied in two dimensions, this formula produces a Gaussian surface that has a maximum at the origin, whose contours are concentric circles with the origin as center.  A two-dimensional convolution matrix is precomputed from the formula and convolved with two-dimensional data. Each element in the resultant matrix new value is set to a weighted average of that element's neighborhood. The focal element receives the heaviest weight (having the highest Gaussian value), and neighboring elements receive smaller weights as their distance to the focal element increases. In Image processing, each element in the matrix represents a pixel attribute such as brightness or color intensity, and the overall effect is called Gaussian blur.

The Gaussian filter is non-causal, which means the filter window is symmetric about the origin in the time domain. This makes the Gaussian filter physically unrealizable. This is usually of no consequence for applications where the filter bandwidth is much larger than the signal. In real-time systems, a delay is incurred because incoming samples need to fill the filter window before the filter can be applied to the signal. While no amount of delay can make a theoretical Gaussian filter causal (because the Gaussian function is non-zero everywhere), the Gaussian function converges to zero so rapidly that a causal approximation can achieve any required tolerance with a modest delay, even to the accuracy of floating point representation.

Applications

 GSM since it applies GMSK modulation
 the Gaussian filter is also used in GFSK.
 Canny Edge Detector used in image processing.

See also

 Butterworth filter
 Comb filter
 Chebyshev filter
 Discrete Gaussian kernel
 Elliptic filter
 Gaussian blur
 Gaussian pyramid
 Scale space
 Scale space implementation

References

Linear filters
Gaussian function

Gaussian filter


I Learned That in Paris (German: Das hab ich in Paris gelernt) is a 1960 West German musical comedy film directed by Thomas Engel and starring Chris Howland, Christa Williams and Gisela Trowe.

Cast
 Chris Howland as Fred Miller
 Christa Williams as Dr. Brigitte Freyer
 Gisela Trowe as Clarissa Wedell
 Dieter Borsche as Bernhard Wedell, ihr Mann
 Harald Juhnke as Mathias Mai, Lawyer
 Carl-Heinz Schroth as Faktotum Neumann
 Werner Fuetterer as Hubert Wüstenhagen
 Hans Nielsen as Professor Giselius
 Erwin Linder as Dr. Knapp
 Lotte Rausch as Hilde
 Maria Sebaldt as Lydia
 Birgit Bergen as Betty
 Edith Hancke
 Kurt Klopsch
 Karl Kramer
 Karl-Heinz Kreienbaum
 Maria Litto
 Hein Timm

References

Bibliography
 Bock, Hans-Michael & Bergfelder, Tim. The Concise CineGraph. Encyclopedia of German Cinema. Berghahn Books, 2009.

External links

1960 films
1960 musical comedy films
German musical comedy films
West German films
1960s German-language films
Films directed by Thomas Engel
1960s German films

I Learned That in Paris


Pearl Mae Bailey (March 29, 1918 – August 17, 1990) was an American actress, entertainer, and singer. She was known for her roles in St. Louis Women, Hello, Dolly!, and in Cindy Eller: A Modern Fairy Tale. She won a Grammy Award in 1959, an Emmy Award in 1968, a Screen Actors Guild Award in 1976, and a Tony Award in 1986.

Bailey was born on March 29, 1918 in Southampton County, Virginia. She was married to John Randolph Pinkett from 1948 until they divorced in 1952. Then she was married to Louie Bellson from 1952 until her death in 1990. They had two children, one adopted. Bailey died on August 17, 1990 in Philadelphia, Pennsylvania. She was aged 72.

Other websites

Pearl Bailey at TVGuide.com

1918 births
1990 deaths
American movie actors
American television actors
American voice actors
American stage actors
American radio actors
African American actors
Television personalities from Virginia
American radio personalities
Actors from Virginia
Singers from Virginia
Actors from Pittsburgh
Singers from Pennsylvania
Screen Actors Guild Award winners
Tony Award winning actors
Emmy Award winning actors
Grammy Award winners

Pearl Bailey


DAFNE or DAΦNE (Double Annular Φ Factory for Nice Experiments), is an electron-positron collider at the INFN Frascati National Laboratory in Frascati, Italy. It consists of 2 accelerator rings, both approximately 100 meters in length. Since 1999 it has been colliding electrons and positrons at a center of mass energy of 1.02 GeV to create phi mesons (φ). 85% of these decay into kaons (K), whose physics is the subject of most of the experiments at DAFNE.

There have been five experiments at DAFNE:
 KLOE (K LOng Experiment), which has been studying CP violation in kaon decays and rare kaon decays since 2000. This is the largest of  DAFNE experiments. It has been continued by the KLOE-2 experiment.
 FINUDA (FIsica NUcleare a DAFNE), studies the spectra and nonmesonic decays of hypernuclei containing Lambda baryons (Λ). The hypernuclei are produced by negatively charged kaons () striking a thin target.
 DEAR (DAFNE Exotic Atoms Research experiment), determines scattering lengths in atoms made from a kaon and a proton or deuteron.
 DAFNE Light Laboratory (DAΦNE-L) consists of 3 lines of synchrotron radiation emitted by DAFNE, a fourth is under construction.
  SIDDHARTA (SIlicon Drift Detectors for Hadronic Atom Research by Timing Application), aims to improve the precision measurements of X-ray transitions in kaon atoms studied at DEAR.

External links
 Homepage of the accelerator division of Frascati National Laboratory: public (Italian), technical

Particle physics facilities
Particle experiments
Research institutes in Italy
Particle accelerators

DAFNE


Acacia coriacea, commonly known as river jam, wirewood, desert oak, wiry wattle or dogwood, is a tree in the family Mimosoideae of family Fabaceae. Indigenous Australians know the plant as Gunandru.

Description

River jam grows to a height of about eight metres.  It usually has just one or two main trunks.  Like most Acacia species, it has phyllodes rather than true leaves.  These are thick and leathery, between twenty and thirty centimetres long, and narrow.  The flowers are yellow, and held in spherical clusters about five millimetres in diameter.  The pods are usually curled up, but are around twenty centimetres long when straightened.  They are greatly constricted between the seeds.
Indigenous Australians used the seeds of the plant as a food source.

Distribution
Acacia coriacea occurs throughout northern Australia, growing as a tall tree on the banks of rivers.  It can also occur as a spreading, low tree behind coastal dunes and on 'spinifex' plains.

Common name issues

In some parts of A. coriacea'''s range the common name "desert oak" is prevalent, but throughout the larger part of that range this name is often applied to another tree, Allocasuarina decaisneana.

The name "Dogwood" is used for numerous plant species in Australia and elsewhere, see Dogwood (disambiguation).

 Varieties

There are three subspecies.
Acacia coriacea subsp. coriacea
Acacia coriacea subsp. pendens
Acacia coriacea subsp. sericophylla
	Acacia coriacea var. coriacea is a synonym for Acacia coriacea subsp. coriacea''.

See also
List of Acacia species

References

Notes

General references

External links
 Acacia coriacea Photo

Flora of the Northern Territory
Acacias of Western Australia
Flora of Queensland
coriacea
Trees of Australia
Fabales of Australia
Drought-tolerant trees
Taxa named by Augustin Pyramus de Candolle
Plants described in 1825

Acacia coriacea


Andrew Chinn (1915–1996) was a Chinese-American artist and art educator, active in the Pacific Northwest from the early 1930s through the 1990s. He is known for his distinctive style of watercolor painting and printmaking, and is associated with the Northwest's Asian-American arts community, the WPA artists of the Great Depression/World War II era, and, peripherally, the Northwest School of painters.

Life and career

Andrew Nan Chinn's parents emigrated from Toyshan, Canton (modern Taishan, Guangdong), China, to the United States in about 1910. He was born in Seattle, Washington, on June 17, 1915. After his mother died of influenza in 1918, he and his older sister Ann returned to Toyshan, where, with the encouragement of his grandfather, he learned traditional calligraphy. He also became interested in painting, which, in China of the Sun Yat Sen era, was beginning to show the influence of modern European trends.

Chinn returned to the US in 1927, went back to China in 1929, and then moved to Seattle for good in 1933. He attended Broadway High School, where his classmates included artists Fay Chong, George Tsutakawa, and Morris Graves. He, Chong, and other young artist friends formed the Chinese Art Club, holding monthly shows at a shared studio in Seattle's International District. Morris Graves, Kenneth Callahan, and William Cumming - future members of the acclaimed 'Northwest School' of painters - were frequent guests.

In 1939 Chinn enrolled in the University of Washington, where he studied art under Walter Isaacs, Ambrose Patterson, Ray Hill, and others. While a student he had paintings accepted for juried shows at both the Seattle Art Museum and the Frye Museum.

In 1941 he joined the Works Progress Administration's Federal Art Project, under R. Bruce Inverarity, the program's director for Washington. He worked alongside Graves, Chong, Guy Anderson, Helmi Juvonen, Jacob Elshin, Julius Twohy, and other notable painters, printmakers, and sculptors.

In 1945 he began a 31-year career as a technical artist at the Boeing company, and became a founder of the Boeing Art Club; around this time he was also accepted for membership in the Puget Sound Group, the Northwest's oldest artists' association. In 1946 he began teaching evening classes in watercolor painting at Seattle Central Community College (originally Edison Technical School), which he would continue to do for over 45 years.

While the Abstract expressionism of the Northwest mystics turned the art world on its head in the 1950s, and George Tsutakawa, Paul Horiuchi, and Frank Okada revolutionized Asian-American art in the 1960s, Chinn remained almost defiantly committed to the style he'd developed and loved most: traditional Asian art (often including Chinese calligraphic inscriptions) done using Western perspective, with aspects of American realism and European impressionism. An avid outdoorsman, his subject matter was most commonly the natural scenery that he loved. He usually painted from life, instead of using photos or sketches.

Although his more conservative style kept him out of Seattle's avant-garde galleries, he remained a well-respected figure in the Pacific Northwest, and had his work regularly exhibited in the area's mainstream museums and galleries.

References

1915 births
1996 deaths
Broadway High School (Seattle) alumni
American artists of Chinese descent
Painters from Seattle
20th-century American painters
American male painters
Federal Art Project artists
20th-century American male artists

Andrew Chinn


The church of the Purgatorio ad Arco, or Santa Maria delle Anime del Purgatorio ad Arco is a religious edifice in central Naples, Italy, located on Via dei Tribunali. The church is two blocks west of the church of Santa Maria Maggiore della Pietrasanta on Via dei Tribunali.

History

It was attached to the Congregation of the same name, established to pray for the souls in purgatory. The church was designed by Giovan Cola Di Franco, and consecrated in 1638. The apse is richly decorated with polychrome marble and stucco, and has a peculiar detail of winged skulls, by Dionisio Lazzari, on the pilasters lateral to the main altarpiece. The church has altarpiece by Massimo Stanzione (Virgin helps souls in Purgatory, 1638, main altarpiece), Andrea Vaccaro (Transit of St Joseph, 1650-51, third chapel on right), and Luca Giordano (Death and Ecstasy of St. Alessio, 1661, third chapel on left).

To the left of the altar is the funeral monument of Giulio Mastrillo, by Andrea Vaccaro. Above the main altarpiece in the cupola is a canvas by Giacomo Farelli: St Anne offers the child Virgin Sant'Anna to God the father ( 1670 ) as well as a ''Victory of St Michael (165) by Girolamo De Magistro.

References

External links

Churches in Naples
Baroque architecture in Naples
Roman Catholic churches completed in 1638
17th-century Roman Catholic church buildings in Italy
1638 establishments in Italy

Purgatorio ad Arco


Dan Riccio is Apple's former senior vice president of Hardware Engineering, reporting to CEO Tim Cook. Riccio led the Mac, iPhone, iPad, iPod, Apple TV, HomePod, AirPods, and Apple Watch engineering teams, which have produced numerous products. He was succeeded by John Ternus on January 25, 2021. He is now in an unnamed role focusing on a new project at Apple.

Biography
Riccio holds a Doctor of Humanities honoris causa from the University of Massachusetts Medical School and a bachelor's degree in mechanical engineering from the University of Massachusetts Amherst.

Before Apple, Riccio worked at Compaq as senior manager of mechanical engineering, responsible for the mechanical design of consumer PC products.

He joined Apple in 1998 as vice president of product design and in 2010 was named vice president of iPad hardware engineering. Since joining Apple, Riccio has been a key contributor to most of the company's hardware, including all iPad products.

Riccio officially announced the cancellation of AirPower in 2019. On January 26, 2021, Apple announced that Riccio would transition to a new role focusing on a new project and reporting to CEO Tim Cook.

On January 25, 2021, he was succeeded by John Ternus as SVP of hardware engineering, and has transitioned to an unnamed role at Apple working on a new project, rumored to be an augmented reality and virtual reality headset.

References

Year of birth missing (living people)
Living people
Apple Inc. executives
Apple Inc. employees
American people of Italian descent
University of Massachusetts Amherst College of Engineering alumni

Dan Riccio


Hermann Oppenheim (1 January 1858 – 5 May 1919) was one of the leading neurologists in Germany.

Life and work
Oppenheim is the son of Juda Oppenheim (1824–1891), the long-time rabbi of the Warburg synagogue community , and his wife, Cäcilie, née Steeg (1822–1898).

He studied medicine at the Universities of Berlin, Göttingen and Bonn. He started his career at the Charité-Hospital in Berlin as an assistant to Karl Westphal (1833–1890). In 1891 Oppenheim opened a successful private hospital in Berlin.

In 1894, Oppenheim was the author of a textbook on nervous diseases titled Lehrbuch der Nervenkrankheiten für Ärzte und Studierende, a book that soon became a standard in his profession. It was published in several editions and languages, and is considered one of the best textbooks on neurology ever written. He also published significant works on tabes dorsalis, alcoholism, anterior poliomyelitis, syphilis, multiple sclerosis and traumatic neurosis. In the field of physiology, he published articles on metabolism of urea with the aid of Nathan Zuntz (1847–1920).

In 1889 he published a treatise on traumatic neuroses that was harshly criticized by eminent physicians that included Jean-Martin Charcot (1825–1893) and Max Nonne (1861–1959); the reason being due to Oppenheim's assertion that psychological trauma caused organic changes that perpetuated psychic neuroses.

His expertise involving brain disease led directly to the first successful removal of a brain tumor, an operation that was performed by a physician named R. Köhler. With surgeon Fedor Krause (1857–1937), he reported the first successful removal of a pineal tumor.

He coined the term "dystonia musculorum deformans" for a type of childhood torsion disease he described, a disorder that was later to become known as "Ziehen-Oppenheim syndrome" (named along with German psychiatrist Theodor Ziehen 1862–1950). Also, another name for amyotonia congenita is "Oppenheim's disease".

His son Hans Oppenheim became an opera conductor and emigrated to Britain following the Nazi takeover.

Selected writings
 Die traumatischen Neurosen nach den in der Nervenklinik der Charité in den letzten 5 Jahren gesammelten Beobachtungen. 1889; second edition, 1892; 3rd edition, 1918.
 Weitere Mitteilungen über die traumatischen Neurosen. 1891.
 Lehrbuch der Nervenkrankheiten für Ärzte und Studierende. two volumes, 1894; fifth edition, 1908; seventh edition, 1923. English translation as "Textbook of Nervous Disease". 1911, also translated into Russian, Spanish and Italian.
 De Geschwülste des Gehirns. 1896. also in Hermann Nothnagel's Handbuch der speciellen Pathologie und Therapie. 1896.
 Die syphilitischen Erkrankungen des Gehirns. in Hermann Nothnagel's Handbuch der speciellen Pathologie und Therapie. 1896.
 Die Encephalitis und der Hirnabszess. in Hermann Nothnagel's Handbuch der speciellen Pathologie und Therapie, 1897
 Psychotherapeutische Briefe. 1906; third edition, 1910.
 Operative Erfolge bei Geschwülsten der Sehhügel- under Vierhügel gegend. Berliner klinische Wochenschrift, 1913, 50: 2316–2322. (Successful removal of pineal tumour).
 Beiträge zur Kenntnis der Kriegsverletzungen des peripherischen Nervensystems. 1917.
 Die ersten Zeichen der Nervosität im Kindesalter. 1917.
 Stand und Lehre von kriegs- und Unfallneurosen. 1918. Obituary by Richard Cassirer (1868-1925), in Berliner klinische Wochenschrift, 1919, 52: 669–671.

Notes

References
 Hermann Oppenheim at Who Named It

1858 births
1919 deaths
People from Warburg
People from the Province of Westphalia
19th-century German Jews
German neurologists
University of Bonn alumni
History of psychiatry
Physicians of the Charité

Hermann Oppenheim


Hanley is one of the six towns that make up the city of Stoke-on-Trent in Staffordshire, England. The others are Burslem, Longton, Fenton, Tunstall and Stoke-upon-Trent.

Hanley has an important city centre. It has been for a long time the commercial hub of the city of Stoke-on-Trent. It is home to the Potteries Shopping Centre and many high street chain stores.

The Pottery towns are connected by double-carriageway roads, and have the M6 motorway nearby. Hanley no longer has a train link, but the canal which carried the goods is still active.

Hanley was a centre of the 1842 Pottery Riots, and part of the 1842 General Strike. This is a reminder that coal mining was as important as pottery in the area during the 19th century. Coal fired the huge kilns in which the clay objects were baked. Indeed coal was as important to potteries as the clay itself.

Both the pottery and the coal was moved by barge along canal waterways. It is still more efficient to move heavy cargo on water than any other way.

Stoke-on-Trent
Towns in Staffordshire

Hanley, Staffordshire


Świętosława was a Polish princess, the daughter of Mieszko I of Poland and sister of Bolesław I of Poland, who married two Scandinavian kings.  According to German chroniclers, this princess, whose name is not given, was married first to Eric the Victorious of Sweden and then to Sweyn Forkbeard of Denmark, giving the former a son, Olof, and the latter two sons, Harald and Cnut. Because a documented sister of Cnut seems to have borne the Polish name Świętosława, it has been speculated that this may also have been the name of their mother, the Polish princess of the chroniclers.

The Icelandic sagas give her role as successive queen of these two monarchs to Sigrid the Haughty, daughter of Skagul Toste. This account is considered less reliable than the contemporary chroniclers by a number of scholars, according to Birgitta Fritz in Svenskt biografiskt lexikon, and the historical authenticity of Sigrid is viewed skeptically.  Snorre Sturlasson also mentions a Slavic princess he calls Gunhild of Wenden, daughter of king Burislav of the Wends, the ancient Slavs inhabiting the northern regions of modern Poland, and it has been suggested that Gunhild may be a somewhat confused account of the sister of the Polish king Bolesław I, described by the chroniclers.

Polish genealogist Rafał Prinke sees the German chroniclers as having combined the roles of two distinct wives of Sweyn Forkbeard, with the Polish princess actually being Gunhild, mother of Cnut, Harold and a daughter Świętosława, while he sees Sigrid the Haughty as an authentic subsequent wife of Sweyn as widow of Eric the Victorious, being mother of Eric's son, Olaf, and of Sweyn's daughter, Estrid. He further suggests although Świętosława was not the name of Sweyn's Polish wife, the name had a history in the family, that perhaps it was the name of the otherwise unknown wife of Mieszko's father, Siemomysł.

Contemporary sources
There is scant material in medieval chronicles to provide details regarding the marriages of Sweyn of Denmark and Eric of Sweden:

 Thietmar of Merseburg mentions that the daughter of Mieszko I of Poland and sister of Bolesław I Chrobry of Poland married Sweyn Forkbeard and gave him two sons, Cnut the Great and Harald II of Denmark, but he does not mention her name. Thietmar is probably the best informed of the medieval chroniclers addressing the question, since he was contemporary with the events described and well-informed about the events in Poland and Denmark. The assertion that Harald's and Cnut's mother was Bolesław's sister may explain some mysterious statements which appear in medieval chronicles, such as the involvement of Polish troops in invasions of England.
 Adam of Bremen writes almost a century later that a Polish princess—the sister or daughter of Bolesław I Chrobry of Poland—was the wife of Eric the Victorious and by this marriage the mother of Olof Skötkonung of Sweden, before she became mother of Cnut the Great and Harald II of Denmark in her second marriage with Sweyn. Adam's claims about the marriage to Eric are considered unreliable by many historians, since he is the only source to state this relationship and because he is writing several generations later. The scholia of Gesta Hammaburgensis Ecclesiae Pontificum mentions that it was the Polish king Bolesław who gave the princess' hand in marriage. One problem is that Olof was born at latest in the early 980's, before Boleslaw Chrobry came to power, and therefore was too old to be the unnamed princess's son.
 Gesta Cnutonis regis mentions in one short passage that Cnut and his brother went to the land of the Slavs, and brought back their mother, who was living there. This does not necessarily mean that his mother was Slavic, but nevertheless this chronicle strongly suggests that she was.
 The "Liber vitae of the New Minster and Hyde Abbey Winchester" has an entry for a sister of king Cnut named "Santslaue" (Santslaue soror CNVTI regis nostri), which is seen as a Slavic name.  Based on this single mention of what would be her daughter and the supposition that the name in question represents the Old Polish name Świętosława found in a later generation of the Polish royal family, J. Steenstrup suggested that this child was named for her mother and hence the Polish wife of Eric and Sweyn was likewise named Świętosława, the name now generally used for her.

Bibliography
 Oswald Balzer, Genealogia Piastów, Kraków 1895.
 Włodzimierz Dworzaczek, Genealogia, Warsaw 1959
 Andrzej Feliks Grabski, Bolesław Chrobry. Zarys dziejów politycznych i wojskowych, Warsaw 1964.
 Kazimierz Jasiński, Rodowód pierwszych Piastów, Warsaw-Wrocław (1992).

References

Polish princesses
Piast dynasty
House of Knýtlinga
House of Munsö
10th-century Polish people
10th-century Polish women
11th-century Polish women
11th-century Polish people
10th-century Danish people
11th-century Danish people
10th-century Danish women
11th-century Danish women
10th-century Norwegian people
11th-century Norwegian people
10th-century Norwegian women
11th-century Norwegian women
10th-century Swedish people
11th-century Swedish people
10th-century Swedish women
11th-century Swedish women
10th-century English people
11th-century English people
10th-century English women
11th-century English women
Danish royal consorts
Norwegian royal consorts
Swedish queens
English royal consorts
Remarried royal consorts

Świętosława


Fahrettin Cüreklibatır (7 September 1937 – 28 June 2022), better known by his stage name Cüneyt Arkın, was a Turkish movie actor, director, producer and martial artist. He was known for his movie roles in The Mine, Dünyayı Kurtaran Adam and Paramparça. Having starred in more 300 movies and television series, he is widely considered one of the most prominent Turkish actors of all time. In his roles, Arkın did all of his dangerous stunts often without safety equipment and was injured many times.  Arkın was born in Odunpazarı, a district in the city of Eskişehir, Turkey.

Arkın died on 28 June 2022 from cardiac arrest at a hospital in Istanbul, Turkey at the age of 84.

References

1937 births
2022 deaths
Deaths from cardiac arrest
Turkish movie actors
Turkish movie directors
Turkish movie producers
Martial artists

Cüneyt Arkın


Henry Spencer Moore  (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his Yorkshire birthplace.

Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.

Life

Early life
Moore was born in Castleford, West Riding of Yorkshire, England, to Mary (née Baker) and Raymond Spencer Moore. His father was of Irish descent and became pit deputy (responsible for safety) and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement. Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements at a Sunday School reading.

On his second attempt he was accepted at Castleford Secondary School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture. His art teacher, Alice Gostick, broadened his knowledge of art, and with her encouragement, he determined to make art his career; first by sitting for examinations for a scholarship to the local art college. Moore's earliest recorded carvings – a plaque for the Scott Society at Castleford Secondary School, and a Roll of Honour commemorating the boys who went to fight in the First World War from the school – were executed around this time.

Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended. Upon turning eighteen, Moore volunteered for army service in the First World War. He was the youngest man in the Prince of Wales' Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood, during the Battle of Cambrai. After recovering in hospital, he saw out the remainder of the war as a physical training instructor, only returning to France as the Armistice was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero." This attitude changed as he reflected on the destructiveness of war and in 1940 he wrote, in a letter to his friend Arthur Sale, that "a year or two after [the war] the sight of a khaki uniform began to mean everything in life that was wrong and wasteful and anti-life. And I still have that feeling."

Beginnings as a sculptor

After the war, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds Arts University), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the university Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the British Museum.

The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.

In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.

Hampstead
On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London. On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kyiv in 1907. Her father was killed in the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.

Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.

In 1932, after six-year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.

In 1936, Moore joined a group of surrealist artists founded by Roland Penrose, and the same year was honorary treasurer to the organising committee of the London International Surrealist Exhibition. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings.

In 1938, Moore met Kenneth Clark for the first time. From this time, Clark became an unlikely but influential champion of Moore's work, and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.

Second World War

At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post. During the war, Moore produced powerful drawings of Londoners sleeping in the London Underground while sheltering from the Blitz. Kenneth Clark, the chairman of the War Artists' Advisory Committee (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme. In August 1941, WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Moore drew the people in the shelters as passively waiting the all-clear while miners aggressively worked the coal-faces. It has been suggested that Moore's wartime drawings of the Underground and coalmines were inspired, in part, by Gustave Doré's illustrations for Dante's 'Divine Comedy'. Moore's drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC Britain at War exhibition which toured North America throughout the war.

After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from St Matthew's Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.

Later years

After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.

Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage. Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.

In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro Roland Piché and Richard Wentworth.

On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral." In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.

The last three decades of Moore's life continued in a similar vein; several major retrospectives took place around the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence. Following the pioneering documentary 'Henry Moore', produced by John Read in 1951, he appeared in many films. In 1964, for instance, Moore was featured in the documentary "5 British Sculptors (Work and Talk)" by American filmmaker Warren Forma. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. The number of commissions continued to increase; he completed Knife Edge Two Piece in 1962 for College Green near the Houses of Parliament in London. According to Moore, "When I was offered the site near the House of Lords ... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park—one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it."

As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from death duties. By 1977, he was paying close to a million pounds a year in income tax; to mitigate his tax burden, he established the Henry Moore Foundation as a registered charity with Irina and Mary as trustees. The Foundation was established to encourage the public appreciation of the visual arts and especially the works of Moore. It now runs his house and estate at Perry Green, with a gallery, sculpture park and studios.

In 1979, Henry Moore became unexpectedly known in Germany when his sculpture Large Two Forms was installed in the forecourt of the German Chancellery in Bonn, which was the capital city of West Germany prior to German reunification in October 1990.

Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.

.

Style

Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.

Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with Barbara Hepworth's sculptures. Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. The plaster Reclining Figure: Festival (1951) in the Tate, is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture. When Moore's niece asked why his sculptures had such simple titles, he replied, All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.

Moore's early work is focused on direct carving, in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into modernism paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory sketches and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.

After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the lost wax technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body.
At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final moulding and casting at a bronze foundry. Moore often refined the final full plaster shape and added surface marks before casting.

Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. In 1953, he completed a four-part screen carved in Portland stone for the Time-Life Building in New Bond Street, London, and in 1955 Moore turned to his first and only work in carved brick, Wall Relief at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.

The aftermath of the Second World War, The Holocaust, and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as Jean-Paul Sartre advocated a similar reductive philosophy. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history". Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.

Legacy

Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 Venice Biennale, eight new British sculptors produced their Geometry of Fear works as a direct contrast to the ideals behind Moore's idea of Endurance, Continuity; his large bronze Double Standing Figure stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.

Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are Sir Anthony Caro, Phillip King and Isaac Witkin, all three having been assistants to Moore. Other artists whose work was influenced by him include Helaine Blumenfeld, Drago Marin Cherina, Lynn Chadwick, Eduardo Paolozzi, Bernard Meadows, Reg Butler, William Turnbull, Robert Adams, Kenneth Armitage, and Geoffrey Clarke.

Henry Moore Foundation helps to preserve his legacy by supporting sculptors and creating exhibitions, its goal is to develop appreciation for visual arts. The Foundation was established by Henry and his family in 1977 in England, and still working.

Controversy
In December 2005, the two ton Reclining Figure (1969–70) – insured for £3 million – was lifted by crane from the grounds of the Henry Moore Foundation on to a lorry and has not been recovered. Two men were jailed for a year in 2012 for stealing a sculpture called Sundial (1965) and the bronze plinth of another work, also from the foundation's estate. In October 2013 Standing Figure (1950), one of four Moore pieces in Glenkiln Sculpture Park, estimated to be worth £3 million, was stolen.

In 2012, the council of the London Borough of Tower Hamlets announced its plans to sell another version of Draped Seated Woman 1957–58, a 1.6-tonne bronze sculpture. Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former London County Council on the understanding that it would be displayed in a public space and might enrich the lives of those living in a socially deprived area. Nicknamed Old Flo, it was installed on the Stifford council estate in 1962 but was vandalised and moved to the Yorkshire Sculpture Park in 1997. Tower Hamlets Council later had considered moving Draped Seated Woman to private land in Canary Wharf but instead chose to "explore options" for a sale. In response to the announcement an open letter was published in The Guardian, signed by Mary Moore, the artist's daughter, by Sir Nicholas Serota, Director of the Tate Gallery, by filmmaker Danny Boyle, and by artists including Jeremy Deller. The letter said that the sale "goes against the spirit of Henry Moore's original sale" of the work.

Popular interest
Today, the Henry Moore Foundation manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with  of sculpture grounds as well as his restored house and studios. It also runs the Henry Moore Institute in Leeds which organises exhibitions and research activities in international sculpture. Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at Kew Gardens in 2007, Tate Britain in 2010, and Hatfield House in 2011. The foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme.

Collections

England
The world's largest collection of Moore's work is open to the public and is housed in the house and grounds of the 70-acre estate that was Moore's home for 40years in Perry Green in Hertfordshire. The site and the collection are now owned by the Henry Moore Foundation.

In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a cast of Moore's Reclining Figure 1969–70 (LH 608) – a  long, 2.1-tonne bronze sculpture. Closed-circuit-television footage showed that they used a crane to lower the piece onto a stolen flatbed truck. A substantial reward was offered by the Foundation for information leading to its recovery. By May 2009, after a thorough investigation, British officials said they believe the work, once valued at £3 million was probably sold for scrap metal, fetching about £5,000. In July 2012 the  bronze Sundial 1965, valued at £500,000, was stolen from the Moore Foundation. Later that year, following the details of the theft being publicised on the BBC Crimewatch television programme, the work was recovered, and the thieves were sentenced to twelve months' custody.

Moore presented 36 sculptures, as well as drawings, maquettes and other works to the Tate Gallery in 1978.

Canada
The Henry Moore Sculpture Centre in the Art Gallery of Ontario, Toronto, opened in 1974. It comprises the world's largest public collection of Moore's work, most of it donated by him between 1971 and 1974. Moore's Three Way Piece No. 2 (The Archer) has also been on display in Nathan Phillips Square at Toronto City Hall since 1966.

United States
Works by Moore are in the collections of institutions in 25 states and the District of Columbia.

There are eleven large sculptural bronze works by Moore in the grounds of the Nelson-Atkins Museum of Art in Kansas City, Missouri. There is also a large bronze, the "Seated Woman" of 1957, inside the museum. This is the largest collection of Moore's monumental bronzes in the United States. The museum also contains about 43 smaller sculptures by Moore which are usually not on display. The museum's holdings also include a few works on paper and four large woven pieces, titled "Seated Figures: Ideas for Terracotta" (1981–1982), which are 7–8 foot long tapestries by British weavers based on drawings by Moore. Twenty-eight more tapestries were produced during Moore's lifetime.

Recognition

In 1948, Moore won the International Sculpture Prize at the Venice Biennale. He turned down a knighthood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine". He was, however, awarded the Companion of Honour in 1955, the Order of Merit in 1963 and Erasmus Prize in 1968. He was also a member of both the American Academy of Arts and Sciences and the American Philosophical Society.

He was a trustee of both the National Gallery and Tate Gallery. His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society, which had been founded to campaign for a separate museum in which the whole Turner Bequest might be reunited, an aim defeated by the National Gallery and Tate Gallery.

Given to the City of London by Moore and the Contemporary Art Society in 1967, Knife Edge Two Piece 1962–65 is displayed in Abingdon Street Gardens, opposite the Houses of Parliament, where its regular appearance in the background of televised news reports from Westminster makes it Moore's most prominent piece in Britain. The ownership of Knife Edge Two Piece 1962–65 was disputed until its 2011 acquisition by the Parliamentary Art Collection.

Art market
By the end of his career, Moore was the world's most successful living artist at auction. In 1982, four years before his death, Sotheby's in New York sold a  Reclining Figure (1945), for $1.2 million to collector Wendell Cherry. Although a first record of $4.1 million was set in 1990, Moore's market slumped during the recession that followed. In 2012, his eight-foot bronze, Reclining Figure: Festival (1951) sold for a record £19.1 million at Christie's, making him the second most expensive 20th-century British artist after Francis Bacon.

Gallery

See also
List of sculptures by Henry Moore

References

Works cited

Further reading

External links

 Henry Moore Foundation website

 "The Enigma of Henry Moore" by Brian McAvera. Sculpture Magazine, July/August 2001: Vol. 20, No. 6.
 BBC article with archive film of Moore at work
 3D model of Recumbent Figure (1938) from Tate
 The UNESCO Works of Art Collection
 An Intimate Moore, Tom Freudenheim, The Wall Street Journal, 30 June 2010
 Henry Moore at Kew, 2007

1898 births
1986 deaths
Military personnel from Yorkshire
20th-century British sculptors
Alumni of Leeds Arts University
Alumni of the Royal College of Art
British Army personnel of World War I
British contemporary artists
English people of Irish descent
English sculptors
English male sculptors
Fellows of the British Academy
London Regiment soldiers
Members of the Order of Merit
Members of the Order of the Companions of Honour
Members of the Serbian Academy of Sciences and Arts
Modern sculptors
People from Castleford
People from Much Hadham
Recipients of the Pour le Mérite (civil class)
British war artists
World War II artists
Académie Colarossi alumni
People educated at Castleford Academy
Members of the American Philosophical Society
Foreign members of the Serbian Academy of Sciences and Arts

Henry Moore


George Bernard Young (September 22, 1930 – December 8, 2001) was an American football player, coach, and executive. He served as the general manager of the New York Giants from 1979 to 1997.  He was named NFL Executive of the Year five times.

Early life
Young was born on September 22, 1930, in Baltimore, Maryland.  Young grew up in Baltimore's 10th Ward (east Baltimore) in a tough Irish-Catholic neighborhood, living over a bakery that was run by his mother's side of the family, just across the street from his father's bar.  He was an outstanding football player at Calvert Hall College, a Catholic high school then located in Baltimore, Maryland. He attended Bucknell University, where he was a starting defensive tackle for three seasons, team captain in 1951, and a member of the Phi Lambda Theta fraternity.  He was named to the Little All-America first team and All-East first team in his senior year. Selected to play in the BlueGray game, he was selected by the Dallas Texans in the 1952 NFL Draft.

Young then began a coaching career in the Baltimore area school system, briefly at Calvert Hall and then he took over the Baltimore City College football team. During a 15-year span, his teams won six Maryland Scholastic Association championships. Tom Gatewood, tight end, and John Sykes, running back, were two of Coach Young's City athletes who would make it to the NFL, Kurt Schmoke, quarterback,  and Curt Anderson, linebacker, established themselves in the political realm.  Young was especially proud of his years as an educator, during which he taught history and political science. During that time he also earned two master's degrees from Johns Hopkins University and Loyola College.  In May 1987, he was awarded an honorary doctorate in humane letters from Western Maryland College.

Before being with the Giants
Prior to joining the Giants, Young was on the staffs of the Baltimore Colts (1968–1974), holding positions of scout, offensive line coach, director of player personnel, and offensive coordinator, and the Miami Dolphins (1975–1978), serving as director of personnel and pro scouting.

New York Giants
Young signed a five‐year contract to become general manager of the New York Giants on February 14, 1979. He succeeded operations director Andy Robustelli who had resigned 58 days earlier on December 18, 1978. His selection was a compromise between the team's co-owners Wellington Mara and his nephew Tim, both of whom had been feuding over the football operations since the late-1960s. Wellington's attempt to promote assistant director of football operations Terry Bledsoe and Tim's recommendation of hiring either Gil Brandt or Don Klosterman had only resulted in mutual disapproval.

Young joined a franchise which had failed to qualify for the postseason in its previous fifteen years. The drought was extended by the fallout over The Fumble the previous November which had been intensified by a fans revolt and cost Robustelli, head coach John McVay and offensive coordinator Bob Gibson their jobs. Wellington Mara had run the Giants' football operations himself since joining the organization in the 1930s, and continued to do so even after becoming part-owner of the team upon the death of his father, Tim, in 1958. He had ceded some of his authority to Robustelli in 1973, but continued to have the final say in football matters. The fallout from The Fumble, however, finally convinced the Maras of the need to modernize. They were thus more than willing to accede to Young's demand that he be given complete authority over the football side of the operation.

In building the Giants Young placed special emphasis on the NFL Draft.  From his inaugural draft in 1979 through the 1995 selection process, he succeeded in signing every player drafted over that span, and from those drafts, a total of 119 players made the club at one time or another.  Instrumental in his reversal of the Giants' fortunes was his drafting of standout players such as Phil Simms, Lawrence Taylor, Joe Morris, and Carl Banks, and selecting Bill Parcells as the club's head coach.

Success
During Young's tenure, the Giants earned eight playoff berths, highlighted by victories in Super Bowls XXI and XXV, and compiled an overall record of 155-139-2. He was named NFL Executive of the Year a record five times: in 1984, 1986, 1990, 1993, and 1997. Young also served as chairman of the NFL's Competition Committee.

Decline
Despite Young's success during the 1980s, that success would not continue into the 1990s. One of his first mistakes was his choice of a new head coach for the Giants after the May 1991 resignation of Bill Parcells. Young's selection of Ray Handley was not met with success as Handley won a total of 14 games in his two-year stint. Young—an opponent of free agency—seemed to lose his touch following the introduction of the free agency cycle following the 1992 regular season.  He struggled to adapt to the system, along with the introduction of a salary cap in 1994; he signed several players to overvalued contracts while losing much of the Giants core talent to other franchises following free agency's inception.

In addition, Young's draft magic seemed to disappear.  From 1991-1996, The Giants drafted six consecutive first round busts, although his later round selections during that time period would consist of several prominent, elite players, such as defensive tackle Keith Hamilton, defensive end Michael Strahan, cornerback Phillippi Sparks, linebacker Jessie Armstead, cornerback Jason Sehorn, fullback Charles Way, wide receiver Amani Toomer, and running back Tiki Barber. Young retired following the 1997 season, handing his duties over to assistant Ernie Accorsi.

George Young joined the National Football League as senior vice president of football operations on February 2, 1998, after serving 19 years as general manager of the New York Giants.

Young was a resident of Upper Saddle River, New Jersey.

Young died of a rare neurological disease on December 8, 2001, in Baltimore.

Honors
The George Young Award is presented annually by The National Jewish Sports Hall of Fame and Museum to the person, Jewish or non-Jewish, who "has best exemplified the high ideals that George Young displayed".

On January 15, 2020, Young was elected to the Pro Football Hall of Fame Centennial Class of 2020.

See also

 History of the New York Giants (1979–1993)
 History of the New York Giants (1994–present)

References

1930 births
2001 deaths
American football defensive tackles
Baltimore City College faculty
Baltimore Colts coaches
Baltimore Colts executives
Bucknell Bison football players
Miami Dolphins executives
New York Giants executives
National Football League general managers
High school football coaches in Maryland
Calvert Hall College High School alumni
Neurological disease deaths in Maryland
Players of American football from Baltimore
People from Upper Saddle River, New Jersey
Pro Football Hall of Fame inductees

George Young (American football executive)


George Kellogg (June 19, 1812 – 1901) was an American inventor and patent expert.

Kellogg was born at New Hartford, Connecticut in 1812 to Isaac Kellogg (1782-1824) and Aurilla Barney (1792-1861). George graduated from Wesleyan University in 1837.  From 1838 to 1841, he was principal of the Sumter Academy in Sumterville, South Carolina.  He was for some time a manufacturer in Birmingham, Connecticut, and was in the United States revenue service from 1863 to 1866.  He established factories in England, was a patent expert, and patented a machine for making jack chains (1844), a dovetailing machine (1849), a type-distributing machine (1852), and improved surgical instruments (1853).  He married Jane Elizabeth Crosby (1816-1892) and they had a child, Clara Louise Kellogg.

References

1812 births
1901 deaths
19th-century American inventors
People from New Hartford, Connecticut
Wesleyan University alumni

George Kellogg (inventor)


Richard Georg Salomon (22 April 1884, Berlin, Germany – 3 February 1966, Mount Vernon, Ohio) was an historian of eastern European medieval history and historian of the Episcopal Church in the United States, who taught at the University of Hamburg in Germany and at Kenyon College and its Episcopal Church seminary Bexley Hall in Ohio USA.

Early life and education
The eldest child of Georg Anton Salomon (1849–1916), a medical doctor and lecturer at the University of Berlin, and his wife Anna Salomon née Herfort (1856–1931), Richard Salomon was raised in Berlin, where he attended the Königliche Friedrich-Wilhelms-Gymnasium. Becoming interested in the history of religion, he was baptized at the evangelical Jerusalem Church in Berlin at the age of 18 in 1902. Going on to the University of Berlin, Salomon studied eastern European history under Theodor Schiemann (1847–1921), Byzantine history under Karl Krumbacher (1856–1909), the history of medieval law under Karl Zeurner (1849–1914), and Latin paleography under Michael Tangl (1864–1921), under whom he completed his doctoral dissertation in February 1907: Studien zur normannisch-italischen Diplomatik. Salomon's maternal uncle, Philip A. Herfort, was a noted violinist and violist.

Academic career
In March 1907, Salomon was appointed to the editorial staff of the Monumenta Germaniae Historica and in the following year began to teach courses on Russian and Byzantine history. In the spring of 1914, he was appointed professor of the history and culture of Russia at the Colonial Institute in Hamburg. Before Salomon could take up his duties in 1914, he was drafted into the Imperial German Army. He was assigned duties in the Quartermaster Corps and served in Belgium, Poland, and Lithuania before he was released from military duties two years later in the spring of 1916.

Returning to the Colonial Institute in Hamburg, Salomon took up his position and began teaching the history of the Balkans and taught a course on Russian war literature. In May 1919, the Colonial Institute was created into the University of Hamburg and, with the founding of the university Salomon became University Professor of Eastern European History and Culture as well as Director of the Eastern European Seminar. In 1923–24, he served additionally as Dean of the Faculty of Philosophy.

In 1920, when the wealthy Hamburg art historian Aby Warburg founded the Kulturwissenschaftliche Bibliothek Warburg, the forerunner of the Warburg Institute of London, Salomon was appointed to its board of scholarly advisors. Through this connection, Salomon first encountered the young art historian Erwin Panofsky, who became a close friend.

On 7 April 1933, the new National Socialist government of Germany issued its directive to forcefully retire "undesirable" university academics of Jewish origin. Among the six named at Hamburg were Panofsky and Salomon, who was formally removed from his academic post in March 1934. At this point, Salomon looked for other employment and first began his work to edit the 14th century "Avignon Documents" in the Hamburg archives, detailing the legal process of Hamburg against the Papal Curia in Avignon, a work that continued to the end of his life. At the same time, the Emergency Committee in Aid of Displaced German Scholars in New York and the Academic Assistance Council in London were becoming aware of his situation. Through these connections, possibilities arose for Salomon to go to the United States. Erwin Panofsky, by then at the Institute for Advanced Study in Princeton, was instrumental in helping Salomon obtain a lecture tour in the spring of 1936 and to deliver courses of lectures on Latin Paleography at the Warburg Institute in London in 1936 and 1937. After Salomon's return to Hamburg, Frank Aydelotte, the president of Swarthmore College offered him a rotating position to lecture at the University of Pennsylvania, Bryn Mawr College, and Swarthmore College in the United States for 1937-38 and this was renewed for 1938–39.

In 1939, President Gordon Keith Chalmers of Kenyon College offered him a permanent position to teach medieval history in the undergraduate college and to be Cooke Professor of Church History at the College's Episcopal Church seminary, Bexley Hall. He also served as historian of the Episcopal Diocese of Ohio. Becoming an American citizen, he was placed in charge of preparing at Kenyon College a U.S. Army Specialized Training Unit in Area and Language for service in Germany in 1943–44, and, in 1944–45, he worked in Washington, D.C. in the Middle Europe section of the Office of Strategic Services.

In 1962, Salomon retired at the age of 78 from undergraduate teaching, but retained his professorship in the seminary. At that time, Kenyon College awarded him an honorary Doctor of Humane Letters degree. The citation summarized his career by noting: "Your lively and extensive knowledge, your warm interest in the arts, your love for research, and your obvious devotion to the life of scholarship--all these combined with what you are made you one of the chiefest ornaments of our faculty."

Published works
Johannis porta de Annoniaco Liber de coronatione Karoli IV. Imperatoris Ed. Ricardus Salomon. Monumenta Germaniae historica Scriptores rerum germanicarum ...: 2 ; 3. Hannoverae, Lipsiae: Hahn, 1913.
Das Weltbild eines avignonesischen Klerikers. Leipzig: B.G. Teubner, 1930.
Opicinus de Canistris; Weltbild und Bekenntnisse eines avignonesischen Klerikers des 14, Jahrhunderts von R. G. Salomon mit beiträgen von A. Heimann und R. Krautheimer. London, The Warburg Institute [Leipzig, Druck von B. G. Teubner] 1936
Die Avignonesischen Akten des Hamburger Staatsarchivs: Ein Arbeitsbericht u. e. Anleitg zur weiteren Bearbeitg  Hamburg : Ackermann & Wulff, 1937.
Orthodoxy, ecumenical movement, and Anglicanism : the Moscow Conference of 1948 [S.l: s.n.], 1957.
Highlights of Church History: Early and Medieval. Philadelphia: Church Historical Society, 1948.
The Episcopate on the Carey Case; New Sources from the Chase Collection at Kenyon College. Austin, Texas: Church Historical Society, 1949.
Addresses at the Twenty-Seventh Synod of the Fifth Province of the Protestant Episcopal Church in the United States of America: Kenyon College, Gambler, Ohio, September 11–13, 1950. by  Richard S. M. Emrich, Gordon Keith Chalmers, and Richard Salomon. Gambier, Ohio: [s.n.], 1950.
British Legislation and American Episcopacy. [s.n.], 1951.
Mother church, daughter church, sister church: the relations of the Protestant Episcopal Church and the Church of England in the 19th century Reprinted from the Historical magazine of the Protestant Episcopal Church, December, 1952
Early days of the Church in Ohio Reprinted from Church life, volume 57, number 5, June 1953.
A newly discovered manuscript of Opicinus de Canistris; a preliminary report. Reprinted from the Journal of the Warburg and Courtauld Institutes. Volume XVI, numbers 1-2, 1953, pp. 45–57.
The case of the Episcopal churches in the United States considered by William H. White (1748-1836) edited with an introduction by R.G. Salomon. Publication no. 39. Philadelphia: Church Historical Society, 1954.
St. John's Parish, Worthington, and the beginnings of the Episcopal Church in Ohio. Offprint reprinted from The Ohio Historical Quarterly, volume 64, number 1, January 1955.
Philander Chase in Ohio. Builders for Christ. New York: National Council, [195?].
Chase in Ohio and Illinois. [S.l: s.n,] 1960.
Die Korrespondenz zwischen dem Hamburger Rat und seinen Vertretern an der päpstlichen Kurie in Avignon 1337 bis 1359. Bearb. von Richard Salomon. Veröffentlichungen aus dem Staatsarchiv der Freien und Hansestadt Hamburg, Bd.9, T.1, ca. 1966.

References
Obituaries, The New York Times, 4 February 1966; New York Herald Tribune, 4 February 1966; Kenyon College Alumni Bulletin, volume 24, number 2 (April–June 1966), pp. 38ff.
Fritz T. Epstein, "Hamburg und Osteuropa. Zum Gedächtnis von Professor Richard Salomon (1884-1996)," Jahrbücher für Geschichte Osteuropas, N.F. 15 (1967), pp. 59–98.
 Uwe Liszkowski, "Richard Salomon im Ersten Weltkrieg. Fritz T. Epstein zum 80. Geburtstag," Jahrbücher für Geschichte Osteuropas, N.F. 27 (1979), pp. 109–124.
Rainer Nicolaysen, "vitae, nicht vita": Über vertreibung und Exil des Osteuropa-Historikers Richard Salomon (1884-1966)" in Rainer Hering und Rainer Nicolaysen, eds., Lebendige Sozialgeschichte: Gedenkschrift für Peter Borowsky. (Wiesbaden, 2003), pp. 633–658.
  Archive of Personal Papers at Leo Baeck Institute

1884 births
1966 deaths
American medievalists
Academic staff of the University of Hamburg
20th-century German historians
Jewish emigrants from Nazi Germany to the United States
20th-century American historians
American male non-fiction writers
Kenyon College faculty
Academics of the Warburg Institute
People of the Office of Strategic Services
German male non-fiction writers
20th-century American male writers

Richard G. Salomon


Count Adam Petrovich Ozharovsky () (1776 – 30 November 1855, Warsaw) was a Russian general of Polish descent who distinguished himself during the Napoleonic Wars.

His father, hetman Piotr Ożarowski, was seized by the insurrectionists and charged with treason during the Warsaw Uprising, which took place from April 17 to April 19, 1794. He was sentenced to death and executed by hanging three weeks after the insurrectionists gained control of the Polish capital, on May 9, 1794.

Possibly as a consequence of this, Adam entered the Russian service. Emperor Paul had him dismissed from the imperial service and committed to prison in 1798; he was pardoned the following day, without any explanation. In 1806, upon her divorce with Count Pahlen, Ozharovsky married Maria, great niece of Prince Potemkin and the last Countess Skavronskaya.

In September 1802 Ozharovsky was promoted Colonel and took part in all the Napoleonic Wars that followed. During the Battle of Austerlitz he took hold of the French banner, an exploit which won him the Order of Saint George. He also excelled in the Battle of Friedland, which claimed the life of his brother. On 22 July 1807 Ozharovsky was promoted Major General.

Ozharovsky played a prominent part in the Patriotic War of 1812. An admirer of the military theories of Ernst von Pfuel, he was put in charge of the camp of Russian forces near the Drissa River. At Tarutino and Maloyaroslavets, Ozharovsky commanded a separate corps of Cossacks and peasant militia. His "flying column" was stationed at Krasnoi, when the Imperial Guard attacked the town and succeeded in ousting Ozharovsky from it.

During the foreign campaigns of the Russian army, Ozharovsky fought in all major battles and took 20 French cannons at Sompuis. At the close of the war, he was promoted Full General of Cavalry. He served as Alexander I's aide-de-camp and was appointed a senator on 6 December 1826. Ozharovsky fell out with the next emperor and settled into retirement in 1827 but returned to take part in the suppression of the November Uprising in 1831. At the time of his death, he was a member of the State Council of Poland.

References
The Dictionary of Russian Generals.

Russian commanders of the Napoleonic Wars
Counts of Poland
Imperial Russian Army generals
Polish generals
1776 births
1855 deaths
Recipients of Russian royal pardons
Government officials of Congress Poland
Recipients of the Order of St. George of the Third Degree

Adam Petrovich Ozharovsky