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[
"Cave of Altamira",
"located in the administrative territorial entity",
"Santillana del Mar"
] | The Cave of Altamira (; Spanish: Cueva de Altamira [ˈkweβa ðe altaˈmiɾa]) is a cave complex, located near the historic town of Santillana del Mar in Cantabria, Spain. It is renowned for prehistoric cave art featuring charcoal drawings and polychrome paintings of contemporary local fauna and human hands. The earliest paintings were applied during the Upper Paleolithic, around 36,000 years ago. The site was discovered in 1868 by Modesto Cubillas and subsequently studied by Marcelino Sanz de Sautuola.Aside from the striking quality of its polychromatic art, Altamira's fame stems from the fact that its paintings were the first European cave paintings for which a prehistoric origin was suggested and promoted. Sautuola published his research with the support of Juan de Vilanova y Piera in 1880, to initial public acclaim.
However, the publication of Sanz de Sautuola's research quickly led to a bitter public controversy among experts, some of whom rejected the prehistoric origin of the paintings on the grounds that prehistoric human beings lacked sufficient ability for abstract thought. The controversy continued until 1902, by which time reports of similar findings of prehistoric paintings in the Franco-Cantabrian region had accumulated and the evidence could no longer be rejected.Altamira is located in the Franco-Cantabrian region and in 1985 was declared a World Heritage Site by UNESCO as a key location of the Cave of Altamira and Paleolithic Cave Art of Northern Spain. The cave can no longer be visited, for conservation reasons, but there are replicas of a section at the site and elsewhere. | located in the administrative territorial entity | 6 | [
"situated in",
"found in",
"positioned in"
] | null | null |
[
"Cave of Altamira",
"instance of",
"cave with prehistoric art"
] | The Cave of Altamira (; Spanish: Cueva de Altamira [ˈkweβa ðe altaˈmiɾa]) is a cave complex, located near the historic town of Santillana del Mar in Cantabria, Spain. It is renowned for prehistoric cave art featuring charcoal drawings and polychrome paintings of contemporary local fauna and human hands. The earliest paintings were applied during the Upper Paleolithic, around 36,000 years ago. The site was discovered in 1868 by Modesto Cubillas and subsequently studied by Marcelino Sanz de Sautuola.Aside from the striking quality of its polychromatic art, Altamira's fame stems from the fact that its paintings were the first European cave paintings for which a prehistoric origin was suggested and promoted. Sautuola published his research with the support of Juan de Vilanova y Piera in 1880, to initial public acclaim.
However, the publication of Sanz de Sautuola's research quickly led to a bitter public controversy among experts, some of whom rejected the prehistoric origin of the paintings on the grounds that prehistoric human beings lacked sufficient ability for abstract thought. The controversy continued until 1902, by which time reports of similar findings of prehistoric paintings in the Franco-Cantabrian region had accumulated and the evidence could no longer be rejected.Altamira is located in the Franco-Cantabrian region and in 1985 was declared a World Heritage Site by UNESCO as a key location of the Cave of Altamira and Paleolithic Cave Art of Northern Spain. The cave can no longer be visited, for conservation reasons, but there are replicas of a section at the site and elsewhere.Description
The cave is approximately 1,000 m (3,300 ft) long and consists of a series of twisting passages and chambers. The main passage varies from two to six meters in height. The cave was formed through collapses following early karst phenomena in the calcareous rock of Mount Vispieres.
Archaeological excavations in the cave floor found rich deposits of artifacts from the Upper Solutrean (c. 18,500 years ago) and Lower Magdalenian (between c. 16,590 and 14,000 years ago). Both periods belong to the Paleolithic or Old Stone Age. In the two millennia between these two occupations, the cave was evidently inhabited only by wild animals.
Human occupants of the site were well-positioned to take advantage of the rich wildlife that grazed in the valleys of the surrounding mountains as well as the marine life available in nearby coastal areas. Around 13,000 years ago a rockfall sealed the cave's entrance, preserving its contents until its eventual discovery, which occurred after a nearby tree fell and disturbed the fallen rocks.
Human occupation was limited to the cave mouth, although paintings were created throughout the length of the cave. The artists used charcoal and ochre or hematite to create the images, often diluting these pigments to produce variations in intensity and creating an impression of chiaroscuro. They also exploited the natural contours of the cave walls to give their subjects a three-dimensional effect. The Polychrome Ceiling is the most impressive feature of the cave, depicting a herd of extinct steppe bison (Bison priscus) in different poses, two horses, a large doe, and possibly a wild boar.Dated to the Magdalenian occupation, these paintings include abstract shapes in addition to animal subjects. Solutrean paintings include images of horses and goats, as well as handprints that were created when artists placed their hands on the cave wall and blew pigment over them to leave a negative image. Numerous other caves in northern Spain contain Paleolithic art, but none is as complex or well-populated as Altamira.Dating and periodization
There is no scientific agreement on the dating of the archeological artifacts found in the cave, nor the drawings and paintings, and scientists continue to evaluate the age of the cave art at Altamira.
In 2008, researchers using uranium-thorium dating found that the paintings were completed over a period of up to 20,000 years rather than during a comparatively brief period.A later study published in 2012 based on data obtained from further uranium-thorium dating research, dated some paintings in several caves in North Spain, including some of the claviform signs in the "Gran sala" of Altamira. The oldest sign found, a "large red claviform-like symbol of Techo de los Polícromos", was dated to 36.16±0.61 ka (corrected), i.e. still well within the Aurignacian. A red dotted outline horse, also in the Techo de los Polícromos chamber, was dated to 22.11±0.13 ka (beginning Solutrean), establishing that the paintings span a period of more than 10,000 years. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Cave of Altamira",
"discoverer or inventor",
"Marcelino Sanz de Sautuola"
] | Discovery, excavation, scepticism
In 1879, amateur archaeologist Marcelino Sanz de Sautuola was led by his eight-year-old daughter María to discover the cave's drawings. The cave was excavated by Sautuola and archaeologist Juan Vilanova y Piera from the University of Madrid, resulting in a much acclaimed publication in 1880 which interpreted the paintings as Paleolithic in origin. The French specialists, led by Gabriel de Mortillet and Émile Cartailhac, were particularly adamant in rejecting the hypothesis of Sautuola and Piera, whose findings were loudly ridiculed at the 1880 Prehistorical Congress in Lisbon.
Due to the high artistic quality, and the exceptional state of conservation of the paintings, Sautuola was accused of forgery, as he was unable to answer why there were no soot (smoke) marks on the walls and ceilings of the cave. A fellow countryman maintained that the paintings had been produced by a contemporary artist, on Sautuola's orders. Later, Sautuola found out the artist could have used marrow fat as oil for the lamp, producing much less soot than any other combustibles.
It was not until 1902, when several other findings of prehistoric paintings had served to render the hypothesis of the extreme antiquity of the Altamira paintings less offensive, that the scientific society retracted their opposition to the Spaniards. That year, Cartailhac emphatically admitted his mistake in the famous article, "Mea culpa d'un sceptique", published in the journal L'Anthropologie. Sautuola, having died 14 years earlier, did not live to witness his rehabilitation.
Cartailhac went on to write a pair of books about the cave, assisted by Henri Breuil's hand-drawn reproductions of the paintings. Breuil was a both a Catholic priest and competent draughtsman, whose connection with the cave is discussed in the first chapter of G. K. Chesterton's book, The Everlasting Man.
Further excavation work on the cave was done by Hermilio Alcalde del Río between 1902–04, the German Hugo Obermaier between 1924–25 and finally by Joaquín González Echegaray in 1968. | discoverer or inventor | 110 | [
"discoverer",
"inventor",
"creator",
"pioneer",
"innovator"
] | null | null |
[
"Cave of Altamira",
"instance of",
"monument"
] | The Cave of Altamira (; Spanish: Cueva de Altamira [ˈkweβa ðe altaˈmiɾa]) is a cave complex, located near the historic town of Santillana del Mar in Cantabria, Spain. It is renowned for prehistoric cave art featuring charcoal drawings and polychrome paintings of contemporary local fauna and human hands. The earliest paintings were applied during the Upper Paleolithic, around 36,000 years ago. The site was discovered in 1868 by Modesto Cubillas and subsequently studied by Marcelino Sanz de Sautuola.Aside from the striking quality of its polychromatic art, Altamira's fame stems from the fact that its paintings were the first European cave paintings for which a prehistoric origin was suggested and promoted. Sautuola published his research with the support of Juan de Vilanova y Piera in 1880, to initial public acclaim.
However, the publication of Sanz de Sautuola's research quickly led to a bitter public controversy among experts, some of whom rejected the prehistoric origin of the paintings on the grounds that prehistoric human beings lacked sufficient ability for abstract thought. The controversy continued until 1902, by which time reports of similar findings of prehistoric paintings in the Franco-Cantabrian region had accumulated and the evidence could no longer be rejected.Altamira is located in the Franco-Cantabrian region and in 1985 was declared a World Heritage Site by UNESCO as a key location of the Cave of Altamira and Paleolithic Cave Art of Northern Spain. The cave can no longer be visited, for conservation reasons, but there are replicas of a section at the site and elsewhere. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Hohle Fels",
"collection",
"Blaubeuren"
] | The Venus of Hohle Fels (also known as the Venus of Schelklingen; in German variously Venus vom Hohlen Fels, vom Hohle Fels; Venus von Schelklingen) is an Upper Paleolithic Venus figurine made of mammoth ivory that was unearthed in 2008 in Hohle Fels, a cave near Schelklingen, Germany. It is dated to between 40,000 and 35,000 years ago, belonging to the early Aurignacian, at the very beginning of the Upper Paleolithic, which is associated with the earliest presence of Cro-Magnon in Europe.
The figure is the oldest undisputed example of a depiction of a human being. In terms of figurative art only the lion-headed, zoomorphic Löwenmensch figurine is older. The Venus figurine is housed at the Prehistoric Museum of Blaubeuren (Urgeschichtliches Museum Blaubeuren). | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"Venus of Hohle Fels",
"made from material",
"mammoth ivory"
] | Interpretation
The discoverer, anthropologist Nicholas Conard, said: "This [figure] is about sex, reproduction... [it is] an extremely powerful depiction of the essence of being female". Anthropologist, Paul Mellars of Cambridge University has suggested that—by modern standards—the figurine "could be seen as bordering on the pornographic".Anthropologists from Victoria University of Wellington have suggested that such figurines were not depictions of beauty, but represented "hope for survival and longevity, within well-nourished and reproductively successful communities", reflecting the conventional interpretation of these types of figurines as representing a fertility goddess. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"Venus of Hohle Fels",
"collection",
"Urgeschichtliches Museum Blaubeuren"
] | The Venus of Hohle Fels (also known as the Venus of Schelklingen; in German variously Venus vom Hohlen Fels, vom Hohle Fels; Venus von Schelklingen) is an Upper Paleolithic Venus figurine made of mammoth ivory that was unearthed in 2008 in Hohle Fels, a cave near Schelklingen, Germany. It is dated to between 40,000 and 35,000 years ago, belonging to the early Aurignacian, at the very beginning of the Upper Paleolithic, which is associated with the earliest presence of Cro-Magnon in Europe.
The figure is the oldest undisputed example of a depiction of a human being. In terms of figurative art only the lion-headed, zoomorphic Löwenmensch figurine is older. The Venus figurine is housed at the Prehistoric Museum of Blaubeuren (Urgeschichtliches Museum Blaubeuren). | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"Bread",
"fabrication method",
"baking"
] | Types
Bread is the staple food of the Middle East, Central Asia, North Africa, Europe, and in European-derived cultures such as those in the Americas, Australia, and Southern Africa. This is in contrast to parts of South and East Asia, where rice or noodles are the staple. Bread is usually made from a wheat-flour dough that is cultured with yeast, allowed to rise, and baked in an oven. Carbon dioxide and ethanol vapors produced during yeast fermentation result in bread's air pockets. Owing to its high levels of gluten (which give the dough sponginess and elasticity), common or bread wheat is the most common grain used for the preparation of bread, which makes the largest single contribution to the world's food supply of any food. | fabrication method | 77 | [
"manufacturing technique",
"production process",
"creation method",
"construction method",
"assembly process"
] | null | null |
[
"Bread",
"made from material",
"flour"
] | Types
Bread is the staple food of the Middle East, Central Asia, North Africa, Europe, and in European-derived cultures such as those in the Americas, Australia, and Southern Africa. This is in contrast to parts of South and East Asia, where rice or noodles are the staple. Bread is usually made from a wheat-flour dough that is cultured with yeast, allowed to rise, and baked in an oven. Carbon dioxide and ethanol vapors produced during yeast fermentation result in bread's air pockets. Owing to its high levels of gluten (which give the dough sponginess and elasticity), common or bread wheat is the most common grain used for the preparation of bread, which makes the largest single contribution to the world's food supply of any food. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"Venus of Galgenberg",
"depicts",
"woman"
] | The Venus of Galgenberg is a Venus figurine of the Aurignacian era, dated about 30,000 years ago.
The sculpture, also known in German as the Fanny von Galgenberg, was discovered in 1988 close to Stratzing, Austria, not far from the site of the Venus of Willendorf. The two statuettes are normally displayed in the same cabinet at the Museum of Natural History in Vienna, to emphasise the special nature of these two "old ladies", as the curator affectionately calls them.The figurine measures 7.2 centimetres (2.8 in) in height and weighs 10 g. It is sculpted from shiny green serpentine rock which is found in the immediate vicinity of where the figurine was unearthed.
Because the figurine exhibits a "dancing pose" it was given the nickname "Fanny" after Fanny Elssler, an Austrian ballerina of the 19th century. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Galgenberg",
"instance of",
"Venus figurine"
] | The Venus of Galgenberg is a Venus figurine of the Aurignacian era, dated about 30,000 years ago.
The sculpture, also known in German as the Fanny von Galgenberg, was discovered in 1988 close to Stratzing, Austria, not far from the site of the Venus of Willendorf. The two statuettes are normally displayed in the same cabinet at the Museum of Natural History in Vienna, to emphasise the special nature of these two "old ladies", as the curator affectionately calls them.The figurine measures 7.2 centimetres (2.8 in) in height and weighs 10 g. It is sculpted from shiny green serpentine rock which is found in the immediate vicinity of where the figurine was unearthed.
Because the figurine exhibits a "dancing pose" it was given the nickname "Fanny" after Fanny Elssler, an Austrian ballerina of the 19th century. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Galgenberg",
"location",
"Museum of Natural History"
] | The Venus of Galgenberg is a Venus figurine of the Aurignacian era, dated about 30,000 years ago.
The sculpture, also known in German as the Fanny von Galgenberg, was discovered in 1988 close to Stratzing, Austria, not far from the site of the Venus of Willendorf. The two statuettes are normally displayed in the same cabinet at the Museum of Natural History in Vienna, to emphasise the special nature of these two "old ladies", as the curator affectionately calls them.The figurine measures 7.2 centimetres (2.8 in) in height and weighs 10 g. It is sculpted from shiny green serpentine rock which is found in the immediate vicinity of where the figurine was unearthed.
Because the figurine exhibits a "dancing pose" it was given the nickname "Fanny" after Fanny Elssler, an Austrian ballerina of the 19th century. | location | 29 | [
"place",
"position",
"site",
"locale",
"spot"
] | null | null |
[
"Venus of Dolní Věstonice",
"country",
"Czech Republic"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world. | country | 7 | [
"Nation",
"State",
"Land",
"Territory"
] | null | null |
[
"Venus of Dolní Věstonice",
"exhibition history",
"Národní Muzeum (National Museum, Prague)"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world. | exhibition history | 132 | [
"exhibition record",
"exhibition chronology",
"exhibition itinerary",
"exhibition schedule",
"showcase history"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"woman"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"nudity"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"breast"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"genre",
"nude"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"buttocks"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"made from material",
"ceramic"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"Venus of Dolní Věstonice",
"instance of",
"Venus figurine"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Dolní Věstonice",
"genre",
"Venus figurine"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Venus of Dolní Věstonice",
"movement",
"art of the Paleolithic"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | movement | 87 | [
"motion",
"activity",
"progression",
"advancement",
"mobility"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"steatopygia"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"depicts",
"hip"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Dolní Věstonice",
"instance of",
"sculpture"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Dolní Věstonice",
"instance of",
"archaeological find"
] | The Venus of Dolní Věstonice (Czech: Věstonická venuše) is a Venus figurine, a ceramic statuette of a nude female figure dated to 29,000–25,000 BCE (Gravettian industry). It was found at the Paleolithic site Dolní Věstonice in the Moravian basin south of Brno, in the base of Děvín Mountain in what is today the Czech Republic. This figurine and a few others from locations nearby are the oldest known ceramic articles in the world.Description
It has a height of 111 millimetres (4.4 in), and a width of 43 millimetres (1.7 in) at its widest point and is made of a clay body fired at a relatively low temperature (500–800 °C). The statuette follows the general morphology of the other Venus figurines: exceptionally large breasts, belly and hips, perhaps symbols of fertility, relatively small head and little detail on the rest of the body. A feature which no longer remains a part of the sculpture, is the fact that it is thought to have been originally ornamented with four feathers. This is evidenced by the four small holes on the top of the head. Although the type of feather has not been determined, the holes are said to be produced with a tool that is relatively sharp – of which a feather would satisfy.The palaeolithic settlement of Dolní Věstonice in Moravia, a part of Czechoslovakia at the time organized excavation began, now located in the Czech Republic, has been under systematic archaeological research since 1924, initiated by Karel Absolon. In addition to the Venus figurine, figures of animals – bear, lion, mammoth, horse, fox, rhino and owl – and more than 2,000 balls of burnt clay have been found at Dolní Věstonice.
The figurine was discovered on 13 July 1925 in a layer of ash, broken into two pieces. It was found situated in a central fireplace. Once on display at the Moravian Museum in Brno, it is now protected and only rarely accessible to the public. It was exhibited in the National Museum in Prague from 11 October 2006 until 2 September 2007 as a part of the exhibition Lovci mamutů (The Mammoth Hunters). It was presented in the Moravian Museum in Brno at an expo "Prehistoric Art in Central Europe". It has returned to depository as of June 2009. Scientists periodically examine the statuette. A tomograph scan in 2004 found a fingerprint of a child estimated at between 7 and 15 years of age, fired into the surface; the child who handled the figurine before it was fired is considered by Králík, Novotný and Oliva (2002) to be an unlikely candidate for its maker. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Arene Candide",
"country",
"Italy"
] | The Arene Candide, (Italian: Caverna delle Arene Candide, Cavern of the White sands) is an archaeological site in Finale Ligure, Liguria, Italy. Its name was derived from the eponymous dune of white (candida) sand (arena) that could be found at the base of the cliff until the 1920s in the Caprazoppa promontory, where the Arene Candide cave is located.
The cave is situated at 90 m (300 ft) above sea level on the upper margin of the former Ghigliazza stone quarry and has three wide openings that point towards the sea. Thanks to its position and to those openings the cave is well lit and relatively dry. It can be accessed from above within 30 minutes via a path from Borgio Verezzi. | country | 7 | [
"Nation",
"State",
"Land",
"Territory"
] | null | null |
[
"Venus of Brassempouy",
"time period",
"Paleolithic"
] | The Venus of Brassempouy (French: la Dame de Brassempouy, [la dam də bʁasɛ̃pwi], meaning "Lady of Brassempouy", or Dame à la Capuche, "Lady with the Hood") is a fragmentary ivory figurine from the Upper Palaeolithic, apparently broken from a larger figure at some time unknown. It was discovered in a cave at Brassempouy, France in 1894. About 25,000 years old, it is one of the earliest known realistic representations of a human face.Discovery
Brassempouy is a small village in the département of Landes in southwest France. Two caves near the village, 100 metres from each other, were among the first Paleolithic sites to be explored in France. They are known as the Galerie des Hyènes (Gallery of the Hyenas) and the Grotte du Pape (the "Grotto of the Pope"). The Venus of Brassempouy was discovered in the Grotto of the Pope in 1894, accompanied by at least eight other human figures. These may be an example of unfinished work, as if the artist or artists carved several figurines at the same time.Description
The Venus of Brassempouy was carved from mammoth ivory. According to archaeologist Paul Bahn the head is "unsexed, although it is usually called a 'Venus' or a 'lady'". The head is 3.65 cm high, 2.2 cm deep and 1.9 cm wide. While forehead, nose and brows are carved in relief, the mouth is absent. A vertical crack on the right side of the face is a consequence of the internal structure of the ivory. On the head is a checkerboard-like pattern formed by two series of shallow incisions at right angles to each other; it has been interpreted as a wig, a hood with geometric decoration, or simply a representation of hair styled in cornrows.Randall White observed in the Journal of Archaeological Method and Theory (December 2006), "The figurines emerged from the ground into a colonial intellectual and socio-political context nearly obsessed with matters of race." Although the style of representation is essentially realistic, the proportions of the head do not correspond exactly to any known human population of the present or past. White has claimed that, since the mid-twentieth century, concerns of interpretative questions have changed from race to womanhood and fertility.Date
Although the head was discovered so early that its context could not be studied thoroughly, scholars agree that the Venus of Brassempouy belonged to an Upper Palaeolithic material culture, the Gravettian (29,000–22,000 BP). More precisely, they date the figurine to the Middle Gravettian period, with "Noailles" burins circa 26,000 to 24,000 BP. It is more or less contemporary with the other Palaeolithic Venus figurines, such as those of Lespugue, Dolní Věstonice, Willendorf, etc. Nonetheless, it is distinguished among the group by the realistic character of the representation.
Other broadly contemporary representations of female faces include the female face from Dolní Věstonice (c. 26,000 BP), or the Venuses with faces of the Mal'ta Culture (Siberia, 24,000 BP). | time period | 97 | [
"duration",
"period of time",
"timeframe",
"time interval",
"temporal period"
] | null | null |
[
"Venus of Brassempouy",
"depicts",
"woman"
] | Discovery
Brassempouy is a small village in the département of Landes in southwest France. Two caves near the village, 100 metres from each other, were among the first Paleolithic sites to be explored in France. They are known as the Galerie des Hyènes (Gallery of the Hyenas) and the Grotte du Pape (the "Grotto of the Pope"). The Venus of Brassempouy was discovered in the Grotto of the Pope in 1894, accompanied by at least eight other human figures. These may be an example of unfinished work, as if the artist or artists carved several figurines at the same time. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Brassempouy",
"time period",
"Gravettian"
] | Discovery
Brassempouy is a small village in the département of Landes in southwest France. Two caves near the village, 100 metres from each other, were among the first Paleolithic sites to be explored in France. They are known as the Galerie des Hyènes (Gallery of the Hyenas) and the Grotte du Pape (the "Grotto of the Pope"). The Venus of Brassempouy was discovered in the Grotto of the Pope in 1894, accompanied by at least eight other human figures. These may be an example of unfinished work, as if the artist or artists carved several figurines at the same time.Date
Although the head was discovered so early that its context could not be studied thoroughly, scholars agree that the Venus of Brassempouy belonged to an Upper Palaeolithic material culture, the Gravettian (29,000–22,000 BP). More precisely, they date the figurine to the Middle Gravettian period, with "Noailles" burins circa 26,000 to 24,000 BP. It is more or less contemporary with the other Palaeolithic Venus figurines, such as those of Lespugue, Dolní Věstonice, Willendorf, etc. Nonetheless, it is distinguished among the group by the realistic character of the representation.
Other broadly contemporary representations of female faces include the female face from Dolní Věstonice (c. 26,000 BP), or the Venuses with faces of the Mal'ta Culture (Siberia, 24,000 BP). | time period | 97 | [
"duration",
"period of time",
"timeframe",
"time interval",
"temporal period"
] | null | null |
[
"Venus of Brassempouy",
"different from",
"Venus of Brassempouy"
] | Date
Although the head was discovered so early that its context could not be studied thoroughly, scholars agree that the Venus of Brassempouy belonged to an Upper Palaeolithic material culture, the Gravettian (29,000–22,000 BP). More precisely, they date the figurine to the Middle Gravettian period, with "Noailles" burins circa 26,000 to 24,000 BP. It is more or less contemporary with the other Palaeolithic Venus figurines, such as those of Lespugue, Dolní Věstonice, Willendorf, etc. Nonetheless, it is distinguished among the group by the realistic character of the representation.
Other broadly contemporary representations of female faces include the female face from Dolní Věstonice (c. 26,000 BP), or the Venuses with faces of the Mal'ta Culture (Siberia, 24,000 BP). | different from | 12 | [
"not same as",
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"distinct from",
"separate from",
"unlike"
] | null | null |
[
"Venus of Brassempouy",
"instance of",
"Venus figurine"
] | Date
Although the head was discovered so early that its context could not be studied thoroughly, scholars agree that the Venus of Brassempouy belonged to an Upper Palaeolithic material culture, the Gravettian (29,000–22,000 BP). More precisely, they date the figurine to the Middle Gravettian period, with "Noailles" burins circa 26,000 to 24,000 BP. It is more or less contemporary with the other Palaeolithic Venus figurines, such as those of Lespugue, Dolní Věstonice, Willendorf, etc. Nonetheless, it is distinguished among the group by the realistic character of the representation.
Other broadly contemporary representations of female faces include the female face from Dolní Věstonice (c. 26,000 BP), or the Venuses with faces of the Mal'ta Culture (Siberia, 24,000 BP). | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Mauern",
"depicts",
"woman"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Mauern",
"made from material",
"limestone"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3.Description
The figurine is 7,2 cm high, made of limestone and is covered with red ochre. The statuette can be interpreted in two ways: as a stylized depiction of a woman with large buttocks or as a penis with testicles. At the upper side is a deepening, which can be interpreted as the ending of the urethra.
This kind of double-sexed depiction can also be found in several other figurines of the paleolithic era, among them sculptures from Dolni Vestonice, Gönnersdorf, Nebra, Mezin (Ukraine), Milandes, Oelknitz, Savignano, Trasimeno and Trou Magrite. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"Venus of Mauern",
"depicts",
"steatopygia"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Venus of Mauern",
"genre",
"Venus figurine"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Venus of Mauern",
"location",
"Bavarian State Archaeological Collection"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich. | location | 29 | [
"place",
"position",
"site",
"locale",
"spot"
] | null | null |
[
"Venus of Mauern",
"movement",
"art of the Paleolithic"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich. | movement | 87 | [
"motion",
"activity",
"progression",
"advancement",
"mobility"
] | null | null |
[
"Venus of Mauern",
"part of",
"Gravettian"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3. | part of | 15 | [
"a component of",
"a constituent of",
"an element of",
"a fragment of",
"a portion of"
] | null | null |
[
"Venus of Mauern",
"instance of",
"sculpture"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Venus of Mauern",
"named after",
"Mauern (Rennertshofen)"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3. | named after | 11 | [
"called after",
"named for",
"honored after",
"called for"
] | null | null |
[
"Venus of Mauern",
"instance of",
"archaeological find"
] | The Venus of Mauern (also: Rote von Mauern, "the red one of Mauern") is a Venus figurine from the paleolithic era. The statuette stems from the Gravettian and is about 27.000 years of age. The figurine consists of red painted limestone and was found in 1948 in Mauern (Rennertshofen). It is housed in the Archäologische Staatssammlung in Munich.History
The excavations were led by the prehistorian Lothar Zotz from the university of Erlangen in 1948/49. The amateur archeologist Christoff von Vojkffy found the figurine in the Weinberghöhlen ("vineyard caves") near Mauern at 24 August 1948. The figurine was found at the hill between cave 2 and 3.Description
The figurine is 7,2 cm high, made of limestone and is covered with red ochre. The statuette can be interpreted in two ways: as a stylized depiction of a woman with large buttocks or as a penis with testicles. At the upper side is a deepening, which can be interpreted as the ending of the urethra.
This kind of double-sexed depiction can also be found in several other figurines of the paleolithic era, among them sculptures from Dolni Vestonice, Gönnersdorf, Nebra, Mezin (Ukraine), Milandes, Oelknitz, Savignano, Trasimeno and Trou Magrite. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"S. E. Hinton",
"notable work",
"The Outsiders"
] | The Outsiders (1967)
That Was Then, This Is Now (1971)
Rumble Fish (1975)
Tex (1979)
Taming the Star Runner (1988) | notable work | 73 | [
"masterpiece",
"landmark",
"tour de force",
"most significant work",
"famous creation"
] | null | null |
[
"S. E. Hinton",
"given name",
"Susan"
] | Susan Eloise Hinton (born July 22, 1948) is an American writer best known for her young-adult novels (YA) set in Oklahoma, especially The Outsiders (1967), which she wrote during high school. Hinton is credited with introducing the YA genre.In 1988, she received the inaugural Margaret Edwards Award from the American Library Association for her cumulative contribution in writing for teens.Career
While still in her teens, Hinton became a household name as the author of The Outsiders, her first and most popular novel, set in Oklahoma in the 1960s. She began writing it in 1965. The book was inspired by two rival gangs at her school, Will Rogers High School, the Greasers and the Socs, and her desire to empathize with the Greasers by writing from their point of view. She wrote the novel when she was 16 and it was published in 1967. Since then, the book has sold more than 14 million copies. In 2017, Viking Press stated the book sells over 500,000 copies a year.Hinton's publisher suggested she use her initials instead of her feminine given names so that the very first male book reviewers would not dismiss the novel because its author was female. After the success of The Outsiders, Hinton chose to continue writing and publishing using her initials because she did not want to lose what she had made famous and to allow her to keep her private and public lives separate. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"S. E. Hinton",
"award received",
"Margaret Edwards Award"
] | Susan Eloise Hinton (born July 22, 1948) is an American writer best known for her young-adult novels (YA) set in Oklahoma, especially The Outsiders (1967), which she wrote during high school. Hinton is credited with introducing the YA genre.In 1988, she received the inaugural Margaret Edwards Award from the American Library Association for her cumulative contribution in writing for teens.Awards and honors
Hinton received the inaugural 1988 Margaret A. Edwards Award from the American YA librarians, citing her first four YA novels, which had been published from 1967 to 1979 and adapted as films from 1982 to 1985. The annual award recognizes one author of books published in the U.S., and specified works "taken to heart by young adults over a period of years, providing an 'authentic voice that continues to illuminate their experiences and emotions, giving insight into their lives'." The librarians noted that in reading Hinton's novels "a young adult may explore the need for independence and simultaneously the need for loyalty and belonging, the need to care for others, and the need to be cared for by them."In 1992, she was inducted into Phi Beta Kappa by the University of Tulsa, and in 1998 she was inducted into the Oklahoma Writers Hall of Fame at the Oklahoma Center for Poets and Writers of Oklahoma State University–Tulsa. | award received | 62 | [
"received an award",
"given an award",
"won an award",
"received a prize",
"awarded with"
] | null | null |
[
"Nelly",
"place of birth",
"Austin"
] | Life and career
1974–2000: Early life and career beginnings
Nelly was born Cornell Iral Haynes Jr. in Austin, Texas, the only son of Cornell Haynes and Rhonda Mack. His father served in the Air Force for much of his childhood and, when he was seven, his parents divorced. As a teenager, Haynes moved with his mother from St. Louis to University City, a St. Louis County suburb. While in high school, Nelly formed the St. Lunatics with his friends Ali, Murphy Lee, Kyjuan, Slo Down, and his half brother City Spud. The group enjoyed moderate local popularity with their single "Gimme What Ya Got" in 1996. Despite being popular in Missouri and the surrounding areas, the group struggled to achieve success outside of St. Louis. The rest of the group agreed to let Nelly go solo after a major record deal failed to appear. Later in 1999, Nelly was signed to Universal Music Group by A&R Kevin Law. Law told HitQuarters that Nelly was largely disliked by the label when he first signed, with the feedback he received from his colleagues on the rapper's music being "extraordinarily negative". Nelly was unusual for being a rapper from the Midwest at a time when hip-hop was dominated by the East Coast, West Coast and the South. The label used this to their advantage by branding Nelly as a star of the Midwest, hoping to inspire pride in the people of St Louis and the surrounding regions. Despite the negative feedback he received from the label, Nelly's debut single, "Country Grammar (Hot Shit)", was a success, peaking at number 7 on both the Billboard Hot 100 and UK singles chart. Recognizing Nelly's potential, the label began to change their mind and allowed work to begin on his debut album. The label decided to do a solo record with Nelly first and then reunite him with the St. Lunatics the following year. | place of birth | 42 | [
"birthplace",
"place of origin",
"native place",
"homeland",
"birth city"
] | null | null |
[
"Nelly",
"location of formation",
"St. Louis"
] | Life and career
1974–2000: Early life and career beginnings
Nelly was born Cornell Iral Haynes Jr. in Austin, Texas, the only son of Cornell Haynes and Rhonda Mack. His father served in the Air Force for much of his childhood and, when he was seven, his parents divorced. As a teenager, Haynes moved with his mother from St. Louis to University City, a St. Louis County suburb. While in high school, Nelly formed the St. Lunatics with his friends Ali, Murphy Lee, Kyjuan, Slo Down, and his half brother City Spud. The group enjoyed moderate local popularity with their single "Gimme What Ya Got" in 1996. Despite being popular in Missouri and the surrounding areas, the group struggled to achieve success outside of St. Louis. The rest of the group agreed to let Nelly go solo after a major record deal failed to appear. Later in 1999, Nelly was signed to Universal Music Group by A&R Kevin Law. Law told HitQuarters that Nelly was largely disliked by the label when he first signed, with the feedback he received from his colleagues on the rapper's music being "extraordinarily negative". Nelly was unusual for being a rapper from the Midwest at a time when hip-hop was dominated by the East Coast, West Coast and the South. The label used this to their advantage by branding Nelly as a star of the Midwest, hoping to inspire pride in the people of St Louis and the surrounding regions. Despite the negative feedback he received from the label, Nelly's debut single, "Country Grammar (Hot Shit)", was a success, peaking at number 7 on both the Billboard Hot 100 and UK singles chart. Recognizing Nelly's potential, the label began to change their mind and allowed work to begin on his debut album. The label decided to do a solo record with Nelly first and then reunite him with the St. Lunatics the following year. | location of formation | 115 | [
"place of origin",
"birthplace",
"origin",
"homeland",
"native land"
] | null | null |
[
"Nelly",
"given name",
"Nelly"
] | Life and career
1974–2000: Early life and career beginnings
Nelly was born Cornell Iral Haynes Jr. in Austin, Texas, the only son of Cornell Haynes and Rhonda Mack. His father served in the Air Force for much of his childhood and, when he was seven, his parents divorced. As a teenager, Haynes moved with his mother from St. Louis to University City, a St. Louis County suburb. While in high school, Nelly formed the St. Lunatics with his friends Ali, Murphy Lee, Kyjuan, Slo Down, and his half brother City Spud. The group enjoyed moderate local popularity with their single "Gimme What Ya Got" in 1996. Despite being popular in Missouri and the surrounding areas, the group struggled to achieve success outside of St. Louis. The rest of the group agreed to let Nelly go solo after a major record deal failed to appear. Later in 1999, Nelly was signed to Universal Music Group by A&R Kevin Law. Law told HitQuarters that Nelly was largely disliked by the label when he first signed, with the feedback he received from his colleagues on the rapper's music being "extraordinarily negative". Nelly was unusual for being a rapper from the Midwest at a time when hip-hop was dominated by the East Coast, West Coast and the South. The label used this to their advantage by branding Nelly as a star of the Midwest, hoping to inspire pride in the people of St Louis and the surrounding regions. Despite the negative feedback he received from the label, Nelly's debut single, "Country Grammar (Hot Shit)", was a success, peaking at number 7 on both the Billboard Hot 100 and UK singles chart. Recognizing Nelly's potential, the label began to change their mind and allowed work to begin on his debut album. The label decided to do a solo record with Nelly first and then reunite him with the St. Lunatics the following year. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"Nelly",
"educated at",
"University City High School"
] | Life and career
1974–2000: Early life and career beginnings
Nelly was born Cornell Iral Haynes Jr. in Austin, Texas, the only son of Cornell Haynes and Rhonda Mack. His father served in the Air Force for much of his childhood and, when he was seven, his parents divorced. As a teenager, Haynes moved with his mother from St. Louis to University City, a St. Louis County suburb. While in high school, Nelly formed the St. Lunatics with his friends Ali, Murphy Lee, Kyjuan, Slo Down, and his half brother City Spud. The group enjoyed moderate local popularity with their single "Gimme What Ya Got" in 1996. Despite being popular in Missouri and the surrounding areas, the group struggled to achieve success outside of St. Louis. The rest of the group agreed to let Nelly go solo after a major record deal failed to appear. Later in 1999, Nelly was signed to Universal Music Group by A&R Kevin Law. Law told HitQuarters that Nelly was largely disliked by the label when he first signed, with the feedback he received from his colleagues on the rapper's music being "extraordinarily negative". Nelly was unusual for being a rapper from the Midwest at a time when hip-hop was dominated by the East Coast, West Coast and the South. The label used this to their advantage by branding Nelly as a star of the Midwest, hoping to inspire pride in the people of St Louis and the surrounding regions. Despite the negative feedback he received from the label, Nelly's debut single, "Country Grammar (Hot Shit)", was a success, peaking at number 7 on both the Billboard Hot 100 and UK singles chart. Recognizing Nelly's potential, the label began to change their mind and allowed work to begin on his debut album. The label decided to do a solo record with Nelly first and then reunite him with the St. Lunatics the following year. | educated at | 56 | [
"studied at",
"graduated from",
"attended",
"enrolled at",
"completed education at"
] | null | null |
[
"Mohammad Al Gergawi",
"instance of",
"human"
] | Mohammad Abdullah Al Gergawi (Arabic: محمد بن عبدالله القرقاوي) is an Emirati politician who is the Minister of Cabinet Affairs of the United Arab Emirates and the Chairman of the Executive Office of Sheikh Mohammed bin Rashid Al Maktoum, in the Government of Dubai.Early life
Al Gergawi was born in Dubai in 1963. His father, Abdulla Ali Al Gergawi, was a merchant in the city. He completed his primary and secondary school education in the emirate and attained a bachelor's degree in Business Administration from the United States. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Mohammad Al Gergawi",
"educated at",
"United States of America"
] | Early life
Al Gergawi was born in Dubai in 1963. His father, Abdulla Ali Al Gergawi, was a merchant in the city. He completed his primary and secondary school education in the emirate and attained a bachelor's degree in Business Administration from the United States. | educated at | 56 | [
"studied at",
"graduated from",
"attended",
"enrolled at",
"completed education at"
] | null | null |
[
"Mohammad Al Gergawi",
"sex or gender",
"male"
] | Mohammad Abdullah Al Gergawi (Arabic: محمد بن عبدالله القرقاوي) is an Emirati politician who is the Minister of Cabinet Affairs of the United Arab Emirates and the Chairman of the Executive Office of Sheikh Mohammed bin Rashid Al Maktoum, in the Government of Dubai.Early life
Al Gergawi was born in Dubai in 1963. His father, Abdulla Ali Al Gergawi, was a merchant in the city. He completed his primary and secondary school education in the emirate and attained a bachelor's degree in Business Administration from the United States.Political career
Al Gergawi was the Chairman of Dubai Holding until March 2017. Through Dubai Holding, Al Gergawi helped envision and launch TECOM Group, Dubai Properties Group, Emirates Integrated Telecommunications, and Family Entertainment and New Media.
In 2007, Al Gergawi was appointed Chairman of the Mohammed bin Rashid Al Maktoum Foundation. He is the Secretary General of the Mohammed bin Rashid Global Initiatives, a charitable foundation that consolidates the philanthropic initiatives undertaken by Mohammed bin Rashid Al Maktoum. | sex or gender | 65 | [
"biological sex",
"gender identity",
"gender expression",
"sexual orientation",
"gender classification"
] | null | null |
[
"Mohammad Al Gergawi",
"family name",
"Gergawi"
] | Early life
Al Gergawi was born in Dubai in 1963. His father, Abdulla Ali Al Gergawi, was a merchant in the city. He completed his primary and secondary school education in the emirate and attained a bachelor's degree in Business Administration from the United States.Political career
Al Gergawi was the Chairman of Dubai Holding until March 2017. Through Dubai Holding, Al Gergawi helped envision and launch TECOM Group, Dubai Properties Group, Emirates Integrated Telecommunications, and Family Entertainment and New Media.
In 2007, Al Gergawi was appointed Chairman of the Mohammed bin Rashid Al Maktoum Foundation. He is the Secretary General of the Mohammed bin Rashid Global Initiatives, a charitable foundation that consolidates the philanthropic initiatives undertaken by Mohammed bin Rashid Al Maktoum. | family name | 54 | [
"surname",
"last name",
"patronymic",
"family surname",
"clan name"
] | null | null |
[
"Mahrou Ahmadi",
"instance of",
"human"
] | In this Persian Name, the middle name or maternal family name is Ahmadi and the surname or paternal family name is Kabir.
Mahrou Ahmadi Kabir, popularly known as Mahrou Ahmadi, is an Iranian-Turkish model and a crowned beauty pageant. She was crowned Miss Earth Iran 2022 (The Worthy Lady). She was a finalist representing Iran at the Miss Earth 2022 pageant in Manila, Philippines. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Mahrou Ahmadi",
"educated at",
"Turkey"
] | Early life and education
Miss Ahmadi was born and raised in Tehran, Iran by her motivational parents. After completing her schooling from Iran her parents encouraged her to continue higher education in Turkey. She pursued an associate degree in Herbal medical and medicines from University of Health Sciences in Istanbul, Turkey. She is currently a student of Doctor of Pharmacy at Istanbul University of health sciences. | educated at | 56 | [
"studied at",
"graduated from",
"attended",
"enrolled at",
"completed education at"
] | null | null |
[
"Mahrou Ahmadi",
"language used",
"Turkish"
] | Early life and education
Miss Ahmadi was born and raised in Tehran, Iran by her motivational parents. After completing her schooling from Iran her parents encouraged her to continue higher education in Turkey. She pursued an associate degree in Herbal medical and medicines from University of Health Sciences in Istanbul, Turkey. She is currently a student of Doctor of Pharmacy at Istanbul University of health sciences. | language used | 0 | [
"language spoken",
"official language",
"linguistic usage",
"dialect spoken",
"vernacular employed"
] | null | null |
[
"Mahrou Ahmadi",
"place of birth",
"Tehran"
] | Early life and education
Miss Ahmadi was born and raised in Tehran, Iran by her motivational parents. After completing her schooling from Iran her parents encouraged her to continue higher education in Turkey. She pursued an associate degree in Herbal medical and medicines from University of Health Sciences in Istanbul, Turkey. She is currently a student of Doctor of Pharmacy at Istanbul University of health sciences. | place of birth | 42 | [
"birthplace",
"place of origin",
"native place",
"homeland",
"birth city"
] | null | null |
[
"Mahrou Ahmadi",
"native language",
"Persian"
] | In this Persian Name, the middle name or maternal family name is Ahmadi and the surname or paternal family name is Kabir.
Mahrou Ahmadi Kabir, popularly known as Mahrou Ahmadi, is an Iranian-Turkish model and a crowned beauty pageant. She was crowned Miss Earth Iran 2022 (The Worthy Lady). She was a finalist representing Iran at the Miss Earth 2022 pageant in Manila, Philippines.Early life and education
Miss Ahmadi was born and raised in Tehran, Iran by her motivational parents. After completing her schooling from Iran her parents encouraged her to continue higher education in Turkey. She pursued an associate degree in Herbal medical and medicines from University of Health Sciences in Istanbul, Turkey. She is currently a student of Doctor of Pharmacy at Istanbul University of health sciences. | native language | 46 | [
"mother tongue",
"first language",
"mother language",
"primary language",
"L1"
] | null | null |
[
"Mahrou Ahmadi",
"given name",
"Mahrou Ahmadi"
] | In this Persian Name, the middle name or maternal family name is Ahmadi and the surname or paternal family name is Kabir.
Mahrou Ahmadi Kabir, popularly known as Mahrou Ahmadi, is an Iranian-Turkish model and a crowned beauty pageant. She was crowned Miss Earth Iran 2022 (The Worthy Lady). She was a finalist representing Iran at the Miss Earth 2022 pageant in Manila, Philippines.Early life and education
Miss Ahmadi was born and raised in Tehran, Iran by her motivational parents. After completing her schooling from Iran her parents encouraged her to continue higher education in Turkey. She pursued an associate degree in Herbal medical and medicines from University of Health Sciences in Istanbul, Turkey. She is currently a student of Doctor of Pharmacy at Istanbul University of health sciences. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"Mahrou Ahmadi",
"sex or gender",
"female"
] | In this Persian Name, the middle name or maternal family name is Ahmadi and the surname or paternal family name is Kabir.
Mahrou Ahmadi Kabir, popularly known as Mahrou Ahmadi, is an Iranian-Turkish model and a crowned beauty pageant. She was crowned Miss Earth Iran 2022 (The Worthy Lady). She was a finalist representing Iran at the Miss Earth 2022 pageant in Manila, Philippines. | sex or gender | 65 | [
"biological sex",
"gender identity",
"gender expression",
"sexual orientation",
"gender classification"
] | null | null |
[
"Niki Marangou",
"instance of",
"human"
] | Niki Marangou (1948 – 7 February 2013) was a Greek Cypriot author and artist.Early life and education
Marangou was born in Limassol, Cyprus, in 1948. She studied sociology in West Berlin, Germany, from 1965 to 1970.Career
After graduation, Marangou worked as a dramaturge at the Cyprus Theatre Organisation. She also ran a bookshop in Nicosia. She was the author of books of prose, poetry and children’s fairy tales. She was also a painter and had seven solo exhibitions. Her first solo exhibition was in 1975. She was a member of the Hellenic Authors Society and the Cyprus Writers Association.Some of her books were translated into German and Spanish. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Niki Marangou",
"educated at",
"Berlin"
] | Early life and education
Marangou was born in Limassol, Cyprus, in 1948. She studied sociology in West Berlin, Germany, from 1965 to 1970. | educated at | 56 | [
"studied at",
"graduated from",
"attended",
"enrolled at",
"completed education at"
] | null | null |
[
"Niki Marangou",
"country of citizenship",
"Cyprus"
] | Niki Marangou (1948 – 7 February 2013) was a Greek Cypriot author and artist.Early life and education
Marangou was born in Limassol, Cyprus, in 1948. She studied sociology in West Berlin, Germany, from 1965 to 1970.Career
After graduation, Marangou worked as a dramaturge at the Cyprus Theatre Organisation. She also ran a bookshop in Nicosia. She was the author of books of prose, poetry and children’s fairy tales. She was also a painter and had seven solo exhibitions. Her first solo exhibition was in 1975. She was a member of the Hellenic Authors Society and the Cyprus Writers Association.Some of her books were translated into German and Spanish. | country of citizenship | 63 | [
"citizenship country",
"place of citizenship",
"country of origin",
"citizenship nation",
"country of citizenship status"
] | null | null |
[
"Niki Marangou",
"place of birth",
"Limassol"
] | Early life and education
Marangou was born in Limassol, Cyprus, in 1948. She studied sociology in West Berlin, Germany, from 1965 to 1970. | place of birth | 42 | [
"birthplace",
"place of origin",
"native place",
"homeland",
"birth city"
] | null | null |
[
"Niki Marangou",
"given name",
"Niki"
] | Niki Marangou (1948 – 7 February 2013) was a Greek Cypriot author and artist.Early life and education
Marangou was born in Limassol, Cyprus, in 1948. She studied sociology in West Berlin, Germany, from 1965 to 1970.Career
After graduation, Marangou worked as a dramaturge at the Cyprus Theatre Organisation. She also ran a bookshop in Nicosia. She was the author of books of prose, poetry and children’s fairy tales. She was also a painter and had seven solo exhibitions. Her first solo exhibition was in 1975. She was a member of the Hellenic Authors Society and the Cyprus Writers Association.Some of her books were translated into German and Spanish. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"Niki Marangou",
"place of death",
"Faiyum"
] | Death
Marangou died in Fayoum, Egypt, on 7 February 2013 in a car crash while travelling. She was 65. | place of death | 45 | [
"location of death",
"death place",
"place where they died",
"place of passing",
"final resting place"
] | null | null |
[
"Niki Marangou",
"occupation",
"painter"
] | Career
After graduation, Marangou worked as a dramaturge at the Cyprus Theatre Organisation. She also ran a bookshop in Nicosia. She was the author of books of prose, poetry and children’s fairy tales. She was also a painter and had seven solo exhibitions. Her first solo exhibition was in 1975. She was a member of the Hellenic Authors Society and the Cyprus Writers Association.Some of her books were translated into German and Spanish. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Niki Marangou",
"award received",
"Cavafy Award"
] | Awards
Marangou received different awards. In 1998, she was awarded the Cavafy prize for poetry in Alexandria. In 2006, she was awarded the poetry prize of the Athens Academy for her book Divan. In 2007 her novel The Demon of Lust was described as one of the ten best Greek short story books by literature magazine Diavaso Rewards. She was given the Konstantin-Kavafis Prize for Poetry in 2008. | award received | 62 | [
"received an award",
"given an award",
"won an award",
"received a prize",
"awarded with"
] | null | null |
[
"Diego Rivera",
"work location",
"New York City"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million. | work location | 67 | [
"place of work",
"office location",
"employment site",
"workplace",
"job site"
] | null | null |
[
"Diego Rivera",
"has works in the collection",
"Museo Mural Diego Rivera"
] | Gallery
Paintings
Murals
Sculptures
See also
List of works by Diego Rivera
Anahuacalli Museum
Crystal Cubism
Elaine Hamilton-O'Neal
Gabriel Bracho, Venezuelan muralist
Cárcamo de Dolores
Glorious Victory painting of the 1954 Guatemalan coup d'état that the CIA backed to overthrow the democratically elected Guatemalan president Jacobo Arbenz.
María Izquierdo | has works in the collection | 74 | [
"holds works in the collection"
] | null | null |
[
"Diego Rivera",
"work location",
"San Francisco"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million. | work location | 67 | [
"place of work",
"office location",
"employment site",
"workplace",
"job site"
] | null | null |
[
"Diego Rivera",
"spouse",
"Frida Kahlo"
] | He was still married when he met art student Frida Kahlo in Mexico. They began a passionate affair and, after he divorced Marín, Rivera married Kahlo on August 21, 1929. He was 42 and she was 22. Their mutual infidelities and his violent temper resulted in divorce in 1939, but they remarried December 8, 1940, in San Francisco, California.
A year after Kahlo's death, on July 29, 1955, Rivera married Emma Hurtado, his agent since 1946.
In his later years Rivera lived in the United States and Mexico. Rivera died on November 24, 1957, at the age of 70. He was buried at the Panteón de Dolores in Mexico City.Later years
In the autumn of 1927, Rivera went to Moscow, Soviet Union, having accepted a government invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in the Soviet Union, he met American Alfred H. Barr, Jr., who would soon become Rivera's friend and patron. Barr was the founding director of the Museum of Modern Art in New York City.Although commissioned to paint a mural for the Red Army Club in Moscow, in 1928 Rivera was ordered by authorities to leave the country because, he suspected, of "resentment on the part of certain Soviet artists." He returned to Mexico.
In 1929, following the assassination of former president Álvaro Obregón the previous year, the government suppressed the Mexican Communist Party. That year Rivera was expelled from the party because of his suspected Trotskyite sympathies. In addition, observers noted that his 1928 mural In the Arsenal includes the figures of communists Tina Modotti, Cuban Julio Antonio Mella, and Italian Vittorio Vidali. After Mella was murdered in January 1929, allegedly by Stalinist assassin Vidali, Rivera was accused of having had advance knowledge of a planned attack.
After divorcing his third wife, Guadalupe (Lupe) Marin, Rivera married the much younger Frida Kahlo in August 1929. They had met when she was a student, and she was 22 years old when they married; Rivera was 42.
Also in 1929, American journalist Ernestine Evans's book The Frescoes of Diego Rivera, was published in New York City; it was the first English-language book on the artist. In December, Rivera accepted a commission from the American Ambassador to Mexico to paint murals in the Palace of Cortés in Cuernavaca, where the US had a consulate.In September 1930, Rivera accepted a commission by architect Timothy L. Pflueger for two works related to his design projects in San Francisco. Rivera and Kahlo went to the city in November. Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500. He also completed a fresco for the California School of Fine Art, a work that was later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.During this period, Rivera and Kahlo worked and lived at the studio of Ralph Stackpole, who had recommended Rivera to Pflueger. Rivera met Helen Wills Moody, a notable American tennis player, who modeled for his City Club mural.In November 1931, the Museum of Modern Art in New York City mounted a retrospective exhibition of Rivera's work; Kahlo attended with him.Between 1932 and 1933, Rivera completed a major commission: twenty-seven fresco panels, entitled Detroit Industry, on the walls of an inner court at the Detroit Institute of Arts. Part of the cost was paid by Edsel Ford, scion of the entrepreneur.
During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable." | spouse | 51 | [
"partner"
] | null | null |
[
"Diego Rivera",
"has works in the collection",
"Detroit Institute of Arts"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million.Later years
In the autumn of 1927, Rivera went to Moscow, Soviet Union, having accepted a government invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in the Soviet Union, he met American Alfred H. Barr, Jr., who would soon become Rivera's friend and patron. Barr was the founding director of the Museum of Modern Art in New York City.Although commissioned to paint a mural for the Red Army Club in Moscow, in 1928 Rivera was ordered by authorities to leave the country because, he suspected, of "resentment on the part of certain Soviet artists." He returned to Mexico.
In 1929, following the assassination of former president Álvaro Obregón the previous year, the government suppressed the Mexican Communist Party. That year Rivera was expelled from the party because of his suspected Trotskyite sympathies. In addition, observers noted that his 1928 mural In the Arsenal includes the figures of communists Tina Modotti, Cuban Julio Antonio Mella, and Italian Vittorio Vidali. After Mella was murdered in January 1929, allegedly by Stalinist assassin Vidali, Rivera was accused of having had advance knowledge of a planned attack.
After divorcing his third wife, Guadalupe (Lupe) Marin, Rivera married the much younger Frida Kahlo in August 1929. They had met when she was a student, and she was 22 years old when they married; Rivera was 42.
Also in 1929, American journalist Ernestine Evans's book The Frescoes of Diego Rivera, was published in New York City; it was the first English-language book on the artist. In December, Rivera accepted a commission from the American Ambassador to Mexico to paint murals in the Palace of Cortés in Cuernavaca, where the US had a consulate.In September 1930, Rivera accepted a commission by architect Timothy L. Pflueger for two works related to his design projects in San Francisco. Rivera and Kahlo went to the city in November. Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500. He also completed a fresco for the California School of Fine Art, a work that was later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.During this period, Rivera and Kahlo worked and lived at the studio of Ralph Stackpole, who had recommended Rivera to Pflueger. Rivera met Helen Wills Moody, a notable American tennis player, who modeled for his City Club mural.In November 1931, the Museum of Modern Art in New York City mounted a retrospective exhibition of Rivera's work; Kahlo attended with him.Between 1932 and 1933, Rivera completed a major commission: twenty-seven fresco panels, entitled Detroit Industry, on the walls of an inner court at the Detroit Institute of Arts. Part of the cost was paid by Edsel Ford, scion of the entrepreneur.
During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable." | has works in the collection | 74 | [
"holds works in the collection"
] | null | null |
[
"Diego Rivera",
"spouse",
"Angelina Beloff"
] | Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe. | spouse | 51 | [
"partner"
] | null | null |
[
"Diego Rivera",
"work location",
"Detroit"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million. | work location | 67 | [
"place of work",
"office location",
"employment site",
"workplace",
"job site"
] | null | null |
[
"Diego Rivera",
"work location",
"Mexico City"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million.When Diego refused to remove Lenin from the painting, he was ordered to leave the US. One of Diego's assistants managed to take a few photographs of the work so Diego was able to later recreate it. American poet Archibald MacLeish wrote six "irony-laden" poems about the mural. The New Yorker magazine published E. B. White's light poem, "I paint what I see: A ballad of artistic integrity", also in response to the controversy with number of sponsors taking offense to it.As a result of the negative publicity, officials in Chicago cancelled their commission for Rivera to paint a mural for the Chicago World's Fair. Rivera issued a press statement, saying that he would use the remaining money from his commission at Rockefeller Center to repaint the same mural, over and over, wherever he was asked, until the money ran out. He had been paid in full although the mural was reportedly destroyed. There have been rumors that the mural was covered over rather than removed and destroyed, but this has not been confirmed.
In December 1933, Rivera returned to Mexico. He repainted Man at the Crossroads in 1934 in the Palacio de Bellas Artes in Mexico City, calling this version Man, Controller of the Universe.
On June 5, 1940, invited again by Pflueger, Rivera returned for the last time to the United States to paint a ten-panel mural for the Golden Gate International Exposition in San Francisco. His work, Pan American Unity was completed November 29, 1940. Rivera painted in front of attendees at the Exposition, which had already opened. He received US$1,000 per month and US$1,000 for travel expenses. The mural includes representations of two of Pflueger's architectural works, and portraits of Rivera's wife, Frida Kahlo, woodcarver Dudley C. Carter, and actress Paulette Goddard. She is shown holding Rivera's hand as they plant a white tree together. Rivera's assistants on the mural included Thelma Johnson Streat, a pioneer African-American artist, dancer, and textile designer. The mural and its archives are now held by City College of San Francisco.In 1946-47, Rivera painted A Dream of a Sunday Afternoon in the Alameda Park, a fresco that featured a fully elaborated figure of La Calavera Catrina. This character, which was created by José Guadalupe Posada, originally consisted of a print depicting the head and shoulders of a skeletal woman in a big hat. Rivera endowed his Catrina figure with indigenous features and thus transformed her into a nationalist icon. Catrina is the most common image associated with Day of the Dead. | work location | 67 | [
"place of work",
"office location",
"employment site",
"workplace",
"job site"
] | null | null |
[
"Diego Rivera",
"child",
"Ruth Rivera Marín"
] | Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe. | child | 39 | [
"offspring",
"progeny",
"issue",
"descendant",
"heir"
] | null | null |
[
"Diego Rivera",
"spouse",
"Emma Hurtado"
] | He was still married when he met art student Frida Kahlo in Mexico. They began a passionate affair and, after he divorced Marín, Rivera married Kahlo on August 21, 1929. He was 42 and she was 22. Their mutual infidelities and his violent temper resulted in divorce in 1939, but they remarried December 8, 1940, in San Francisco, California.
A year after Kahlo's death, on July 29, 1955, Rivera married Emma Hurtado, his agent since 1946.
In his later years Rivera lived in the United States and Mexico. Rivera died on November 24, 1957, at the age of 70. He was buried at the Panteón de Dolores in Mexico City. | spouse | 51 | [
"partner"
] | null | null |
[
"Diego Rivera",
"religion or worldview",
"atheist"
] | Personal beliefs
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign that read, "God does not exist". This work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years – until Rivera agreed to remove the inscription. He stated: "To affirm 'God does not exist', I do not have to hide behind Don Ignacio Ramírez; I am an atheist and I consider religions to be a form of collective neurosis." | religion or worldview | 40 | [
"faith",
"belief system",
"creed",
"philosophy",
"ideology"
] | null | null |
[
"Diego Rivera",
"child",
"Marika Rivera"
] | Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe. | child | 39 | [
"offspring",
"progeny",
"issue",
"descendant",
"heir"
] | null | null |
[
"Diego Rivera",
"spouse",
"Guadalupe Marín"
] | Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe. | spouse | 51 | [
"partner"
] | null | null |
[
"Diego Rivera",
"given name",
"Diego"
] | Personal life
Rivera was born on December 8, 1886, as one of twin boys in Guanajuato, Mexico, to María del Pilar Barrientos and Diego Rivera Acosta, a well-to-do couple. His twin brother Carlos died two years after they were born.His mother María del Pilar Barrientos was said to have converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries). Rivera wrote in 1935: "My Jewishness is the dominant element in my life", despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses". Diego was of Spanish, Amerindian, African, Italian, Jewish, Russian, and Portuguese descent.Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on the walls of the house, his parents installed chalkboards and canvas on the walls to encourage him.Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"Diego Rivera",
"notable work",
"Detroit Industry Murals"
] | Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had four wives and numerous children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos historicos. As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million. | notable work | 73 | [
"masterpiece",
"landmark",
"tour de force",
"most significant work",
"famous creation"
] | null | null |
[
"Diego Rivera",
"family name",
"Rivera"
] | Personal life
Rivera was born on December 8, 1886, as one of twin boys in Guanajuato, Mexico, to María del Pilar Barrientos and Diego Rivera Acosta, a well-to-do couple. His twin brother Carlos died two years after they were born.His mother María del Pilar Barrientos was said to have converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries). Rivera wrote in 1935: "My Jewishness is the dominant element in my life", despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses". Diego was of Spanish, Amerindian, African, Italian, Jewish, Russian, and Portuguese descent.Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on the walls of the house, his parents installed chalkboards and canvas on the walls to encourage him. | family name | 54 | [
"surname",
"last name",
"patronymic",
"family surname",
"clan name"
] | null | null |
[
"Jonathan Hutchinson",
"member of",
"Royal Society"
] | Life
He was born in Selby, Yorkshire, of Quaker parents and educated in the local school. Then he was apprenticed for five years to Caleb Williams, an apothecary and surgeon in York.He entered St Bartholomew's Hospital in London, and became a member of the Royal College of Surgeons in 1850 (and a fellow in 1862), and rapidly gained reputation as a skillful operator and a scientific inquirer. While a student, Hutchinson chose a career in surgery from 1854 on, under the influence and help of his mentor, Sir James Paget (1814–99). In 1851, he studied ophthalmology at Moorfields and practised it at London Ophthalmic Hospital. Other hospitals where he practised in the following years were the Lock Hospital, the City of London Chest Hospital, the London Hospital, the Metropolitan Hospitals, and the Blackfriars Hospital for Diseases of the Skin.His intense activity in so many medical specialties reflected also in his involvement with several medical societies. He was president of the Hunterian Society in 1869 and 1870, professor of surgery and pathology at the Royal College of Surgeons from 1877 to 1882, president of the Pathological Society (1879–80), of the Ophthalmological Society (1883), of the Neurological Society (1887) of the Medical Society (1890), and of the Royal Medical and Chirurgical Society from 1894 to 1896. In 1889, he was president of the Royal College of Surgeons. He was a member of two royal commissions, that of 1881 to inquire into the provision for smallpox and fever cases in the London hospitals, and that of 1889–96 on vaccination and leprosy.
He also acted as honorary secretary to the Sydenham Society.
In June 1882 he was elected a Fellow of the Royal Society.He was the first orator at the York Medical Society.Hutchinson is considered the father of oral medicine by some.: 1 : 2 | member of | 55 | [
"part of",
"belonging to",
"affiliated with",
"associated with",
"connected to"
] | null | null |
[
"Jonathan Hutchinson",
"occupation",
"dermatologist"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Jonathan Hutchinson",
"occupation",
"pathologist"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Jonathan Hutchinson",
"place of birth",
"Selby"
] | Life
He was born in Selby, Yorkshire, of Quaker parents and educated in the local school. Then he was apprenticed for five years to Caleb Williams, an apothecary and surgeon in York.He entered St Bartholomew's Hospital in London, and became a member of the Royal College of Surgeons in 1850 (and a fellow in 1862), and rapidly gained reputation as a skillful operator and a scientific inquirer. While a student, Hutchinson chose a career in surgery from 1854 on, under the influence and help of his mentor, Sir James Paget (1814–99). In 1851, he studied ophthalmology at Moorfields and practised it at London Ophthalmic Hospital. Other hospitals where he practised in the following years were the Lock Hospital, the City of London Chest Hospital, the London Hospital, the Metropolitan Hospitals, and the Blackfriars Hospital for Diseases of the Skin.His intense activity in so many medical specialties reflected also in his involvement with several medical societies. He was president of the Hunterian Society in 1869 and 1870, professor of surgery and pathology at the Royal College of Surgeons from 1877 to 1882, president of the Pathological Society (1879–80), of the Ophthalmological Society (1883), of the Neurological Society (1887) of the Medical Society (1890), and of the Royal Medical and Chirurgical Society from 1894 to 1896. In 1889, he was president of the Royal College of Surgeons. He was a member of two royal commissions, that of 1881 to inquire into the provision for smallpox and fever cases in the London hospitals, and that of 1889–96 on vaccination and leprosy.
He also acted as honorary secretary to the Sydenham Society.
In June 1882 he was elected a Fellow of the Royal Society.He was the first orator at the York Medical Society.Hutchinson is considered the father of oral medicine by some.: 1 : 2 | place of birth | 42 | [
"birthplace",
"place of origin",
"native place",
"homeland",
"birth city"
] | null | null |
[
"Jonathan Hutchinson",
"occupation",
"surgeon"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision.Life
He was born in Selby, Yorkshire, of Quaker parents and educated in the local school. Then he was apprenticed for five years to Caleb Williams, an apothecary and surgeon in York.He entered St Bartholomew's Hospital in London, and became a member of the Royal College of Surgeons in 1850 (and a fellow in 1862), and rapidly gained reputation as a skillful operator and a scientific inquirer. While a student, Hutchinson chose a career in surgery from 1854 on, under the influence and help of his mentor, Sir James Paget (1814–99). In 1851, he studied ophthalmology at Moorfields and practised it at London Ophthalmic Hospital. Other hospitals where he practised in the following years were the Lock Hospital, the City of London Chest Hospital, the London Hospital, the Metropolitan Hospitals, and the Blackfriars Hospital for Diseases of the Skin.His intense activity in so many medical specialties reflected also in his involvement with several medical societies. He was president of the Hunterian Society in 1869 and 1870, professor of surgery and pathology at the Royal College of Surgeons from 1877 to 1882, president of the Pathological Society (1879–80), of the Ophthalmological Society (1883), of the Neurological Society (1887) of the Medical Society (1890), and of the Royal Medical and Chirurgical Society from 1894 to 1896. In 1889, he was president of the Royal College of Surgeons. He was a member of two royal commissions, that of 1881 to inquire into the provision for smallpox and fever cases in the London hospitals, and that of 1889–96 on vaccination and leprosy.
He also acted as honorary secretary to the Sydenham Society.
In June 1882 he was elected a Fellow of the Royal Society.He was the first orator at the York Medical Society.Hutchinson is considered the father of oral medicine by some.: 1 : 2 | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Jonathan Hutchinson",
"occupation",
"ophthalmologist"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision.Life
He was born in Selby, Yorkshire, of Quaker parents and educated in the local school. Then he was apprenticed for five years to Caleb Williams, an apothecary and surgeon in York.He entered St Bartholomew's Hospital in London, and became a member of the Royal College of Surgeons in 1850 (and a fellow in 1862), and rapidly gained reputation as a skillful operator and a scientific inquirer. While a student, Hutchinson chose a career in surgery from 1854 on, under the influence and help of his mentor, Sir James Paget (1814–99). In 1851, he studied ophthalmology at Moorfields and practised it at London Ophthalmic Hospital. Other hospitals where he practised in the following years were the Lock Hospital, the City of London Chest Hospital, the London Hospital, the Metropolitan Hospitals, and the Blackfriars Hospital for Diseases of the Skin.His intense activity in so many medical specialties reflected also in his involvement with several medical societies. He was president of the Hunterian Society in 1869 and 1870, professor of surgery and pathology at the Royal College of Surgeons from 1877 to 1882, president of the Pathological Society (1879–80), of the Ophthalmological Society (1883), of the Neurological Society (1887) of the Medical Society (1890), and of the Royal Medical and Chirurgical Society from 1894 to 1896. In 1889, he was president of the Royal College of Surgeons. He was a member of two royal commissions, that of 1881 to inquire into the provision for smallpox and fever cases in the London hospitals, and that of 1889–96 on vaccination and leprosy.
He also acted as honorary secretary to the Sydenham Society.
In June 1882 he was elected a Fellow of the Royal Society.He was the first orator at the York Medical Society.Hutchinson is considered the father of oral medicine by some.: 1 : 2 | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Jonathan Hutchinson",
"occupation",
"venereologist"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Jonathan Hutchinson",
"family name",
"Hutchinson"
] | Sir Jonathan Hutchinson (23 July 1828 – 23 June 1913), was an English surgeon, ophthalmologist, dermatologist, venereologist, and pathologist, who notably advocated for circumcision.Life
He was born in Selby, Yorkshire, of Quaker parents and educated in the local school. Then he was apprenticed for five years to Caleb Williams, an apothecary and surgeon in York.He entered St Bartholomew's Hospital in London, and became a member of the Royal College of Surgeons in 1850 (and a fellow in 1862), and rapidly gained reputation as a skillful operator and a scientific inquirer. While a student, Hutchinson chose a career in surgery from 1854 on, under the influence and help of his mentor, Sir James Paget (1814–99). In 1851, he studied ophthalmology at Moorfields and practised it at London Ophthalmic Hospital. Other hospitals where he practised in the following years were the Lock Hospital, the City of London Chest Hospital, the London Hospital, the Metropolitan Hospitals, and the Blackfriars Hospital for Diseases of the Skin.His intense activity in so many medical specialties reflected also in his involvement with several medical societies. He was president of the Hunterian Society in 1869 and 1870, professor of surgery and pathology at the Royal College of Surgeons from 1877 to 1882, president of the Pathological Society (1879–80), of the Ophthalmological Society (1883), of the Neurological Society (1887) of the Medical Society (1890), and of the Royal Medical and Chirurgical Society from 1894 to 1896. In 1889, he was president of the Royal College of Surgeons. He was a member of two royal commissions, that of 1881 to inquire into the provision for smallpox and fever cases in the London hospitals, and that of 1889–96 on vaccination and leprosy.
He also acted as honorary secretary to the Sydenham Society.
In June 1882 he was elected a Fellow of the Royal Society.He was the first orator at the York Medical Society.Hutchinson is considered the father of oral medicine by some.: 1 : 2 | family name | 54 | [
"surname",
"last name",
"patronymic",
"family surname",
"clan name"
] | null | null |
[
"Alexander Acha",
"instance of",
"human"
] | Raúl Alexander Acha Alemán (born January 25, 1985) is a Mexican singer-songwriter.Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Alexander Acha",
"given name",
"Alexander"
] | Raúl Alexander Acha Alemán (born January 25, 1985) is a Mexican singer-songwriter.Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | given name | 60 | [
"first name",
"forename",
"given title",
"personal name"
] | null | null |
[
"Alexander Acha",
"instrument",
"piano"
] | Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | instrument | 84 | [
"tool",
"equipment",
"implement",
"apparatus",
"device"
] | null | null |
[
"Alexander Acha",
"religion or worldview",
"Catholic Church"
] | Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | religion or worldview | 40 | [
"faith",
"belief system",
"creed",
"philosophy",
"ideology"
] | null | null |
[
"Alexander Acha",
"instrument",
"guitar"
] | Raúl Alexander Acha Alemán (born January 25, 1985) is a Mexican singer-songwriter. | instrument | 84 | [
"tool",
"equipment",
"implement",
"apparatus",
"device"
] | null | null |
[
"Alexander Acha",
"occupation",
"pianist"
] | Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
[
"Alexander Acha",
"occupation",
"composer"
] | Raúl Alexander Acha Alemán (born January 25, 1985) is a Mexican singer-songwriter.Life
The son of Mexican pop singer Emmanuel, Alexander Acha is also a pianist and a Berklee College of Music alumnus. He was born to an American mother, Madison Anne Johnson, who taught Alexander piano and other instruments.He was raised as a Roman Catholic and still attends mass. His debut album Voy (2008) reached gold status in his native country, with Te Amo being his first single. On November 5, 2009, he won the Latin Grammy for Best New Artist. | occupation | 48 | [
"job",
"profession",
"career",
"vocation",
"employment"
] | null | null |
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