Sarai Sherman

Sarai Sherman (September 2, 1922 – October 24, 2013) was a Pennsylvania-born Jewish American artist whose work, both in America and Europe shaped international views of women and abstract expressionism. She was a significant twentieth century painter and sculptor known for her abstract paintings, prints and ceramics.
Life and work.
Sherman was born in the Germantown section of Philadelphia, Pennsylvania in 1922. She showed an early predisposition towards painting and was enrolled in an arts and graphics program around the age of 10. These early years began to shape her artistic interests in people, nature and the built environment. She attended Kensington High School and continued to explore artistic themes and painting. Sherman studied at the prestigious Barnes Foundation in Pennsylvania where she was exposed to seminal works of modern masters and she attended the Tyler School of Art at Temple University, headed at the time by Russian-born artist Boris Blai with faculty including Earl Horter and Honga Holm. Sherman graduated with a Bachelor of Fine Arts and a Bachelor of Science degree in education and then enrolled into the Master of Arts program at the University of Iowa, graduating with a degree in art history and painting. In 1948, at the age of 26 Sherman showed a painting titled “Hericane Time” at the Pyramid Club.
Sherman moved to New York City to pursue art. During this period she designed fabrics and wallpaper that were sold though stores in Philadelphia and New York. In a United Press International article published in June 1958 Sherman provided a glimpse into her textile and interior architectural design philosophy: "Designers must have a real sense about people and machines or they'll produce designs which are cultural lags. We must understand the American Women especially, and realize that she is in a state of transition."
During WWII, Sherman lived in Eagle Pass, Texas where her husband was stationed with the 45th Massachusetts Regiment.
Italy, 1952-1954.
Sherman was awarded a Fulbright Grant to paint in Italy. There she gained a deep perspective into the poverty of postwar Europe. The experiences touched Sherman and became a turning point in her artistic development. For her, Italy became a platform from where she could look and participate in culture completely. She wrote from Matera in the Spring of 1953 "I feel at home...not because these caves remind me of Philadelphia, but because somehow a passage of light or color, or the motion of an animal, recall to my mind moments of my childhood, distant places. I feel as if it were my former self contemplating this forbidding white region. I see a woman with her child in her arms: His small body is in continuous motion, he looks around, he screams. I see mother and child in the sunlight, and it seems to me that I saw them years before, exhausted, yet beautiful. The old image is superimposed in the new one. The painting process is automatic, spontaneous, it leads me. The finished product is all chrome yellow, with ochre hues hovering between white and ivory. They reveal a sense of the ancient."
Sherman's conceptual ideas that were expressed in her painting were comparisons between reality and reminiscences, a compelling concern with the world of others, with the dejected southern Italian population and an identification of her own origin within that dejection and that poverty. During these years her art proceeded autobiographically, in the sense that, following an irrepressible necessity she identified with the subjects of her paintings. This period is full of symbolic content, the tenderness, the thoughtfulness of her paintings, which often become the moment of completion of an experience instead of simply leading to the discovery of new worlds of characters.
The exceptional episodic importance which was at the base of works done before 1955 becomes evident in the late 1950s. What used to be the figurative concentration of a tragedy becomes a portrayal of persons and things perceived in the midst of reality "in fieri" until the fleeting moment sets in.
1955-1960.
From 1955 to 1960 Sherman worked in the United States. During this period, she amplified the typology and the background of her experiences, weighting the density of her painting. She retracted her steps from Picasso to the Impressionists. Like Francis Bacon, who after his surrealist Phicassian phase reverted to color painting, Sherman transferred onto her canvas a number of principles of the French masters of the late nineteenth century, filtered through schemes, vision and images, which were neither nineteenth century nor post-romantic in character, largely because internal plastic contraditions of the work and because of her awareness of the dimension of time. The ever-changing spectacle offered by the streets, are elements which have entered her fantasy by force, obliging her to move in a humble effort towards an increased objectivity, but which in the same act of reduction emerge more autobiographical then ever.
Sherman was a part of the emergency response to the 1966 flood of the Arno in Florence Italy. A group of international women artists called the “Flood Ladies” donated work to the city as a sign of solidarity following the Arno's catastrophic damage. The work donated to the city is now housed in the "Museum of the 1900s." As part of the 50th anniversary of the flooding, Sherman's work titled "Icarus" was one of 28 in a representative traveling exhibition and featured in the Book “When the World Answered” and the 2015 PBS documentary of the same name.
Sherman was represented by the ACA Galleries in New York throughout the 1950s and then by the Forum Gallery. Sherman has had numerous significant solo exhibitions throughout the United States and in Europe including the ACA Gallery, New York City (1951, 1955, 1958, 1960); Galleria La Nuova Pesa, Rome (1961), and Galleria Viotti, Turin (1963) – both in Italy; Forum Gallery, New York City (1963, 1967, 1970, 1974, 1986); Fairweather-Hardin Gallery, Chicago Illinois (1964); Museum of Contemporary Art, Skopje, Yugoslavia (1965); Galerie Weltz, Salzburg, Austria and Salon Tribune Mladih, Novi Sad, Yugoslavia (1966); Galleria dell’Orso, Milan (1973), and Studio 5, Bologna (1976) – both in Italy; Madison Gallery, Toronto Canada (1976); Galleria Giulia, Rome, Italy (1982).
Sherman created numerous lithographs and prints. Many of these editioned works were produced at the renowned atelier Il Bisonte in Florence who also produced significant works for Henry Moore and Pablo Picasso.
Sherman won numerous awards and prizes for her work including a Pepsi Cola award (1945), Fulbright Foundation fellowship to Italy (1952-1954), a painting award from the American Academy and Institute of Arts and Letters, New York City (1964) and their Childe Hassam Prize (1970); in addition to many medals, citations and prizes in exhibitions throughout Italy and the Proctor Prize, National Academy of Design, New York City (1976).
Style and influences.
Sherman's major, and critically acclaimed, work produced in Italy during the mid 1950 was focused on the sun drenched settings, people and post World War II milieu of Southern Italy. The tonal and ethereal quality of her paintings from this period capture the arid colors and blinding light of the Mezzogiorno.
Mario Penelope recalled in his 1983 essay on Sherman titled Coherence And Reality: "a group of paintings done during that first stay which were exhibited in nineteen hundred and fifty five in her first Roman one-person show at the Zodiac Gallery. In these canvases there were images of women, children, and sharecroppers; portrayed austerely in their most typical attitudes in a strange archaic manner. They seemed encamped with weighted solemmity in a timeless spatiality; in an understated drama of transcendent sadness which laid bare with bitter emotion the dark pathetic solitude of that sharecropper world. Shapes and forms were conceived within a rigorous formal scheme. These shapes were layered into a rhythm of concrete volumes in which at intervals the profound sense of the value of color soberly restrained filtered through. Forms were emphasized by a concise pre-meditated linear drawing in which there were residual suggestions of the lesson of Picasso and Cubism".
The Italian art critic Duilio Morosini framed Sherman in an artistic and cultural context in her 1977 essay for the book Sarai Sherman. Morosini wrote that one needs now to place “Sherman in a historical relationship to other exponents of American critical realism, both of the first and second generation. The major recurring theme of an isolated urban solitude (expressed by an standardization of choices, in personal ideals and practical solutions, and hence the disappearance of feeling and communication) is not seen by this artist as a grievous meditation of the state of things where nothing can be achieved, as one sees in Edward Hopper’s revealing objectivism; nor is it an irascible accusation as in the post war II revival of expressionism. In her painting (not only the earlier period from 1954 to 1965, but in all her developments) the characters do not rely upon indicative details, rather upon the “whole” with its resolute “aura” (inherent in such pictorialization of the thought imagery). The projection of light in the painting in which every presence, every act seems to be caught in an equivocal transition between day and night or vice versa; in other words, in the inquietude and expectation of an unpredictable change.”
“In Sherman’s work there is a consistent involvement with a visualization of distorted values in the continuum of social generalization. During 1962 she completed a series of large composition paintings that focused on the death of the matrix of post World War II sex symbols. The capacity of Sherman to use the ambivalence inherent in metaphorical values, as a springboard in the employ of tonal color, immersed in diffused light has also made it possible to retain a sensitivity towards a younger generation’s milieu. Her work in the 1970s reflected a shift in the pictorialization of generalized meanings; a constantly precarious situation for all painters of Sherman’s generations.”
Overarching themes in Sherman's work focused on concerns with humankind's inhumanity to one another, where form and content are one.
Ceramics.
Sherman began exploring three-dimensional form in ceramic sculpture in the early 1980s. The contemplative work from this period presents serne animal and human forms to the viewers gaze. The organic sensual shapes evoke or are explicitly feminine in form. The tactile and often delicate porcelain work were metaphorical juxtapositions of fundamental dualities: peace and war, life and death.
Guzzetti Chapel (Cappella Guzzetti), Camera Picta, Cortona Italia.
Between 1987 and 1994 Sherman created major site-specific fresco and altarpiece commission in Cortona, Italy for the Guzzetti Chapel on the grounds of the Villa Corono. The fresco cycle called Camera Picta are painted on the walls of the 18th century building owned by the Italian art patrons the Guzzettis. The allegorical work focus on the biblical and secular themes including sheep, bucolic landscape and flora. The paintings are saturated in muted tones and soft umber, ochre and cream colors that recall her work of the 1950s. The full commission included paintings, sculpture and architectural "trompe-l'œil". The altar-piece, (1992-1994) utilizes three-dimensional ceramic forms, a rendering of sheep in repetition as biblical symbolism.
Legacy.
Sherman's work is included in numerous private and public permanent collections including the Museum of Modern Art (MoMA) New York; the Whitney Museum of Art, New York; Syracuse University; Hirshhorn Museum and Sculpture Garden, Washington, DC; the National Gallery of Modern Art in Rome; the Uffizi Gallery, Florence, Italy; Sconci Art Gallery, Dubai; Jerusalem Museum, Israel; National Gallery of Modern Art, Bratislava, Czechoslovakia; International Museum of Modern Art, Skopje, Yugoslavia; Gramsci Museum, Ghilarza, Sardinia.
Sherman died in New York City on October 24, 2013.
External links.
Works by Sarai Sherman


Signal (typeface)

Signal is a script typeface, designed in 1931 by Walter Wege for H. Berthold AG in Berlin.
Designed for headlines and slogans, it was one of several typefaces inspired by brush script created in the late 1920s and early 1930s as hand-lettering went back in style. The standard version was followed up in 1932 by the bolder Block-Signal and the lighter Script-Signal. The latter was suitable for slightly longer pieces of copy. 1934 saw the release of Deutsch-Signal, based on German handwriting.
The typeface was used in creating the masthead of "Signal", a Nazi magazine.


Kern AG

KERN Global Language Services is an internationally active language service provider of German origin.
History.
The company started out as "KERN Internationale Handels- und Vertriebsgesellschaft mbH (KERN International Trade and Distribution Company)" (Logo) which was founded in 1969 by Manfred and Ruthild Birte Kern in Frankfurt am Main, Germany. Initially, the company focused on data processing and printed products.
Linguistic and translation services came into play for the first time within the context of a printing commission. The Barbados Tourist Board intended to print a brochure in Germany and came up with the idea of creating an English edition to promote the beauty of the Caribbean island throughout Europe. Due to the success of this major pilot project, KERN changed course by placing greater emphasis on translation projects.
KERN soon gained clients across Germany and Europe to such an extent that demand could no longer be met at one location. The first branch opened in Duesseldorf in 1979. With subsequent branch openings, the company was renamed KERN GmbH, Language Services. The first overseas branch was opened in 1983 in Paris. The foundation of KERN Corporation in New York City followed in 1985. In the 1990s, the company expanded and extended its network of branches in Germany, United States; Switzerland, England, China and Netherlands.
In 1997, the company was again renamed KERN AG, Global Language Services. Headquarters relocated to a listed building in Frankfurt in May 2005. It is at these headquarters that KERN currently combines its entire range of language services under one roof. Today, KERN Global Language Services operates in 8 countries, with over 40 company owned subsidiaries and branches.
The original printing and data processing field of the company continues its important role of the KERN group, and now operates under the name of KERN & Partner Finanzwerbeagentur GmbH. (KERN & Partners Financial Advertising Agency). The range of language services offered “under one roof” at its headquarters enables the KERN group not only to simply translate texts, but also to work on documents in their entirety – from translation, design of advertising campaigns, desktop publishing to printing and delivery of the final product.
At the beginning of 2000, the KERN group absorbed the Institut für Kreatives Lernen (IKL) (Institute for Creative Learning) which offers language training for specialists and executive staff. The resulting company, KERN AG IKL Business Language Training & Co. KG, offers modern language training across Germany and Europe. KERN AG IKL is also a recognised test centre for the Educational Testing Service (ETS) and offers the opportunity to take the Test of English as a Foreign Language (TOEFL) online, an Admissions prerequisite of many English speaking universities, especially the United States. Test of English for International Communication (TOEIC), Test de français international (TFI), London Chamber of Commerce and Industry (LCCI) are additional tests that can be taken at KERN AG IKL.
Areas of business.
KERN Global Language Services core services comprise translation into all world languages, as well as terminology management, layout editing, DTP (Desktop Publishing), the localization of software and websites, in addition to language training.
Company locations.
The company has branches in the following areas of Germany:
Headquarters: Frankfurt am Main (Kurfürstenstraße). Branches (in 2018): Aachen, Augsburg, Berlin, Bielefeld, Bochum, Bonn, Braunschweig, Bremen, Cologne, Darmstadt, Dortmund, Dresden, Duisburg, Düsseldorf, Essen, Frankfurt am Main (Schillerstraße), Freiburg, Friedrichshafen, Hamburg, Hannover, Heilbronn, Ingolstadt, Kaiserslautern, Karlsruhe, Kassel, Kiel, Leipzig, Mainz, Mannheim, Mönchengladbach, Munich, Münster, Nuremberg, Offenbach, Regensburg, Saarbrücken, Schweinfurt, Stuttgart, Ulm, Weil am Rhein, Wiesbaden, Wuppertal, Würzburg.
The company has overseas branches in


Michael Spafford

Michael Charles Spafford (born November 6, 1935) is an American artist known for his archetypal, figurative oil paintings drawn from Classical mythology. Spafford taught painting at the University of Washington, Seattle until his retirement in 1994.
Education and early years.
Michael Spafford was the middle of three sons of Sarah Alice Maloney and Lynn Spafford, a businessman, and grew up in Greater Los Angeles. He became interested in the Classical myths in his Latin class at Riverside High School, one of his first artworks being a drawing of the Roman underworld based on Ovid's Metamorphoses.
Spafford was also interested in cartooning and was able to obtain a part-time job with an advertising agency in Riverside, California while still in high school. After graduating in 1953, he attended Riverside Junior College and then transferred to Pomona College.
While at Pomona in 1956, Spafford met Elizabeth Sandvig, who eventually became his wife. Spafford graduated from Pomona magna cum laude and Phi Beta Kappa. Spafford and Sandvig moved to Cambridge, Massachusetts, where Spafford had a full scholarship in art history at Harvard University and Sandvig pursued a teaching certificate in art at Radcliffe College.
After a year at Harvard, Spafford decided to pursue his interests in making art rather than studying art history and the couple moved to Mexico City to join Sandvig's mother.
Career.
Mexico City.
After graduating from Pomona University and studying art history for a year at Harvard, Spafford moved to Mexico City where his mother-in-law lived so that he and Sandvig could live and focus on their art. Here, Spafford was able to study the Mexican mural painters first-hand and was influenced by their portrayals of mythic subjects depicting powerful, often brutal imagery, their graphic, simplified forms and solid colors. Spafford adopted his approach of taking a mythic subject, usually of Graeco-Roman origin, and working out multiple versions with strikingly graphic contrasts. He would work on the same myth over a period of years.
In 1962, Spafford and Sandvig had solo exhibitions in Mexico City at the Mexican-North American Cultural Institute. Spafford's portrayal of death was noted as well as his "ruthless, hopeless, seared constructions of our time."
After the birth of their son in 1963, Spafford accepted a teaching position with the University of Washington School of Art in Seattle, Washington. Two years later, Sandvig's mother joined them in 1965.
Seattle.
In Seattle, Spafford earned prizes in both painting and drawing at the 1964 annual Pacific Northwest Arts and Crafts Fair, where the judge was George B. Culler, director of the San Francisco Museum of Art. The novelist, Tom Robbins, then writing for "The Seattle Times" newspaper, noted that Culler had no trouble awarding first prize to Spafford and that Spafford was "one of the few University of Washington professors to display any originality in the annual faculty show" the previous winter.
Spafford followed this with a solo show at the Otto Seligman Gallery in 1965. Spafford was awarded a Louis Comfort Tiffany Foundation grant in 1966.
In 1967, at the same annual fair, Spafford's "Rape of Europa" was ordered to be taken down by the developer who managed the fair's venue.
The Prix de Rome and Italy.
In 1967, Spafford won the Prix de Rome fellowship, which included a studio at the American Academy in Rome.In Italy, Spafford began to work larger and adopted key themes from the Roman myths that would inform his work for most of his career, including the myths of Leda and the swan, the twelve labors of Hercules, the fall of Icarus, and the myths around the fall of the Titans and Saturn. Spafford would later point out that living in a foreign culture helped him learn how to see. He also began using diptych and triptych configurations while in Rome.
Public art.
Spafford and Sandvig became active in efforts to increase public funding of the arts upon their return to Seattle in 1969. A member of The Artist's Group (TAG), and its president in 1974, Spafford and the group and its allies successfully lobbied for one-percent-for-art legislation that would require one percent of the construction budget of public buildings to be spent on the acquisition and maintenance of art for those buildings. Spafford argued that art is not a decorative frill, but should be considered an essential part of a public building and its design. He argued that to do otherwise "is a crime against the people". In 1973, Seattle and King County adopted one-percent ordinances. The state of Washington followed in 1974. By 1975, the Seattle Arts Commission had purchased art from 31 Northwest artists under the one-percent ordinance.
Spafford's 1980 commission for murals based on the twelve labors of Hercules for the Washington state legislature chambers led to his murals first being covered, then uncovered in 1989, before being removed entirely in 1993 and stored. The murals were eventually installed at the Centralia College Corbet Theatre in 2002 after a decade of negotiations.
Spafford's first public art commission was the 1978 King County Arts Commission installation of five images based on the Fall of Icarus ("Tumbling Figure -- Five Stages") on the external wall of an elevator shaft of Seattle's Kingdome. The design was executed in 1978, then Spafford took a one-year sabbatical to Mexico. Fabrication and installation were completed after Spafford returned from Mexico in 1979. The Kingdome was demolished in 2000 and Spafford's work was put into storage. In 2004, "Tumbling Figure--Five Stages" was re-installed on a parking garage facade at 6th avenue and Jefferson Street in Seattle.
In 1985, Spafford accepted a commission for the Seattle Opera House, producing a thirteen panel "Thirteen Ways of Looking at a Blackbird", after Wallace Stevens' poem. This time, the work was positively received by both art critics and public.
Later career.
Returning from Mexico City in 1969, Spafford resumed his faculty position in the University of Washington, Seattle School of Art, teaching drawing and painting until his retirement in 1993.
A large diptych of the "Labors of Hercules" (1977) was purchased by the Seattle Art Museum (SAM) which led to a retrospective of Spafford's paintings at the Seattle Art Museum in March and April 1982. The labors of Hercules would be a motif Spafford worked on for much of his career, creating over 60 works on the theme, including a 1987 set of woodblock prints which was the first art acquired by the Microsoft Art Collection.
In 1983, The American Academy and Institute of Arts and Letters awarded Spafford a $5,000 prize in the visual arts and included his paintings and graphic work in an academy exhibit in New York City the same year.
Spafford had a large solo exhibition at the Seattle Art Museum in 1986, and another retrospective was held at the Bellevue Art Museum in 1991. The Bellevue Art Museum exhibited the Rape of Europa piece that had been taken down from the Bellevue Arts and Crafts Fair show 24 years earlier. In 2018, Spafford's larger epic works, many of which had not been previously exhibited, and series of woodcut prints were exhibited in a three part exhibition involving three Seattle galleries: the Greg Kucera Gallery, Woodside/Braseth Gallery, and Davidson Galleries.
Style and meaning.
Spafford used images and themes found in classical myths to address the human condition. He frequently returned to the myths of Europa, Leda and the swan, the labors of Hercules, the fall of Icarus, and others. Spafford seeks to distill the primal power of these myths through highly re-worked painting, using both subtractive and additive methods to portray the struggle, both in his paint and in his themes, of human life.
Seattle-based art critic Regina Hackett wrote:Michael Spafford abbreviates and freely alters the stories that interest him, ignoring the convoluted and decorative. What's left are the primary passions, the excavated pressure points of human consciousness. … Myth is Spafford's catalyst. He doesn't want to shake the history of rape, romance, murder, phallus-worship, the pathological underpinnings of the heroic. In myth, he finds access to the extreme situations that cannot be dismissed as contemporary aberration.  He is after the pause before slaughter, the moment of cataclysmic fusion …
Personal life.
Spafford and his wife, Elizabeth Sandvig, upon receiving his position at the University of Washington in Seattle, moved to the city's Montlake neighborhood.


Academic ranks in Spain

Academic ranks in Spain are the titles, relative importance and authority of professors, researchers, and administrative personnel held in academia.
Overview.
According to the Spanish Organic University Law, the following are the academic ranks in Spain:
Administrative ranks
Faculty.
Selection procedures.
In the past twenty-five years, Spain has gone through three university reforms: 1983 (Ley de Reforma Universitaria, LRU), 2001 (Ley Orgánica de Universidades, LOU) and 2007 (a mere reform of the LOU with several specific modifications of the 2001 Act). We can name them LRU 1983, LOU 2001 and LOU 2007.
The actual categories of tenured and untenured positions, and the basic department and university organization, were established by LRU 1983, and only specific details have been reformed by LOU 2001 and LOU 2007. The most important reform these later acts introduced is the way candidates to a position are selected. According to LRU 1983, a committee of five members had to evaluate the curricula of the candidates. A new committee was constituted for each new position, operating in the same university offering that position. These committees had two members appointed by the department (including the Secretary of the Committee), and three members who were draw-selected (from any university, but belonging to the same "knowledge area").
The LOU 2001 and LOU 2007 acts have granted even more freedom to universities when choosing applicants for a position. Each university now freely establishes the rules for the creation of an internal committee that assigns available positions. However, the last reform also have introduced an external "quality control" process. To better understand these reforms, it is worth examining the situation both before and after 2007.
The situation before 2007 was this: LOU 2001 had established a procedure, based on competition at national level, to become a civil servant. This procedure, and the license a candidate obtained, was called "habilitación", and it included curricula evaluation and personal examinations. The external committee was formed by seven draw-selected members (belonging to the same "knowledge area" and fulfilling requisites related to research curricula), who could assign a fixed and pre-determined number of "habilitaciones" similar to the positions requested by the universities. An applicant to a particular position in any university had to be "habilitado" (licensed) by this National Committee in order to apply. Non-civil servants had a slightly different "quality control" process. A specific institution, called the Spanish Agency for Evaluation, Quality and Certification or ANECA by its Spanish acronym (), examined the applicants' curricula and issued them a positive evaluation called "acreditación" (certification) giving access to the exams to become a tenured-civil servant professor.
Today, following the LOU 2007 reform, the whole process has been simplified, and both civil and non civil servants need to achieve a positive evaluation of their teaching and research record by ANECA. Once the certification by ANECA is achieved, candidates can apply for the exams convened by each university to fulfill their vacant positions.
The certification system introduced by the LOU 2001 act and particularly the 2007 reform, which requires the candidate to pass a demanding evaluation process at a national level for each category before applying for a position, has increased the standards of Spanish university professors to those of most OECD countries.
The LOU act of 2001 maintained both traditional tenured and civil servant positions of "Profesor Titular" and "Catedrático de Universidad", albeit it also introduced the new non-civil servant tenured position of Professor Contratado Doctor (equivalent to a "reader" in the UK). Non-tenured positions include: Professor Asociado (a part-time instructor who keeps a professional career, for example in the industry, in a hospital or media), Ayudante (a doctoral student working as teaching assistant, with limited and supervised teaching capacity), and Professor Ayudante Doctor (a promotion from the latter, after completing the doctoral dissertation).
Positions.
Under present legislation (LOU 2007), only the following positions are available:
On those positions, one can be Head or hold a Chair if they are elected by their faculty or departments for it.
Teaching staff positions continue to exist in certain categories (Profesor Titular de Escuela Universitaria, Profesor Colaborador) that have been abolished, but there is no new recruitment in these categories.
Of these six categories of tenured positions, four imply public service positions ("funcionario"):
The "Catedrático de Escuela Universitaria" and the "Profesor Titular de Universidad" categories have been merged by the LOU 2007 reform. The two "de Escuela Universitaria" categories were intended mainly for teachers of previous three-year degrees (e.g. technical engineering, nursing, teaching in primary schools), while the two "de Universidad" categories include professors of any undergraduate or graduate degrees.
Retirement.
The retiring age for university professors in Spain is 65, just like all other workers. However, a university professor can work until he or she is 70, if he so wishes. Even then, they can apply for a Professor Emérito position. It is a non-tenured position and it has a limited duration (4 additional years). Also, there are specific rules established by each university.
Foreign qualifications in Spain.
Spain places the following requirements for recognition of non-European qualifications:
Research-only positions.
There also exist permanent, research positions, without teaching duties. They are offered by certain public research institutions, the Public Scientific and Technical Research Establishments, for instance the Consejo Superior de Investigaciones Cientificas (CSIC). Again, people in these positions are civil servants (thus, in this sense, tenured). Their statute is governed by the Spanish Laws.
There are three levels:
The main differences between these research positions and the faculty positions are, of course, the absence of teaching duties, and the ability to move between different labs (for example, a CSIC researcher can request to move to any CSIC center in Spain or abroad, whereas a faculty member is employed by a specific university).


Nana Fujii

 is a Japanese women's professional shogi player ranked 1-dan.
Promotion history.
Fujii's promotion history is as follows:
Note: All ranks are women's professional ranks.


Nena Saguil

Nena Saguil (September 19, 1914 – February, 1994) was a Filipina artist of modernist and abstract paintings and ink drawings. She was most known for her cosmic, organic, and spiritual abstract works depicting internal landscapes of feeling and imagination. For these, Saguil is considered a pioneer of Filipino abstract art.
Life and career.
Simplicia "Nena" Laconico Saguil was born on September 19, 1914 in Santa Cruz, Laguna, Philippines to Epifanio Saguil and Remedios Laconico. Her father was a private physician to the country's second president, Manuel Quezon. One of ten children, Saguil was brought up in a conservative Catholic household.
Saguil rejected the Catholic school education her parents desired for her. She received her education at University of the Philippines School of Fine Arts where she studied under Fernando Amorsolo, a conservative painter and teacher who adhered to the Philippine art canon of the time. She graduated from UP in 1933 with a Certificate in Painting. She received her undergraduate degree in 1949, after the Philippines gained its independence following the end of World War II.
Saguil's first solo exhibition occurred in 1950 at the newly opened Philippine Art Gallery (P.A.G.) where she also volunteered and met with modernist artists like Vicente Manansala, Hernando Ruiz Ocampo, Arturo Luz, Romeo Tabuena, Anita Magsaysay-Ho and Fernando Zobel. In his review of the 7th Annual Art Association of the Philippines exhibition, Fernando Zobel de Ayala declared that the Filipino "moderns ... seemed to carry the day both in quantity and quality." Among them, he praised the Saguil and Victor Oteyza for the originality of their works. This network of Filipino modernist artists to which Saguil belonged became known as the "Neo-Realist Group"
In 1954, at the age of 40, Saguil left the Philippines for Spain after receiving a scholarship to study abstract painting. Two years later, she moved to Paris to continue her studies at the Ecole des Artes Americane.
For almost two decades, she pursued her art while living a reclusive life in a small Paris apartment and working housekeeping and other odd jobs to support herself, rather than return to her family, friends and the comfortable life she had lived in her homeland.
Her first European solo exhibit happened in Paris in 1957 at the Galerie Raymond Creuze and featured her new abstract style of lines and geometric shapes. Along with Vicente Manansala, Saguil also exhibited at the 1958 Spanish-American Biennale in Cuba.
Upon her return to the Philippines in 1968, Saguil exhibited at the Solidaridad Galleries, showcasing her abstract style and establishing herself as a leading abstractionist in the country.
Later in life, Saguil became a Jehovah's Witness. Saguil died in Paris in February, 1994.
Several galleries honored Saguil with posthumous exhibitions, including the Lopez Museum, the Cultural Center of the Philippines, and the Ateneo Art Gallery. The Ateneo Art Gallery's 2003 exhibit, "Landscapes and Inscapes: From the Material World to the Spiritual", was accompanied by a book of the same name.
In 2006, President Gloria Macapagal-Arroyo posthumously awarded Saguil the Presidential Medal of Merit.
Artistic style.
During her time at UP, in the early 1930s and after World War II, Saguil created impressionistic and naturalistic figurative works, including landscapes and still lifes. She also became anamored with the work of Pablo Picasso and painted "surrealistic and cubistic compositions of Philippine scenes." In taking up a more abstract style after 1950, Saguil experimented with many techniques to achieve various shapes, textures, and relief. These techniques included employing syringes to paint her famous circular forms and dots, rubbing coffee grounds on her works, and fashioning circular canvases.
Saguil's circular and organic oval forms simultaneously evoke microscopic and macrocosmic natural landscapes. Her works appear as "biological tissues and net[s] of nerves" as well as "cosmological spheres, orbs, elliptics and terrestrial mandalas. ... as though stating that human existence and the universe are mutually encompassing." Another writer reveled in Saguil's "subtly iridescent and translucent hues of moonstones, opals and fine jade, as well as the ovoid shapes of the singing celestial spheres." Her later works have also been described as infused with spiritual feeling.
Relating Saguil's cosmic vision to feminism, Quijon stated that, "If gender is wrought by matrices of labour and sociality, it is also imbricated in the history of abstraction, as disclosure of a cosmic world." A recently unearthed Saguil watercolor, depicting a Filipina Lady Liberty, was painted in 1947, to commemorate the second anniversary of Philippine Independence and more directly encompasses feminist themes. Modeled after Delacroix's "Liberty Leading the People", the painting features a bare-breasted Filipina holding a Philippine flag in her right hand and a large palm leaf, symbolic of peace and Christianity, in her left. The painting departed from Delacroix's in presenting a Liberty bearing no weapons and contrasted with more masculinist renderings of Philippine independence.
External links.
Nena Saguil. Ateneo Art Gallery


Lingo24

Lingo24 is a UK-registered translation company that was formed in 2001.
History & Overview.
Lingo24 is a business translation and localisation services company, founded as an online start-up by Oxford University languages graduate Christian Arno, from his parents' Aberdeen home in September 2001. The company launched its New Zealand operation in 2003, Romania in 2005, Panama in early 2008 and Edinburgh later the same year. In 2011 Lingo24 opened an Asian hub in Cebu City, the Philippines and expanded its European operations with the opening of an office in Nuremberg, Germany, in May 2012.
In 2013 Andrew Campbell was appointed as Global Managing Director, and worldwide staff exceeded 200. Lingo24 was named the 62nd largest translation agency worldwide by Common Sense Advisory, and turnover for the year was £7.5 million.
In 2014 Lingo24 signed a multimillion-pound investment deal with a consortium led by former Wood Mackenzie Chairman Paul Gregory. American entrepreneur and investor Ted Alling joined the company's Advisory Board. Lingo24 launched an API, allowing customers to connect directly to its translation platform.
In 2015 Lingo24 was named the 54th largest translation agency in the world and the company launched plug-ins for its API for major e-commerce platforms Magento and Demandware.
Lingo24 has over 230 full-time employees around the globe and works with a network of over 4,000 native-speaking professional translators.
Awards.
The company was named as the best e-business start-up in Scotland in 2002 and Arno won the Shell LiveWire 'Young Entrepreneur of the year' competition in 2003. He was also a finalist in the Scotsman Entrepreneur of the year Award at the National Business Awards for Scotland, 2009.
In December 2009, Lingo24 won two awards at the inaugural HeraldScotland.com Digital Business Awards, one in the 'Export' category and one in 'Business to Business'.
In March 2010, it was announced that Lingo24 won two awards, a Customer King Award from Cisco, and one at the International Trade Awards for the Scotland Region, which was sponsored by HSBC.
Lingo24 was nominated as one of the regional finalists in HSBC's Business Thinking initiative, culminating in company founder Christian Arno going on a thought-exchange trip to Istanbul in September, 2010. Lingo24 eventually won the HSBC Business Thinking final following an awards ceremony in Edinburgh on Tuesday 26 October.
Lingo24 was placed on the Times International Track 100 in 2011, making it the fastest-growing translation company in the UK. It reported international sales growth of 57 per cent in the previous two years.
In October 2012, Lingo24 won an Excellence Award at the TAUS User Conference (Seattle) for its new Coach translation technology platform.
In May 2014 Lingo24 was named Scottish Exporter of the Year and International Trade Best Professional Service Advisor at the inaugural Scottish Export Awards.


Maltron

PCD Maltron Ltd, trading as Maltron, is a manufacturer of ergonomic special-needs keyboards. It was founded by South African-born inventor Lillian Malt and manufacturer Stephen Hobday. Maltron specialises in making keyboards for the prevention and etiological (root cause) treatment of repetitive strain injury.
Maltron manufactures several models of keyboard, in varying levels of adaptation. Malt's original invention and the company's flagship design, the Fully Ergonomic 3D Keyboard, is the most highly adapted; it incorporates a curved surface in which the keys' angles and depths are staggered to compensate for the different lengths and placement of the fingers. Customers can choose an integral trackball at extra cost. Other types include single-hand keyboards, a flat version of the fully ergonomic keyboard, a keyboard designed to be used by a single digit or headstick or mouthstick, and a robust expanded keyboard for people with cerebral palsy. Maltron keyboards are electrically compatible with IBM PC keyboards and Apple Keyboards, using USB connectors. Earlier models used mini-DIN or PS/2 connectors but these are now discontinued.
History.
Lillian Malt ran a secretarial training business from 1955. Based upon her experience of typing errors (having been closely concerned in the printing industry with retraining Linotype operators to use computer keyboards), she had the idea for a typewriter keyboard with the keys arranged to fit different finger lengths, but found no manufacturer willing to work with her. In 1974, Stephen Hobday came to her with a one-handed keyboard that he had designed for the handicapped. Malt made several suggestions for improvement, telling Hobday of her failure to engage the interest of any manufacturers in actually building her ideal keyboard. Hobday told her "You tell me what you want and I'll tell you whether I can build it or not." The first Maltron keyboard was the result of their collaboration.
The full name of the company, PCD Maltron Ltd, stems from Hobday's original electronics firm, Printed Circuit Design Limited, based in Farnborough, Hampshire. The seeds of PCD Maltron were sown when another Hampshire business had inquired about the possibility of custom manufacture of a computer keyboard. This led to discussions with Farnborough Technical College about the design of the keyboard, and in turn to the meeting with Malt.
Stanley notes that Malt was almost erased from history in the 1970s, with the only one of two 1979 articles in "The Inventor" (the journal of the British Institute of Patentees and Inventors) even mentioning her, crediting only Hobday. However, Malt did present a paper describing her work: Malt, Lillian G., 'Keyboard design in the electronic era', Printing Industry Research Association, Symposium Paper No. 6, September 1977.
Models.
There are five models of Maltron keyboard. Two target general users, of which one is the original curved, retro-styled keyboard. The other three are geared towards people with more pervasive disabilities. Although the general form has remained the same, the original keyboard has gone through several revisions.
Maltron keyboards became well-known in the 1980s and 1990s for their distinctive layouts. "Hackaday" described the Maltron keyboard as "a mass of injection-molded plastic with two deep dishes for all the keys." "Tom's Hardware" said that the keyboards were "one of the real first ergonomic, split keyboard to use keywells. Designed for people suffering from RSI, its makers sought to address the needs of people who were, or at the risk of, being harmed by extensive typing."
Customers requested a halfway house between a conventional QWERTY keyboard and the curved Maltron, so a flat (2D) version was introduced which although lacking the curvature of the 3D keyboard, incorporates split key groups, and offset letter rows to accommodate the different lengths of the fingers.
For severely disabled users, there are the single-handed, headstick, mouthstick and expanded models.
All Maltron keyboards use Cherry MX brand key-switches, which are much more responsive and durable than the membrane or dome key-switches used on most keyboards.
Layouts.
Maltron 3D and 2D (flat) keyboards are produced with three different layouts: QWERTY, Dvorak and Maltron.
In 2009, "PC World" magazine named the devices among the "world's weirdest keyboards", particularly the right-handed single hand model that sold for US$413 at the time.
In the Maltron layout, the home row of keys are "ANISF" for the left hand and "DTHOR" for the right. This can be used to type many more complete words than that found on a QWERTY keyboard.
The Maltron layout was derived from frequency of use (FoU) statistics, plus additional considerations, such as the most frequent two- and three-letter combinations found in words. As much as possible, such combinations need to be placed as non-blocking sequences.
Whilst the letter E is the most common "letter" in English, the space character is nearly twice as common; the comma and full stop are more frequent than the letters KVJZXQ.
Directional or cursor keys have also been subject to changes in design. Whilst the earlier PC-XT compatible Model B featured opposing keys near each other such as PgUp and PgDn aligned vertically on the left little finger, and arrow keys arranged UP/DN and LF/RT on either thumb, later models were to introduce a complete design philosophy where such keys were split into left-right locations matching the former re-arrangement of such characters as "(" and ")" which had been moved to sit above the numbers 5 & 6 (as "< >","[ ]", "{ }" and "/ \" had been similarly separated). This meant that any movement to the left or up (Backspace, PgUp, Left etc.) was keyed with the left hand, and any that moved right or down were keyed with the right hand.
Further variation in design has been a slight rotation of the key-bowl upward in the centre which reduces the amount of pronation in operators' wrists. Referring back specifically to the Model-B, the key-bowl required the hands, although separated from each other, still to be rotated outward as though operating a flat keyboard.
Another change moved the twelve function keys to a new top row inside the bowl rather than as a straight line along the back, which the single-handed versions retain. The standard numeric row (1 through 0) has also been shifted one column to the left aligning "1" with "F1", "2" with "F2" and so on. The blank area between the two thumb keys has also been raised to prevent "dropped-wrist" operation of the number pad, although because of its location and layout, the keyboard must be moved laterally when entering continuous numeric data, to accommodate the dominant hand (left or right). This increases the amount of desk space the keyboard needs.
There is only one key below the home row for the ring finger (made obvious by the gap in the next row). As the middle and ring fingers share the same tendon along the back of the hand, removing excess "under-reach" for the ring finger alleviates potential stress on this tendon thus contributing to the keyboard's overall success in reducing repetitive strain injuries.
Manufacture.
The keyboards have been made by hand since the 1970s. They have vacuum-formed cases and each switch is hand-wired. The keyboards have a thumb cluster area where thumbs can hit keys other than the space bar.


Charlotte Wankel

Charlotte Wankel (12 May 1888 – 2 August 1969) was a Norwegian painter regarded as one of the first Norwegian cubist and painters of abstract art.
Biography.
Wankel was raised by wealthy parents at the outside Moss, in Østfold county, Norway. Her father Georg Reinholdt Wankel was a Norwegian politician for the Conservative Party. Her mother was the noted author (1870–1955), who was a granddaughter of Norwegian politician Paul Vinsnes.
After his father died in 1907, the family moved to Christiania. For three years, she was a student at the art school of Norwegian painter Harriet Backer (1906–09). Upon the advice of Henrik Sørensen, she became a pupil of Henri Matisse from 1910. She spent long periods in Paris and attended the Pedro Araujo art school (1922–23). She also studied under Fernand Léger and Amédée Ozenfant at the Académie Moderne (1925–29).
At the Académie Moderne, Wankel was introduced to a type of avant-garde architecture and painting which was inspired by Swiss architect and designer, Le Corbusier. Wankel participated in many important exhibitions in Paris, including "L'art d'aujord'hui" at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925. Here she exhibited along with many famous artists, including Piet Mondrian, Pablo Picasso, Constantin Brâncuși, Juan Gris, Sonia Terk and Robert Delaunay. The exhibition received much press coverage and was the first major international exhibition of avant-garde art after the First World War.
However the time was not right for avant-garde art in Norway. She was on the summer exhibition at Kunstnernes Hus in Oslo in 1933. Her solo exhibition at the Artists' Association in 1930 and Blomqvist in 1934 and a major exhibition was her retrospective exhibition at the National Gallery in Oslo in 1940 generally received negative criticism.
Charlotte Wankel was a restrained and sober artist. She gave her pictures a tight, clear and cool form of treatment, mixed with a purist design. The formats were often modest and palette dominated by blue-gray, brown, yellow, ocher and pink. Her production in late 1930 - and 1950-years are characterized by a stronger palette and compositions are non-figurative, often with some abstract figurative elements.


Albert Eugene Gallatin

Albert Eugene Gallatin wrote about, collected, exhibited, and created works of art. Called "one of the great figures in early 20th-century American culture," he was a leading proponent of nonobjective and later abstract and particularly Cubist
art whose "visionary approach" in both collecting and painting left "an enduring impact on the world of modern art."
Early life and education.
Gallatin was born in 1881 into a wealthy and socially prominent family. Showing a youthful interest in art and literature, he began to collect works by Max Beerbohm, Aubrey Beardsley, and James McNeill Whistler while still in his teens. The common element in these purchases was a preference for works that he saw as possessing a harmonious, refined, and decorative nature, rather than a naturalistic or literal one. He appreciated their aesthetic over their narrative content and their intrinsic over their didactic or utilitarian value.
As he collected art, he also began to write about it. For the two decades following the turn of the century, Gallatin produced a constant stream of articles, small monographs, and books of engraved plates. Between 1900 and 1910 most of these concerned Beardsley and Whistler. In examining their drawings and paintings he sought to find out what gave these works enduring value as opposed to superficial and temporary popularity. To him, their excellence showed in elegance of line and quality of design. He also drew attention to what he called a "decorative feeling" in works by these two artists in contrast to what he considered to be the less aesthetic realism of Degas and Millet. He maintained that modern art did not become popular because it was good, but because it scandalized. For example, in 1902 he wrote that Beardsley's drawings attracted notice by their shocking distortion of perspective and proportion and their escape from artistic conventions. Because their true value was not readily apparent, he believed that only connoisseurs along with Beardsley's fellow artists could fully appreciate them. In another article, he called Whistler an artist "whose work must remain more or less incomprehensible to the general public." He also wrote that the best art was created solely for its own sake. He wrote of Whistler's "unflinching devotion to beauty" and freedom from "commercialism, vulgarity, and the spirit of gain." Gallatin said Whistler's subjects were never ugly or lacking taste. In his view, Whistler was not a realist because he never descended to the obvious or commonplace.
When his father died in 1902, Gallatin became head of a family consisting of himself, two sisters, and their mother. As a member of New York's social elite he gave and attended high-profile dinners, dances, weddings, and benefits. His name appeared frequently in the press as a result these activities and also as a result of his pioneering affection for automobiles and motor sport. His inheritance made it unnecessary for him to work for a living and he chose not to follow the lead of other members of his class by engaging in banking, stock brokerage, or other professional occupation. Instead, he continued to collect art and to enhance his reputation as an art connoisseur by his writings.
During the years leading up to the First World War he became increasingly interested in American artists such as illustrator Otho Cushing, "pleinair" painter Frederick Frieseke, and painter of interiors Walter Gay. He also acquired and wrote about artists associated with the Ashcan School—Everett Shinn, William Glackens, Ernest Lawson, and John Sloan as well as other young American artists, including John Marin and Boardman Robinson. While the drawings, paintings, and prints of these artists appear to have little in common with the work of Beardsley and Whistler, he saw in them a similar feeling for form, elegance of line, and "entire freedom from all taint of the academic." Glackens, he wrote, was like Whistler in his originality, his great color sense, and his ability to bring subjects to life. Shinn's paintings revealed to him a "personal expression of the artist's genius" and he also saw in them a "decorative instinct" that he admired in virtually all the art he collected. He was pessimistic about the capacity of museums and government agencies to support young American artists and believed they would be best served by individual art lovers, collectors, and "enlightened" critics.
Gallatin served in World War I as a member of a naval reserve unit and directed two civilian groups: a federal government committee on exhibitions of art propaganda and a municipal committee that encouraged artists to make posters supporting the war effort. This involvement led to a book, "Art and the Great War", (1919) in which Gallatin discussed war-related art in the allied nations, giving many examples of paintings, drawings, posters, caricatures, and prints that he admired. In 1918, with Duncan Phillips and Augustus Vincent Tack, he organized an exhibition, the Allied War Salon of New York. The works in this show were almost all traditionally representational. The exceptions were paintings by a British artist, C.R.W. Nevinson, whose work at this time could be described as a cubist version of futurism. Nevinson's "French Troops Resting" of 1916, was exhibited at the Keppel & Co. galleries in 1919 and was probably included in the 1918 show. It and similar works of his are said to have been Gallatin's first introduction to this aspect of modernism.
Art collecting: 1920s.
In 1916, Gallatin had dismissed modernists in general and cubists in particular as immature. He thought their work to be half-baked, mediocre, and depressing. By the middle of the 1920s, through the influence of Nevinson, of the critic, Clive Bell, and of the authors of articles in "The Arts" magazine, he had thoroughly revised his opinions. Nevinson showed that cubism was not a gimmick, but a technique that emerged naturally from the art of its time. Bell articulated a formalist aesthetic that coincided with Gallatin's belief that art was not good because of its realism, but because the two-dimensional space of the painting, drawing, or print possessed a satisfying composition, line, shape, color, and texture. Pictorial representation, trueness to life, and the illusion of depth were secondary concerns. Bell also voiced an opinion that seems to have been latent in Gallatin's thought as well: good art is well-ordered rather than chaotic and it proceeds from the artist's thought processes and intuitive sense of rightness more than his emotions. William Zorach and other authors of articles in "The Arts" discussed an art of "purely abstract forms and colors" that, through an elimination "of everything not vitally necessary," produced a true art. The difficulty of judging what is a "masterpiece" and what is an "abortion" is no different for abstract than it is for representational art: it takes experience, careful study, and "listening to one's inner response."
In the years between 1920 and 1926 Gallatin became a member of the modernist Société Anonyme and was introduced to the influential artist-critic Jacques Mauny who soon became his friend and advisor. Mauny introduced him to Pablo Picasso and other painters and to the dealer and author, Daniel-Henry Kahnweiler. These men helped further to shape his growing appreciation for cubism and Mauny, in particular, helped him revamp his collection by adding paintings by artists such as Cézanne and Picasso and selling ones that no longer suited his taste. In the mid-1920s Gallatin studied art with the artist and teacher, Robert Henri, and in 1926 produced some small still lifes and mythology-themed paintings which have been described as having "broad areas of open space broken up by clusters of oddly shaped forms." His interest in cubism deepened and he added works to his collection by Georges Braque and Juan Gris.
At least partly in response to articles by Forbes Watson in "The Arts" and Henry McBride in "The Dial", Gallatin began planning for a public gallery based on his collection of modern art. Early in 1927, as a result of a family connection with New York University, he was able first to organize a small show and, in December of that year, to open his Gallery of Living Art in the south study hall of that university's main building on Washington Square. The gallery has been called the first museum devoted exclusively to modern art. (The Phillips Memorial Collection, opened in 1920, might also lay claim to that distinction but for the fact that it was not "exclusively" modernist.) Consisting almost entirely of works from Gallatin's collection and assembled with help from the critic, Henry McBride, there were, at its opening, paintings and works on paper by twenty-four artists, both American and French. In addition to the forty-three of his own, Gallatin included fifteen borrowed works. There was no entry fee and from the beginning it was seen as place for artists to use as well as the general public.
Art collecting: 1930s.
The composition of the Gallery of Living Art was informal and fluid, changing frequently as Gallatin added to his collection or simply wished to revise the display. Somewhat conservative at first, it grew to include major paintings in the cubist, neo-plasticist, and constructivist style by artists such as Picasso, Braque, Gris, Fernand Léger, Piet Mondrian, Jean Hélion, and El Lissitzky as well as ones in the surrealist style by Joan Miró, Jean Arp, and André Masson. Gallatin hung the gallery with the few large paintings occupying wall space by themselves. By the mid-1930s, these large paintings included Picasso's "Three Musicians" (1921), Léger's "The City" (1919), and Miró's "Painting (Fratellini)". Most of the collection consisted of small works making it easy for moderately-sized ones, such as Miró's "Dog Barking at the Moon" (1926) and Mondrian's "Composition with Blue and Yellow" (1932), to attract the viewer's notice. During the 1930s Gallatin continued to receive advice from Jacques Mauny. He also was aided by a succession of friends and acquaintances beginning with Henry McBride (1927–32), followed by Robert Delaunay (1932–33) and then Jean Hélion and George L.K. Morris (1933-ca. 1940). Following his own inclination and their influence, he purged figurative works in favor of abstraction and emphasized non-objective works over ones having identifiable subjects.
In 1936 Gallatin changed the name of the gallery to Museum of Living Art. By this time both the Whitney Museum and the Museum of Modern Art had opened to the public and Gallatin's museum was credited as having the collection that most interested, and influenced, young New York artists such as Arshile Gorky, Philip Guston, Robert Motherwell, and the de Koonings.
In 1938 "Life Magazine" profiled Gallatin and the Museum in a photo spread entitled "Albert Gallatin's Great-Grandson Sponsors a Museum of Abstract Art." The images included a caricature of Gallatin by Léger, a photo of a set of panels in the museum, major works in the collection, and copies of photographs that Gallatin had taken of prominent Parisian artists.
Art work: 1930s-1940s.
In February 1936 Gallatin resumed painting. He had been deliberate and unhurried in his collecting, acquiring first small pieces on paper and, on becoming comfortable with an artist's work, gradually moving on to larger oil paintings. Similarly, he took many months to work up his own easel productions from conception to finished state. The works themselves were uniformly non-objective. At the time critics saw them as cerebral and "euclidean." In 1938, Edward Alden Jewell, the perceptive critic for the "New York Times" called them "pure" and, making an early use of the term, "non-objective" (the quote marks are his). They have since been seen as "sensitively realized abstractions," structural designs of an architectural nature, imbued with "subtle structural strength," and "endlessly inventive." The term "decorative" was also applied to them, both in a pejorative sense and one more in keeping with his own use of the term, which connoted harmony and a higher plane of taste.
In 1936 paintings of his were included in a show at the Galerie Pierre, Paris. Previously exhibited Paul Reinhardt Galleries in New York, it was then called "Five Contemporary American Concretionists" and lacked his work.
He was generally reticent about his work but in 1938 told an interviewer that he tried to strip his painting down to the essentials of art. The statement fits with his writings on the artists whose work he admired. He felt art was best when least connected to things in the world: pure line, color, shape, texture, and tone. In keeping with this attitude, he rarely gave his paintings distinctive names, leaving them untitled or calling them simply "Composition" or "Abstraction."
In 1937 Gallatin joined the American Abstract Artists group (to which Morris already belonged) and began to give it financial support. The group was formed by a loose assembly of artists to help educate the public about abstract art and to hold exhibitions. The following year, at the Georgette Passedoit Gallery in New York, he had his first solo exhibition and also sold a painting, "Composition" (1938), to the Museum of Modern Art. During the summer of that year he made his last trip abroad and thereafter enlarged his collection without traveling.
In 1939 he exhibited with two other members of American Abstract Artists—Morris and Charles G. Shaw—at the gallery of Jacques Seligmann in New York. Since all three were non-objective painters and all were wealthy New Yorkers, they came to be called the "Park Avenue Cubists."
From that time forward, non-objective art in general and Gallatin's art in particular became increasingly accepted within the New York art world. In 1941 he was said to paint with taste, fine touch, and inventive skill. In 1945 Edward Alden Jewell referred to him as an "impressive exponent of this form of abstraction" whose "work is refreshingly individual," "vigorous and expertly painted," and in 1947 he wrote that Gallatin was secure in his position as "uncompromising nonobjectivist" whose work was "all neatness and smooth reasonable decorum." In 1942 Gallatin was referred to as New York's "abstract king" in a profile that appeared in the "Talk of the Town" section of the "New Yorker" magazine.
Later life and work.
During the 1940s Gallatin continued to exhibit his own paintings and organize exhibits of others. In 1942 he put together a show devoted to American women, including Morris's wife, Suzy Frelinghuysen, as well as Alice Trumbull Mason and Esphyr Slobodkina. That same year New York University informed him that he had to close the Museum of Living Art so that the space it occupied could be repurposed as a wartime economy measure. Greatly disappointed, Gallatin accepted an offer from the Philadelphia Museum of Art to provide a home for it. Within a few months 175 works from his collection were moved to Philadelphia and a few were donated to the Berkshire Museum in Pittsfield, Massachusetts, to which Morris and Frelinghuysen were connected. During the remainder of the 1940s, until his death in 1952, he continued to paint, promote, and collect non-objective art. In 1952 was given a one-man retrospective exhibition at the Rose Fried Gallery, New York. On his death he dispersed his remaining works of art to the New-York Historical Society, the Museum of the City of New York, the National Gallery of Art, and his two sisters. At the end of his life the style of painting that he had championed was falling out of favor as abstract-expressionist art achieved its first critical recognition. Since that time it has regained critical attention and public appeal and is seen at least by some as influencing the minimalist and hard-edge artists who came into prominence in the 1960s as well as younger artists such as Sarah Morris and Mai Braun.
Family.
Albert was a common given name in the Gallatin family. Gallatin's great-grandfather was Albert Gallatin (1761-1849), Secretary of the Treasury under presidents Jefferson and Madison and one of founders of New York University. His second son was named Albert Rolaz (1800-1890) and Albert Rolaz's first son, Gallatin's father, was named Albert Horatio. Gallatin had two uncles named Albert, one, surnamed Gallatin, had died before his birth, and the other, surnamed Stevens, died in 1904. Two other uncles, Frederic and James Gallatin had sons named Albert. These two cousins were sometimes confused with Gallatin. Like Gallatin, both lived in New York and both were sufficiently prominent to receive frequent mentions in the local press. Frederic's son was simply Albert (born January 8, 1880, died September 1, 1965). This Albert Gallatin formed a collection of ancient Egyptian art sold to the Metropolitan Museum of Art after his death.
Gallatin's father, Albert Horatio Gallatin, was born March 7, 1839, and died March 25, 1902. A lifelong resident of New York, he was trained in medicine at New York University, served as a surgeon in the Civil War, and became a professor of chemistry at NYU. Gallatin's mother was Louise Bedford Ewing. She was born in Maryland, August 8, 1843, died in New York, December 3, 1922. Gallatin's older sister, Louise, was born May 1880, and died February 8, 1970. She married Charles Merrick Gay, professor of architecture, University of Pennsylvania, and director of the Franklin Institute, Philadelphia, Pennsylvania. Gallatin's younger sister, Cornelia Lansdale Gallatin (February 14, 1884 – March 26, 1973), married Alfred FitzRoy Anderson (July 13, 1882 – November 15, 1965). He was a member of New York society whose charity work involved disabled veterans and repeal of Abolition.
Gallatin himself was born on July 23, 1881, in the country house of his maternal grandmother, Cornelia Lansdale Ewing, which was located in Villanova, Pennsylvania. He attended schools there and in New York, including the Cutler preparatory school and the New York Law School both in New York City. He did not take the bar exam, however, and later said "I don't know why the devil I did it. I think an abstract artist is of more value to the community than a lawyer." As he matured he mixed freely in New York society, frequenting the opera and charity balls. In 1907 he co-founded the Motor-Car Touring Society. He belonged to the Union Club, the Pilgrims Society, the Society of Colonial Wars, and was the sole American member of the French branch of the Society of the Cincinnati. After the United States entered World War I he signed up as an ensign in the Naval Coast Defense Reserve. He also chaired two committees: the Committee on Exhibitions and Pictorial Publicity of the United States Government Committee on Public Information and the Committee on Arts and Decorations of the Mayor's Committee on National Defense. The first dealt with art propaganda and led to the publication of his book, "Art and the Great War" (New York, E.P. Dutton & Company, 1919). The second advised artists on contributing work to the war effort. In December, 1918, Gallatin organized an Allied War Salon under the auspices of both committees. The exhibition took place at the American Art Association, Madison Square South, New York. Duncan Phillips of the American Federation of Arts and Augustus Vincent Tack of the Liberty Loan Committee were co-organizers. It included a large number of paintings, drawings, posters, and other works by the official and unofficial artists of the allied countries. Gallatin was a trustee of New York University and a patron of and donor to numerous art organizations including New York University, the Museum of Modern Art, American Abstract Artists, Museum of the City of New York, and the Berkshire Museum.
Contemporaries said Gallatin was conservative, dandified, patrician, and sophisticated. He dressed elegantly, was tall, sober, and bespectacled. His demeanor was formal and few friends were able to see the side of his personality that was relaxed, humorous, and informal. He was hardworking and firmly dedicated to his life's work. He was said to sleep on a hard, narrow bed, that had belonged to Napoleon's brother Joseph. There was never any scandal attached to his name and he never married.
Collections.
The main source for this list is the web site called Museum Angel.


Recognizable set

In computer science, more precisely in automata theory, a recognizable set of a monoid is a subset that can be distinguished by some morphism to a finite monoid. Recognizable sets are useful in automata theory, formal languages and algebra.
This notion is different from the notion of recognizable language. Indeed, the term "recognizable" has a different meaning in computability theory.
Definition.
Let formula_1 be a monoid, a subset formula_2 is recognized by a monoid formula_3 if there exists a morphism formula_4 from formula_1 to formula_3 such that formula_7, and recognizable if it is recognized by some finite monoid. This means that there exists a subset formula_8 of formula_3 (not necessarily a submonoid of formula_3) such that the image of formula_11 is in formula_8 and the image of formula_13 is in formula_14.
Example.
Let formula_15 be an alphabet: the set formula_16 of words over formula_15 is a monoid, the free monoid on formula_15. The recognizable subsets of formula_16 are precisely the regular languages. Indeed, such a language is recognized by the transition monoid of any automaton that recognizes the language.
The recognizable subsets of formula_20 are the ultimately periodic sets of integers.
Properties.
A subset of formula_1 is recognizable if and only if its syntactic monoid is finite.
The set formula_22 of recognizable subsets of formula_1 is closed under:
Mezei's theorem states that if formula_3 is the product of the monoids formula_25, then a subset of formula_3 is recognizable if and only if it is a finite union of subsets of the form formula_27, where each formula_28 is a recognizable subset of formula_29. For instance, the subset formula_30 of formula_20 is rational and hence recognizable, since formula_20 is a free monoid. It follows that the subset formula_33 of formula_34 is recognizable.
McKnight's theorem states that if formula_1 is finitely generated then its recognizable subsets are rational subsets.
This is not true in general, since the whole formula_1 is always recognizable but it is not rational if formula_1 is infinitely generated.
Conversely, a rational subset may not be recognizable, even if formula_1 is finitely generated.
In fact, even a finite subset of formula_1 is not necessarily recognizable. For instance, the set formula_40 is not a recognizable subset of formula_41. Indeed, if a morphism formula_4 from formula_43 to formula_3 satisfies formula_45, then formula_4 is an injective function, hence formula_3 is infinite.
Also, in general, formula_22 is not closed under Kleene star. For instance, the set formula_33 is a recognizable subset of formula_34, but formula_51 is not recognizable. Indeed, its syntactic monoid is infinite.
The intersection of a rational subset and of a recognizable subset is rational.
Recognizable sets are closed under inverse of morphisms. I.e. if formula_1 and formula_3 are monoids and formula_54 is a morphism then if formula_55 then formula_56.
For finite groups the following result of Anissimov and Seifert is well known: a subgroup "H" of a finitely generated group "G" is recognizable if and only if "H" has finite index in "G". In contrast, "H" is rational if and only if "H" is finitely generated.


Jack Coulter

Jack Coulter (born 1994) is an Irish artist. He is widely known for his paintings and the visceral quality within his work. In 2020, The Financial Times described Coulter as one of the most popular abstract painters emerging today. In 2021, Forbes featured Coulter in their 30 Under 30 list.
Life and work.
Coulter grew up surrounded by abstract art, from an early age he became influenced by post-war Abstract Expressionism and his aunt Christine, who was an abstract printmaker. Whilst still in art school, limited edition prints of his painting 'Halesia' were given to the winners of the GQ Men of The Year Awards. He graduated with a Bachelor of Fine Arts in 2015.
At 21 years old, his painting titled '21' was purchased for the Arts Council Collection of Northern Ireland, the UK's most widely seen collection of modern and contemporary art, making him the collection's youngest artist.
Coulter has synesthesia, a neurological condition which has had a profound effect on his work, other well known synesthete artists include David Hockney, Vincent Van Gogh and Joan Mitchell. In an interview with The Independent, Coulter's earliest memories of this date back to childhood, where he recalled the sound of his own heartbeat resonating pulses of colour. Throughout his teenage years he would frequently paint while listening to jazz musicians such as Miles Davis and Dizzy Gillespie, translating the colours of the sounds onto canvas, with the aural timbres of the music inspiring the pace and motion of his paint strokes.
In June 2016, Coulter collaborated with worldwide music streaming service Deezer, where he produced a 'musical painting' for Glastonbury Festival. His painting attracted worldwide attention and acclaim, it was featured in The Independent, The Guardian, The Irish Times and AOL.
In April 2018, Coulter painted Mendelssohn's Violin Concerto live with London Chamber Orchestra in front of a full audience at Cadogan Hall in London, it was also streamed worldwide. He had a solo article in British Vogue covering the performance.
In 2018 he was commissioned by The Freddie Mercury Estate, depicting one of the iconic Freddie Mercury tracks Mr. Bad Guy on canvas. The piece was then exhibited in 'Bohemian Rhapsody: The Queen Exhibition' in Seoul.
In 2020, Coulter collaborated with Brit Award-winning musician Jack Garratt. He provided album artwork for Garratt’s sophomore album "Love, Death & Dancing" under Island Records.
One of his paintings titled 'Rosegold' was auctioned by The Art of Elysium in Los Angeles through Paddle8 in 2018. He was the youngest artist included and the piece was purchased by Shanola Hampton.
He has also collaborated with Chanel, Alexander McQueen, Burberry, Christian Dior, Calvin Klein, Marc Jacobs and Byredo for Dazed. He was asked to transcribe each brand's scent on canvas.
Coulter's work is owned by many notable individuals and companies such as Paul McCartney, Coca-Cola, Antoni Porowski, Universal Music Group and Harry Styles.
He is the cousin of Academy Award nominated cinematographer Michael Coulter.


Giorgio Griffa

Giorgio Griffa (born in Turin, 29 March 1936) is an Italian abstract painter living and working in Turin.
Biography.
Giorgio Griffa never received a formal art education. He began painting as a child, taking lessons from local painters at the Circolo degli Artisti in Turin.
After completing a degree in law in 1958, Griffa became a practicing lawyer.
In the sixties, Griffa began working as an assistant to the Italian painter Filippo Scroppo, a member of the MAC (Art Concreta) movement and a teacher at the Accademia Albertina in Turin.
Work.
In 1968, Giorgio Griffa abandoned figurative painting in favor of a format of abstract painting that still characterizes his work to this day. Painting with acrylic on raw un-stretched canvas, burlap and linen, Griffa's works are nailed directly to the wall along their top edge. When not exhibited, the works are folded and stacked, resulting creases that create an underlying grid for his compositions. In keeping with his idea that painting is "constant and never finished", many of his works display a deliberate end-point that has been described as "stopping a thought midsentence."
Despite early associations with movements such as Arte Povera and Minimalism, Giorgio Griffa's work was not exhibited in the United States for 40 years after his first solo exhibition in New York at Ileana Sonnabend's gallery. In 2012, Giorgio Griffa had a solo exhibition, Fragments 1968 – 2012 at Casey Kaplan gallery in New York, leading him to be named one of the "10 thrilling rediscoveries from 2012." His exhibition was interrupted by Hurricane Sandy and later reopened in 2013. In her review of the exhibition, Roberta Smith wrote "His art deserves a place in the global history of abstraction".
Exhibition history.
Giorgio Griffa exhibited at Sonnabend gallery in New York in 1970 and participated in important international exhibitions such as Prospekt, Düsseldorf (1969 and 1974) and the Venice Biennale (1978 and 1980). Other important early exhibitions include Processes of Visualized Thought: Young Italian Avant-garde, Kunstmuseum Luzern(1970) and A Painting Exhibition of Painters who Place Painting in Question, curated by Michel Claura, Stadtische Museum, Monchengladbach (1973). Recent solo presentations of Giorgio Griffa's works include Uno and Due, Galleria Civica d'Art Moderna e Contemporanea, Turin (2002), Neuer Kunstverein, Aschaffenburg (2005), MACRO, Museo d’Arte Contemporanea, Rome (2011), Golden Ratio, Mies van der Rohe Haus, Berlin (2013) Fragments 1968 – 2012, Casey Kaplan, New York (2013) and Centre d'Art Contemporain Genève (2015). In 2015, "To relieve the world, ABC-ARTE Genova, with the patronage of Genova Municipality. A Continuous Becoming, Camden Art Centre, London (2018)


Josep Guinovart

Josep Guinovart (20 March 1927 in Barcelona – 12 December 2007 in Barcelona) was a Catalan painter most famous for his informalist or abstract expressionist work.
In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946.
He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Matisse and Picasso and travelled to Belgium, Holland and Germany.
On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw.
In 1962, he illustrated a book of poetry entitled "Posies" by Joan Salvat-Papasseit for the Ariel Editorial. He won many accolades for his work throughout the 1970s and 80s, including Spain's National Award for Plastic Arts in 1982.
In 1994, a museum foundation dedicated to his art was inaugurated in Agramunt, his mother's birthplace to which he always felt a special attachment.
In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture "The Countryside Organ": a music instrument, 6 meters height, for the wind to sing the vines. This winery also displays the 10.5 meters work "In Vino Veritas" and other artists' works.
He died on 12 December 2007 at the age of 80, a few days after suffering a heart attack. He is buried in the Sant Gervasi Cemetery, Barcelona.


Teletext character set

This article covers technical details of the character encoding system defined by ETS 300 706, a standard for World System Teletext, and used for the Viewdata and Teletext variants of Videotex in Europe.
Character sets.
The following tables show various Teletext character sets. Each character is shown with a potential Unicode equivalent if available. Space and control characters are represented by the abbreviations for their names.
Control characters.
Control characters are used to set foreground and background color, character height, current default character set, and other attributes.
In formats where compatibility with ECMA-48's C0 control codes such as and is not required, these control codes are sometimes mapped transparently to the Unicode C0 control code range (U+0000 through U+001F). Amongst C1 control code sets, the ITU T.101 C1 control codes for "Serial" Data Syntax 2, are mostly a transposition of the Teletext spacing controls, except for the inclusion of at 0x9B.
Arabic.
Note that each Arabic contextual/positional character in the tables below is shown with the non-positional Unicode equivalent if available.


Shane Guffogg

Shane Guffogg (Guf-fogg; born August 12, 1962) is an American artist associated with the abstract art movement. He has worked in the media of painting, drawing, and sculpture. Guffogg lives and works between Los Angeles and Strathmore, California.
Early life and education.
Guffogg was born in Los Angeles on the 12th of August 1962. At the age of four, he and his family moved to Lindsay, a small farming town in the San Joaquin Valley. In 1975, his family moved to Strathmore, the neighboring town, because they bought an exotic bird farm. He worked on the farm during his teen years. In the late 1970s Guffogg realized his passion for art and convinced his parents to let him build a studio on the farm. After graduating high school in 1980, Guffogg traveled around Europe visiting various art museums for two months. That fall, he began studying art in a local community college in the Tulare County area. In fall of 1983, he entered the fine arts program at California Institute of the Arts, also known as “Cal Arts.” Attending Cal Arts was a recommendation by artist, Joe Goode after Guffogg visited his studio earlier that year. Douglas Huebler became Guffogg's mentor at Cal Arts because of his influence in the conceptual art movement. He received his B.F.A. from Cal Arts in 1985. He was an assistant to Ed Ruscha and Joe Goode from 1989 until 1995.
Work.
Guffogg's works consist of mediums such as oils on canvas or paper, watercolors, gouache, pastels on paper, and traditional etchings on zinc plates. The size of Guffogg's pieces can range anywhere between 10” x 8” to 10’ x 8’. The paintings with oils typically have as many as 60 to 70 layers of translucent colors. These colors are mixed with a glazing medium that gives these works an illuminated look. This particular process of layering is customary of the Masters and shows how Guffogg's work is rooted in ways of historical European painting techniques.
After visiting the work of the Master's in person during his European travels, Guffogg came to the realization that art is a language in itself as it can explain certain things words cannot. As a result, his works can be thought to be its own language of signs and symbols through its patterns, visual depth and light; which can, in turn, emit emotion to the viewer and hints to Quantum Physics and Super String Theory.
Early Influences.
Guffogg's attraction to art began at an early age. In the late 1960s his mother would take him to the library to check out books. Many of these books were art books with pictures of the art created by the masters, Da Vinci, Rembrandt, and Van Gogh. He saw their works as magic and wanted to be a part of that. From then on he was always drawing or painting. Guffogg said, “I would look at a tube [of paint] and smell it and dab a little bit on my fingers and wonder how artists could take this substance and make it into a work of art. I thought it was like alchemy, like magic. So I always wanted to be a magician in that regard.”
His fascination with the masters and art only continued as he flew to Europe the day after he graduated high school to finally see the works he had admired in person. He visited the National Gallery in London and was inspired to create a self-portrait of himself in Rembrandt's style after seeing Rembrandt's portrait. However, it was not until he saw “The Last Supper” in Milan where he knew he would be an artist.
After that summer, Guffogg enrolled in Porterville College where he put all his focus on painting and studied art history. He felt that it was important to study art history because he felt that it was essential to understanding the art world if one wanted to be a part of it. He looked at it as if it were a conversation that had gone on for years and in order to be fully immersed in it, he must understand how the dialogue began. At the same time, he was curious about Einstein's theory of relativity and space. After studying at CalArts he returned to Strathmore to live with his family and began painting fruit at the family's farm. This homecoming changed his thoughts of how he could contribute to the dialogue of the masters. Guffogg explained, “I began wondering what thoughts look like before we attach language to them. I was also wanting to make paintings that hover between abstraction and realism – between what we see and what we sense.”
New York City.
In 1985, he was chosen by Huebler and other faculty members at CalArts to attend an internship in New York where he could work at a gallery, museum, or as an artist assistant. Guffogg chose to work alongside New York artist, Gary Stephan. The internship lasted around six months, Guffogg chose to focus on learning and watching Stephan work and chose to make no artwork during this time.
Pharmaka.
In 2003, Guffogg began meeting weekly with fellow artists John Scane and Vonn Sumner, and art dealer, Adam Gross, discussing art and the LA art scene. Guffogg created a manifesto for the group that explained the ideas discussed within the group. The manifesto became a constitution which would be called Pharmaka. The name Pharmaka was utilized after their dialogue became public when they opened it up through three exhibitions in Downtown Los Angeles, Hollywood, and Los Feliz.
The Pharmaka non-profit gallery space opened in Downtown Los Angeles in 2004 and stayed until 2009. This space was used for different exhibitions and to continue to open up the dialogue of the current state of contemporary art for artists and curators.
Guffogg's involvement in Pharmaka allowed him to become a pillar in the arts community. During this period, Guffogg lectured at the Savannah College of Art and Design (SCAD), Pharmaka, and the Orange County's Art Crowd. Additionally, he curated numerous exhibitions and had a strong voice in the Los Angeles art community. As a result, he was given a position on the board of the downtown neighborhood council to represent art, culture, and education. He also became a chair for the Downtown Arts Committee.
Pattern Paintings.
Guffogg began creating his pattern paintings in the 90's. These works are created through 70 to 80 layers of translucent oil paint on canvas in order for the pieces to display illumination from within. What is different about the pattern paintings is that Guffogg paints a pattern over his usual pattern found in other works. The patterns are painted lightly and look as if a painted lace was draped over Guffogg's work. He creates the patterns seen in these works by starting at the left-hand corner and working his way across the canvas. This method of applying the pattern to the painting shows Guffogg's attention to conscious and subconscious perceptions and his fascination with the way the human psyche operates. As a result, the viewer can see dancing light within the work veiled by a lace-like pattern.
At the Still Point of the Turning World.
Guffogg began his At the Still Point series in 2009. The series was inspired and its name was taken from T.S. Eliot's poem, ‘Burnt Norton (No. 1 of Four Quartets).’ He first read the poem, years previous to the series’ creation, however, he returned to it because Guffogg feels that the poem addresses his concerns about the art world and the world of painting in the 21st century. Guffogg stated, “for me this is a continuous conversation between past and present, and about creating movement out of stillness in order to make the abstract real.” Although most works in the abstract movement are about flattening of pictorial space and denying the Renaissance window, in this series Guffogg's goal was to create it.
The movement of light through the ribbons in the series documents his own physicality through brushstrokes seen within the paintings. The ribbons create a web through each movement of the brush as each movement requires a counter movement so balance occurs within the piece. As a result, it makes the viewer think the web consists of a single line.
He was also inspired by William Turner's seascapes that were made from 1835 to 1846, Mark Rothko's last works on paper, pieces by Rembrandt, and Jasper John's early ‘Alphabet’ paintings. Guffogg sees this series as a conversation with the artists that inspired him.
Ginevra de Benci.
Guffogg's Ginevra de Benci series of paintings are inspired by Leonardo da Vinci's "Ginevra de Benci” painting. The series was created following Guffogg's “At the Still Point Series” and is thought of as an evolution of that series. The portrait by Leonardo da Vinci is on display at the National Gallery of Art in Washington D.C. The series by Guffogg consists of fifty-two oil on canvas pieces that are meant to symbolize a conversation between Guffogg and Da Vinci. Each painting in the series is titled Ginevra de Benci then numbered. The series appeared in Guffogg's 2013 exhibition, titled, “The Annunciation of Ginevra de’Benci: Conversations with Leonardo.”
The series displays Guffogg's illuminated ribbon motif created in combination with oil paint and resin. The combination of these two materials gives these paintings bursts of light. The tangled ribbons give hints at Leonardo's portrait of de Benci and feminine shape. One can see how Guffogg utilizes abstraction and string theory, modern mathematical and scientific tools, and how Da Vinci utilized classicism and science and math of his time within his work.
Lumen Lapsis.
"Lumen Lapsis" series consists of pastels on paper. In Latin, “lumen lapsis” means, “light falling”. This name is meant to capture the use of light, which is always present in Guffogg's artwork. Additionally, these works utilize light to display the cascading colors of the medium. Lumen Lapsis is also meant to display “thought and process”, working simultaneously, as Guffogg is able to manifest these pieces over one sitting, completing a dialogue with each work.
While creating, Guffogg believes he is able to truly connect with each pastel, unlike oils, that need to be worked over a number of sessions, and take time to dry, pastels allow him to create dimensional layers, as there is no drying time and it allows him to create a “pure moment.”
Murano Glass.
“The Fifth Sound” is the name of Guffogg's Murano glass pieces. The inspiration that would later create this series came to Guffogg in 1997. He began drawing the negative space between the ribbons found in his oil paintings. Then Guffogg would fold the paper with the drawing of negative space in half then cut out the shape would appear as a mirrored image. These shapes created from negative space in his paintings spurred the idea of creating sculptures and would later become templates for the Murano glass series, “The Fifth Sound.”
In 2004, Guffogg was approached by a Venetian art dealer that was looking to have a California artist collaborate with a Murano glass master. He then pursued this opportunity and went to Venice. There, he learned the history of Murano glassmaking. He collaborated with the glass master to display this negative space found with in his oil paintings in a three- dimensional sculpture form. Guffogg and the glass master proceeded with this, and “The Fifth Sound” Murano glass series came to fruition. Guffogg sees these pieces as extensions of his two-dimensional work. These pieces are hand blown and then sanded down so they appear more opaque. Some pieces in the series are also mirror coated as well.
Sapere Aude.
Sapere Aude is a series that Guffogg began in 2016. Like many of his series, this one is also based on the movement of light. Guffogg uses his signature ribbon motif through oils on canvas in flesh tones. The series’ name "Sapere Aude" means “Dare to Know” in latin. The flesh tones are used to depict the human form and its constant evolution through life and society. Through these works he strives to make his viewer question the themselves, people, surroundings and unknown to find virtue.
A Rose is a Rose is a Rose.
In 2019, Shane Guffogg began the series, "A Rose is a Rose is a Rose". This series was inspired by Gertrude Stein and his ranch in Central California. The name of this series comes from a line in Gertrude Stein’s 1913 poem, “Sacred Emily.” He was also inspired by a lecture she spoke at Oxford University where she shared that the word “rose” has three meanings: a person’s name, a flower, and a concept. He also found inspiration from his blooming orchard at his ranch is Central California. There he has planted over 100 different fruit trees and of course roses as well. While up at his ranch, he starts each day tending to this orchard and then begins to paint. The evolution of these plants, blossoming and bearing delicious fruits sparked inspiration for this series.
These pieces depict a delicacy of a rose in a silent, abstract form. He utilizes oils on canvas to depict these dreamy shapes and swirl of a rose in an abstract way. They enamor the viewer as Guffogg demonstrates the evolution of a blossoming rose in these works.
Art Market.
Guffogg's "Amor Fati #1", 2013 sold under the "best sales" category at the Beach Cannes Auction in August 2016 for €148,100. In June 2017, Guffogg's "As of Today #3," 2011 oil on canvas (60” x 80”) was sold for a record high price of $285,000 at Paris auction house, Cornette de Saint CYR.
"Ginevra de Benci #24", completed in 2012, oil on canvas 80 x 100 inches, sold for
€257,000 ($311,516), at an auction in October 2017 at Cornette de Saint CYR, Paris, France “Art Contemporain” auction in Paris.
"At the Still Point of the Turning World - Inhabit the Garden," completed in 2019 is an oil on canvas, 78 x 96 inches, SOLD at Cannes Encheres auction (France) for $224,000.00 USD on July 19, 2019
On August 2, 2020, Guffogg's "Hommage à Klien" (At the Still Point of the Turning World - Behind Us Reflected in the Pool) 2017, oil on canvas, 60 x 48 inches, SOLD at Vermot & Associes Auction in France for $136,000.00 USD (115,000.00 EURO).
External links.
Official Website: https://www.shaneguffogg.com


Indian chess

Indian chess is the name given to regional variations of chess played in India in the 18th and 19th centuries. It is distinct from chaturanga, the ancestor of chess that spread from ancient India to Persia and Europe in the 7th century. There are several such variations, all quite similar to modern rules, with variants regarding castling, pawn promotion, etc. These variants were popular in India until the 1960s. However, even today a mix of Indian and international rules and terminology are used in some parts of India.
Names of the pieces.
The following table describes one version of Subcontinental chess terminology for the various pieces (including Hindi and Urdu pronunciations):


Eric Scobie

Eric Scobie (born 3 June 1952) is a Scottish / Norwegian author and journalist who works mainly from Norway.
Biography.
Scobie's first published work was in "Motklang", a collection of short stories published by Forlaget in Oslo in 1974. This was followed up by the novel "Bentvesten" ("Bent's Territory") in 1981. Published by Aschehoug, it was, according to the author, "a socio-fictional Western set in contemporary Norway". In 1986 "Trekkfugler i garnet" ("Birds of Passage"), was published by Ex Libris.
Scobie has been a member of the rock band Boastein since its inception in 1971. Boastein, founded by Øistein Boassen and Are Storstein, produced two albums: "Jeg har min egen luke" ("My Very Own Hatch") in 1977, and "Urgata Hurgata" in 1980. In 1981, Scobie co-founded, with Erik Gustavson, in Oslo, the film company Fri Media Gruppe (Free Media Group), which produced a long series of shorts and commercial films.
As a translator and subtitler for television, at the Norwegian Broadcasting Corporation (NRK), Scobie contributed to the dissemination of Norwegian-produced TV-programmes throughout the world. He also translated many Norwegian radio documentaries. Scobie has also worked as an editor, most notably with the Norwegian version of the "War Papers", "Krigsavisene", a series published by British-based publisher Albertas Ltd. For his work on this production, he was awarded the Norwegian prize for Free-lance Journalist of the Year 2001. In 1982 Scobie shared the Scheibler Award with Erik Gustavson for their short film "Siste Kapittel" ("The Final Chapter").