Zbigniew Kupczynski

Zbigniew Kupczynski (born November 28, 1928) is a Polish-Canadian abstract expressionist artist known for his colorful portrait paintings of celebrities and children. His work has been the subject of hundreds of exhibitions throughout Europe, North America, Australia and Japan since the 1950s. Today, Kupczynski's works are held in private and corporate collections worldwide, including the estates of former US President Richard Nixon and Pope John Paul II.
Life.
Kupczynski was born in Wilno, Poland, the only child of an officer in the Polish army. He started drawing with crayons as a child and was introduced to painting by his father. At the age of 11, Kupczynski escaped to Warsaw with his mother during the Soviet invasion of Poland, while his father went to Britain to aid in the war effort.
While Kupczynski is known for his abstract and figurative works, he has experimented with a wide range of mediums. In the 1950s and 1960s, his paintings were predominantly oils on canvas. In the late 1960s, he experimented with metal compositions, which were exhibited in Poland, Sweden and Denmark. Acrylic paint has been his preferred medium since the 1970s, when he immigrated to Canada.
Described as "one of the wild boys of Polish art" by Harold Schonberg of "The New York Times", many of Kupczynski's portrait paintings are characterised by his unique personal style, use of bright colors on canvas, and trademark mini-scenes on the accentuated noses of his subjects.
Career.
In 1946, Kupczynski moved to Wroclaw to receive formal training at the Academy of Fine Arts. In 1952, Kupczynski became a member of The Association of Polish Artists, but the country's socialist realism policy barred his work from exhibition due to his tendencies towards expressionism and semi-abstract art.
A change in Poland's government in the mid 1950s precipitated new trends in abstract expressionism and rising interest in Kupczynski's work. In 1956, French artist Andre Pignon visited Kupczynski in Warsaw and was appalled by his living and working conditions. Pignon's intervention resulted in the Ministry of Arts and Culture in Poland allocating a studio to Kupczynski.
By the late 1950s, Kupczynski had attracted the attention of both Polish and Western critics, and he was featured in various publications, including "Tygodnik", "Stolica", "Przeglad Kulturalny", "Wspolczesnosc", "Po Prostu", "Munchen Merkur", and "Tagebuch". He was one of three artists featured in a documentary by The National Film Board in Poland, and he was awarded a government grant that enabled him to continue training in Paris. This led to an exclusive contract with the Galerie André Schoeller and further exhibitions in Poland, France, Austria, Switzerland, and the United States. In 1959, while on a trip to Warsaw, then-United Stated Vice President Richard Nixon purchased one of his paintings.
By the early 1960s, Kupczynski had been commissioned to paint the interior of a church in Kiełpino, Poland, as well as a mural in Oświęcim, Poland. He had exhibited works in both the United States and Europe, including a one-man show at the Miami Museum of Modern Art. In 1962, Kupczynski initiated the first outdoor modern art exhibition in Warsaw on the walls of Barbican in Kraków, evoking provocative cultural and political dialogue between artists and the hostile communist regime.
In 1963, Kupczynski's art was included in an exhibition at the Philadelphia Museum of Art alongside the works of Picasso, Georges Braque, Joan Miró, Marc Chagall, and Paul Klee. In 1964, Polish composer Tadeusz Baird chose Kupczynski's artwork for the album cover of "Modern Music Tastes".
In 1966, Kupczynski was included in Germany's most prestigious art encyclopedia, "Thieme-Becker", and the world's largest contemporary art exhibition, the Kassel documenta, as well as the Repertorium Artis.
In 1980, with his wife (tapestry artist Eva Kupczynski), Kupczynski opened the Kupczynski Studio Gallery in Vancouver. Kupczynski devoted much of the 1980s to commissioned work, including posters for the Vancouver Opera, a ceramic mural for British Columbia's Children's Hospital, and a poster entitled "Pax in Terra" to commemorate Pope John Paul II's visit to Canada.
Kupczynski has been featured in many art shows in Canada and has had numerous exhibitions abroad, at the Drian Galleries in London, UK, the Art Emporium Gallery in Seattle, the Carimor Gallery in New York, and the Bancho Gallery and Atagoyama Gallery in Tokyo.
In 2001 he returned to Poland for two exhibitions, in the Art and Forma Gallery and the Gallery of the President in Warsaw. In 2002, another exhibition of his work was held at the Historical Museum of Warsaw, and in 2007 at the Polonia House, Kraków, Poland.
Kupczynski has written and been the subject of several books, including "Journey to the Red Desert", "Three Hundred Years Of Kupczynski", "Art Warrior" and the ebook "The Worlds of Kupczynski".
In 2020, Kupcyznski was featured in the documentary "The Painter from Nowhere" by Christian Trineer.


Vicky Colombet

Vicky Colombet is a French-born American visual Artist. She lives in New York and Paris.
Life.
Born in Paris in 1953, Vicky Colombet grew up in Paris in a family that was artistic and intellectual on her father’s side and nomadic on her mother’s side. Her mother’s search for her ancestry led the family to travel often to Asia. The exposure to Asian Culture at an early age, has been a major influence.
An avid reader of poetry and philosophy Colombet began as a writer and wrote two essays in Les Temps Modernes “Les Femmes s’entêtent" Involved in the Feminist movement in Paris, she met Simone de Beauvoir in 1974 and co-founded with her, and , Annie Sugier and Annie Cohen “La Ligue du Droit des Femmes”. Vicky Colombet started a newspaper “Les Nouvelles Féministes” (1974 to 1977) with Simone de Beauvoir as the Editor-in-chief. The writer Christiane Rochefort (1917-1998) who became a close friend encouraged her to pursue an artistic career. The painter Henri Dimier (1899-1986) who was an iconoclast with an Asian approach to the practice of art became her mentor. And later, having the opportunity to meet with Agnes Martin in the last years of her life, Colombet was influenced by Martin’s rigor and her withdrawal from the world.
Work.
In 2001, Colombet moved to America and became a U.S. citizen in 2013. In many of her paintings and drawings, as well as in her major architectural work the sandblasted curved glass wall of Villa Nurbs, several elements (air, water, earth) merge to manifest the dynamic flux of the universe. "Breathing" is the character Colombet looks for in a work. Colombet never stopped drawing, as a vital exercise of hand and mind and as a record-like notes for the fiction she would unfold on canvas. Each of Colombet's paintings is the result of a long process that starts with the choice of the linen she handpicks in Spain or France. Colombet makes her own primer and grinds her own pigments. ""Her paintings… work both as pure abstraction and as studies of nature. They can manage to seem resolutely nonobjective while conveying the weight of a study of mountains or stone. In fact, her philosophy of form can be said to occupy a point where abstraction and nature meet. Colombet’s singular vision juggles the opposition of representation and abstraction. The notable intelligence of her art is, indeed, based upon an objective, nearly scholarly research into the relations between the two. Vicky Colombet extends our knowledge of art’s ability to communicate effects that are inherently mysterious but truly compelling as things to see.”"
Biography.
Recipient of the Adolph & Esther Gottlieb Foundation award in 2001, the Pollok-Krasner Foundation grant in 2014. Vicky Colombet is a member of the Elizabeth Foundation for the Arts studio program since 2004. Her work has been exhibited extensively on both sides of the Atlantic and is in a number of important private collections in the US and in Europe. Notably, her two first solo shows in the United States were at Haim Chanin Fine Arts in New York and Evo Gallery in Santa Fe, both reviewed in Art in America. From 2005 to 2012, she collaborated with the Spanish architect to create a monumental glass work (150x 12 feet) inside the Villa Nurbs. From 2012 to 2015 she had several group shows at Bernard Jacobson gallery. In 2016 she was in a three-person show at the Museum of Fine Arts at St Petersburg, FL. The Albright-Knox Art Gallery purchased one of her large painting "Antarctica" series the same year. Vicky Colombet is the first Contemporary artist to be included in the Musée Marmottan Monet collection. Vicky Colombet is represented in New York by The Elkon Gallery and in Paris by the Galerie Baudoin Lebon .
Bibliography.
"Time Travel" at Leonard Hutton Galleries (Master Drawings New York 2017), White Hot Magazine, January 2017
"Measured Life", Creative Loafing Tampa, 2016
"Navigating Abstraction" Wall Street International
"A Philosophy of Form": In Vicky Colombet, Abstraction and Nature Meet on Equal Terms", Jonathan Goodman, artcritical, December 2014
“Coherent Surface, Radiant Light", at Bernard Jacobson Gallery, Art News, Barbara A. MacAdam, New York September 2012
Spanish TVE documentary "Continuara" 2012
"At Home With Town & Country" Sarah Medford, Hearst Books, 2010
On the Radar: ""Vicky Colombet: Terres de Brume / A New Geography" at Bleu Acier", Creative Loafing, Franki Weddington, 2009
“On Not Knowing Where to Stand” / "Mirando, Cayendo, Viajando" (catalogue), Galeria Fidel Balaguer, Barcelona, Spain. Lyle Rexer, April 2007
"Vicky Colombet at Haim Chanin Fine Arts", artforum.com's "Critics' Picks",T. Nikki Cesare, Sept 2007
"Art of Conversation", Creative Loafing, Tampa, Megan Voeller, 2006
"Nothing to see from the ground", Nena Tsouti-Schillinger, 2004
"Winds", Haim Chanin Fine Arts, 2004
"Canapé" February 2004 edition CUNY TV » City University Television
"Abstractions au Carré", Carré Sainte Anne, Montpellier,1997
Public Collections.
Albright-Knox Museum
Musée Marmottan Monet, Paris
Museum of Fine Arts (St. Petersburg, Florida)
Tucson Museum of Art (Arizona)


Knox Martin

Knox Martin (born February 12, 1923) is an American painter, sculptor and muralist.
Born in Barranquilla, Colombia, he studied at the Art Students League of New York from 1946 till 1950. He is one of the leading members of the New York School of artists and writers. He lives and works in New York City.
Early life.
Knox Martin is the oldest son of Lieutenant William Knox Martin, a Virginia-born early aviation pioneer and flyer, and his wife Isabel Vieco, who were married in the Canal Zone in Panama in 1921. Knox Martin Sr., painter, poet, early test pilot, was the first man to fly over the Andes mountains. Six years after his marriage, Martin Sr. was fatally injured in an automobile accident in Watertown, New York. His widow Isabel relocated with her three young sons from Salem, Virginia to New York City.
Early career.
After serving in the United States Coast Guard during World War II, Martin attended the Art Students League of New York on the G.I. Bill from 1946 to 1950, where he studied with Harry Sternberg, Vaclav Vytlacil, Will Barnet, and Morris Kantor. In 1954, Martin's friend Franz Kline placed a painting of his in the Stable Gallery Annual. Charles Egan of the Charles Egan Gallery saw Martin's painting at the Stable Gallery and asked him to show his work in a one-man show for the tenth anniversary of the Egan Gallery.
Work.
Knox Martin is best known for his repertory of signs and symbols that allude to nature and, in particular, to the female form. Flatly and freely painted in brilliant colors, his works have often been executed on a grand scale, as in the outdoor wall painting, "Woman with Bicycle", at West Houston and MacDougal Streets in Manhattan. He mostly creates painting, sculpture and wall paintings using media such as acrylic, collage, fresco, ink drawing (pen and ink), mixed media/multimedia, and oil.
One of his wall paintings in New York City is the twelve-story mural "Venus". Painted in 1970, it is located on the south side of Bayview Correctional Facility at 19th Street and the West Side Highway.
"Traditionally the goddess of love and fertility, Venus represents woman, erotic and supple, but it also conveys Martin's love affair with New York. Venus is his love poem to the city where he has always lived, a place that is part of his being. The feminine, curvilinear shapes of the image are in direct contrast with the straight forms that intersect the composition. The overwhelming size of this enormous mural only intensifies the experience of female shapes, the linear aspects of the painted composition, and of the surrounding architecture. In an era when art was reaching out to the masses with pop culture, this huge mural was Martin's way of touching a public that would never venture into an art gallery."
Collections.
Martin's work is included in the collections of Whitney Museum of American Art, Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, Art Students League of New York, Brooklyn Museum of Art, National Academy of Design, National Arts Club, New York University, Addison Gallery of American Art, Albright-Knox Art Gallery, Art Institute of Chicago, Art Museum of Southeast Texas, Baltimore Museum of Art, Berkeley Art Museum, Blanton Museum of Art, Boca Raton Museum of Art, Chrysler Museum of Art, Corcoran Gallery of Art, Dallas Museum of Art, Denver Art Museum, Hand Art Center, Herbert F. Johnson Museum of Art, Heckscher Museum of Art, Hofstra University Museum, Indianapolis Museum of Art, Ithaca Museum, Lowe Art Museum, George Washington University, Montclair Art Museum, Minneapolis Institute of Arts, Newark Museum, Oklahoma City Museum of Art, Portland Art Museum, Provincetown Art Association and Museum, Reading Public Museum, Southern Alleghenies Museum of Art, Springfield Art Museum, The Museum of Fine Arts, Houston, Toledo Museum of Art, University of Kentucky Art Museum, University of Maine Museum of Art, Weatherspoon Art Museum, Wellesley College, William Benton Museum of Art, Israel Museum, Ludwig Museum in Budapest, and the Bibliothèque Nationale.
In 2002 Martin was named to the National Academy of Design.
Teaching.
Knox Martin gave a legendary master class at the Art Students League of New York for over 45 years, where he mentored generations of artists. Earlier he taught at Yale Graduate School of Art, first as visiting critic in art, invited by Jack Tworkov, and then as Professor of Art. He has also taught at New York University, the University of Minnesota, and the International School of Painting, Drawing and Sculpture in Umbria, Italy.
Recent work.
September 15 to November 13, 2010 Martin had a one-man show of his Black and White Paintings at Woodward Gallery in New York City.
October 6, 2012 to April 6, 2013, Martin had a solo exhibition of recent paintings, SHE, at the Sam & Adele Golden Gallery at Golden Artist Colors in New Berlin, New York.
September 13 to October 26, 2013: Knox Martin Exhibition SHE at LGTripp Gallery in Philadelphia
On November 14, 2016, France conferred the insignia of the Legion of Honour on Martin for his contribution to the liberation of France during World War II.
From May 2 to June 1, 2019, Martin had a solo show, Knox Martin: Radical Structures, at Hollis Taggart Galleries in New York City.
October 18 to December 7, 2019, Martin had a solo show, Knox Martin: New York 1962-2019, at Nancy Littlejohn Fine Art in Houston, Texas.
July 18 to October 11, 2020, Martin had a solo museum exhibition, "Knox Martin: Living Legend", at the Arlington Museum of Art in Arlington, Texas.
Knox Martin is represented by Hollis Taggart Galleries.


Korea Janggi Association

The Korea Janggi Association was founded in 1956 for the promotion of Janggi, or "Korean chess", and is based in Seoul, South Korea.


Lionbridge

Lionbridge Technologies, Inc is an American company that provides translation and localization solutions. Based in Waltham, Massachusetts, the company has operations in 26 countries.
History.
The company was founded in 1996. In 2005, they acquired Bowne Global Solutions, then the largest localization provider worldwide. They acquired Darwin Zone, a digital marketing services agency based in Costa Rica, and Clay Tablet Technologies, a content connectivity software firm, in 2014.
In 2015, they acquired Zurich-based CLS Communication, a translation services provider, and Geotext, a legal translation company. In December 2016, it was announced that Lionbridge entered into a definitive agreement to be acquired by H.I.G. Capital. The deal was announced closed in May, 2017 and, subsequently, the company was delisted from Nasdaq. Lionbridge is now a privately-held company and part of the portfolio of H.I.G. companies.
In July 2017, John Fennelly was named Chief Executive Officer. The founder of the company, Rory Cowan, is Chairman of the Board of Directors.
In December 2018, Lionbridge fully acquired Tokyo-based Gengo, a crowdsourced translation and AI training data provider.
In November 2020, Lionbridge entered into an agreement with Telus International to sell AI division.
Operations.
Lionbridge provides translation and localization solutions in 350+ languages. Including its US headquarters, the company has offices in 26 countries.
Controversies/court cases.
A securities class action lawsuit involving the company was filed in July 2001 under "Samet v. Lionbridge Technologies, Inc. et al." in the United States District Court for the Southern District of New York.
In 2006, a Lionbridge employee was awarded noneconomic damages of USD 366,250 and economic damages of USD 221,433 due to failure by the company to fulfil its obligation to help the employee obtain a green card.
A 2008 court case involved an unfair dismissal claim by a former Lionbridge employee fired for union recruitment activities at the company's Warsaw office to protect employment conditions. Protests in support were held in Denmark, Spain, Poland, and Ireland.


Ihor Paliy

Ihor Paliy (Igor Palii, , born 10 May 1963) is a contemporary Ukrainian painter, specialized in abstractionism, a combination of Abstract art and Realism. The technique he mainly uses is Oil on canvas. He is a member of the Community of Artists of Ukraine.
Biography.
Igor Palii was born in 1963 in Drohobych, a regional center of Western Ukraine, in a family of musicians and child care workers. In 1986 he finished faculty of architecture at Lviv Polytechnic National University. After graduation he was involved in various architectural projects combined with canvas painting.
Sakhalin period.
In 1986, Igor Palii moved to Sakhalin island.
Polish period.
Moved back to Krakow, Poland in 1992. In 1998 Palii’s first personal exhibition in Krakow was organized. Actively participates in polish cultural life and charity campaigns. In 2004 Igor Palii participated in international Art auctions, where his oil-painted canvas “Bez Tytułu. 2001” (“Without A Title.2001”) was sold for 2,772 USD.
Turn to steel art.
Since 2002 Igor Palii turned to new art stream beginning to create his own works of art made of steel. The main cause of such turn was the need of three-dimensional figures as an addition to Palii’s paintings in a current project. In order to fulfill his new vision, Igor Palii establishes his own small enterprise of steel art production. The new turn resulted in such projects as decoration of trade center “Sophia” in the west of Ukraine, restaurant “Flamingo” in Stryi, Ukraine, “Museum of Beer”, “Aivengo” in Lviv, Ukraine. In 1999-2000 creates and implements the project of restaurant-branch “Egypt” (Stryi, Ukraine).


Richard Keyes

Richard D. (Dick) Keyes (October 19, 1930 – August 27, 2012) was an American painter associated with abstract expressionism, impressionist landscapes and the California Plein-Air Painting revival. Keyes was a Professor Emeritus at Long Beach City College, where he taught life drawing and painting for 30 years, between 1961 and 1991. He continued to teach, lecture and demonstrate throughout his retirement, with groups such as the Huntington Beach Art League.
Biography.
Richard Keyes was born in Detroit, Michigan, in 1930. His parents, Richard and Estella,
encouraged his interest in art early on, and enrolled him in an art school at the age of
16. This propelled him to attend Highland Park Community College and Wayne State University in Detroit.
Keyes then served in the United States Air Force, during the Korean War. Upon his discharge from the Air Force and after returning to the United States, he attended the University of Michigan, earning his BA in Design in 1957. After marrying, he and his wife Carol moved to California, where he enrolled in the higher education program in Art at the University of California, Berkeley. While at Berkeley, he studied under artists David Park, Glenn Wessels and Erle Loran, and in 1958, he received his Masters in Painting. His style of painting at this time was Abstract Expressionist, and the Berkeley experience was very important to him, as he said it solidified his awareness and control of the abstract in visual art.
Within several years, Keyes' work shifted to abstracted landscapes. After a period of making
welded steel sculptures, he returned to painting, though in a more realistic, yet impressionistic
style. His most frequent subjects were the great rolling landscapes and seascapes typical
of California's Central and South Coasts, but he also painted in much of the Sierra Nevada Mountains of eastern California.
After his retirement, Keyes studied with California Art Club members Ken Auster, Roger Armstrong, Jeff Horn and Mario Mirkovich. He continued to be a member of several artists groups, such as the California Plein-Air Painters Association and Laguna Beach Plein-Air Painters Association. He exhibited his work every summer at the Art-A-Fair Festival, in Laguna Beach, California, only stopping these shows due to his declining health. He died at home of complications from heart failure at the age of 81.


Abdul-Tawab Yossef

Abdel-Tawab Yossef Ahmed Yossef (Arabic: ), an Egyptian author, translator and publisher of publications issued by the school and the university. He was born in the village of Shanra in Beni Suef Governorate in Egypt on October 1, 1928. He obtained a BA degree in political science from Cairo University. Then after graduating from the university, He worked as a supervisor for school radio programs at the Ministry of Education. Then he headed the Department of Journalism, Radio and Television. He works so until he devoted himself to writing for children since 1975. He had the idea of issuing the first Islamic magazine for children under the name of Paradise ( ALfirdaws) in 1969, and he established the first conference for child culture in 1970. He established the Children’s society, as well as the first to present work for children. He specialized in children’s literature and occupied a prominent position in this field. He was considered one of the most prominent pioneers in children’s literature and copied the standard literary production in the Arab world in the twentieth and twenty-first centuries.
His writing was characterized by its sweetness, sophistication and accurate information. He was distinguished by his wide culture and concerns to present everything that is useful. Abdel Tawab's books were printed about 25 million copies between Egypt, Beirut, Iraq, Kuwait, Qatar and Muscat. Some of his books have been translated into English, French, German, Persian, Indonesian, Chinese and Malaysian. While Joseph translated works for children, including The Birth of the Messenger in Anderson's Eyes .. A scene in Constantinople by the Danish writer and poet Hans Christian Andersen.
Among the most prominent prizes he received were the 2000 Bologna International Children's Book Fair for his book The Life of Muhammad in Twenty Stories; State Prize for Children's Literature in 1975; The State Prize of Appreciation for Child Culture in 1981; And the King Faisal International Prize for Arabic Literature in 1991; The Armed Forces Prize for Literature in October 1992; The first prize in the competition for the best children's writer in 1998; The Suzanne Mubarak Prize in 1999 and 2000; With the Order of Sciences and Arts, First Class; State Merit Prize for Children’s Literature in 1981; The Order of the Republic is of the second class; UNESCO World Literacy Prize in 1975. And the gold medal from the Arab Broadcasting Union. He passed away on 28 September 2015.
His life.
His birth, childhood and youth.
Sons of Abd al-Tawab Yusef, from the right: Issam, then Hisham, then Lubna.
Abdel Tawab Youssef was born in the village of Shanra, in the city of Al-Fashn, in the governorate of Beni Suef, on October 1, 1928. He received his primary and secondary education in the city of Beni Suef. He lived his childhood in the villages of Egypt and expressed this in his stories and creative works, as he used to rent novels and books to read and then repeat their story to his friends who are children. This is the reason that led to his uniqueness, later, in the way he wrote for children, as he imagined himself among children and spoke to them, which makes the reader participate in thinking and opinion in the story he read.
He moved to Cairo in 1945 to begin his university studies at the Faculty of Economics and Political Science at Cairo University until he obtained a bachelor’s degree in 1949. Six months after his graduation in January 1950, his father passed away, which posed a great challenge to him in his life, as he decided to move to Cairo With his mother and three sisters, between the ages of six and ten, to live, earn a living and educate his sisters. He obtained a master's degree in 1953.
His Marriage.
In 1956, he married Natila Ibrahim Rashid, former editor-in-chief of Samir Magazine and Crescent Books for Children, winner of the State Prize in Children's Literature in 1978 and the First Class Medal of Science and Arts. They gave birth to their three children, Lubna, in 1957, and she is a professor at the Department of English at the Faculty of Arts at Cairo University and the faculty vice-dean for postgraduate studies. Hisham in 1959, a diplomat and was the official spokesman and head of the office of the Secretary-General of the Arab League, and now he is the head of the relief unit in the Organization of Islamic Cooperation in Jeddah, Saudi Arabia; And Essam in 1965, where he was a managing director of the Egyptian International Company for Environmental Protection and is currently working as a general manager for Montana Studios for Film Production, and the author of two novels A Quarter Gram in 2008 and two officers in 2014.
Years of work.
Children's radio programs were the starting point in his career, as it gained him experience in the audio and audio field, and he worked hard to write works that combine pleasure and keep pace with circumstances, events and occasions, and this was in the sixties. His first children's work was broadcast on the Papa Charu program on December 19, 1950. Since then, he has written thousands of programs for children, which were presented on all Arab radio stations. He worked as a supervisor for school radio programs at the Ministry of Education after graduating from the university from 1950 to 1960. Then he headed the Department of Journalism, Radio and Television in them from 1960 to 1971; Then he headed the Culture Department from 1971 to 1975. In the early seventies, his first trips to the outside world was to Europe, and on this trip he got acquainted with new dimensions in the field of children's literature, then his interest in new dimensions increased when the Cairo International Book Fair was held, which allowed him to learn about the various schools and trends that interest children and write for him. In all its life stages.
And he chose to write in all areas of knowledge such as the religious aspect, nationalism, national values, educational attempts, science and its fields, the Arabic language, its nobility, ancient and modern, humanistic trends, recreation and entertainment, writing for the child and about the child and childhood. Until he devoted himself to writing for children since 1975, after a five-year break in political work. Despite what Abdel-Tawab wrote about children, he considers himself more a reader than a writer. He stated in one of his press interviews, saying: “He showed me more of a reader than I am a writer, and during my travels I bought thousands of books until I had a library that says those who visited it from the English And the Americans, it is the largest home library for children in the world. ” The large number of children's books that he bought for the greatest children's book in the world caused Youssef to buy an apartment in which he deposited 30,000 books for children, left 10,000 books in his house, and deposited 5,000 books in his son’s library.
Abdel Tawab Youssef has been a member of the Board of Directors of the Association of the Protectors of the Arabic Language since its inception and of the Children's Culture Committee of the Supreme Council of Culture since its inception, where he was its deputy rapporteur and the Family and Child Committee of the Supreme Council of Islamic Affairs, founder of the Egyptian Writers Union, and a member of the board of directors for twenty years. He served as Secretary-General for three years and witnessed the Federation’s symposium on children's literature in Damascus, Baghdad and Bani Ghazi. The writer is considered a record holder in his literary production, as he presented 595 books for children printed in Egypt, 125 books for children that were printed in the Arab countries, and 40 books for adults.
literary style.
His reading at an early age had a great and influential role in his collection of references, as he read about international thought and literature, which made him exceed his age, and this literary treasure, later, in the form of literature and children's stories, was taken out, where he considered caring for this type of literature as a civilized feature that means dealing with the future science and planning for it. The writer's literary production is a reflection of his upbringing, as Yusef lived his childhood in the villages of Egypt and spoke about it, and he expressed this clearly in his literary works, and he used to narrate that in his childhood he used to rent novels and books to read them and then return their story to his children friends, which made him a master storyteller and storyteller.
Abdel Tawab was unique in a style that he created for himself in writing for children, and no one preceded him, which is to imagine himself among the children and talk to them, which makes the reader participate in thinking and opinion in the story he read. The family climate in which he was raised played another role in his literary style, as he grew up in a middle class that made his writing influenced by the religious stories he presented in the form of hadiths for children. Abdel Tawab considered that the lack of creativity in some children's literature writers is the obstacle that stands in the way of the proliferation of literary production, as some writers are content with reformulating old stories only.
Youssef took an independent approach to writing, highlighting the focus on Islamic values and working on the merging of scientific and religious information at the same time. He says in this: “My methodology in writing for children begins with establishing a belief and then loving the Noble Qur’an for them. The children’s memorizing verses of the Qur’an elevate them to the noble and miraculous style of the Qur’an. In my stories, I focused on birds and animals mentioned in the Holy Quran, which total 30 birds and animals. I started with a story about the whale, so I said I am a whale that weighs 75 tons, even though my egg cannot be seen with the naked eye. ”
His relationship with Anis Mansour.
In 2002, Youssef wrote a letter to the late Anis Mansour in which he introduces him to himself and his literature, draws attention to his cartoon characters and corrects a mistake that occurred in him. Mansour published his message in his column, Mawaqif, which he used to write in Al-Ahram, and he responded by saying: Excuse me, dear friend, because I am not completely following children's books and their world, as in our family children I see them for some time and occupy them for moments. Everything returns to how it was, and I return to my world from books, reading, and the constant breeding of question marks and exclamations that wrap and fly around my brain and spoil sleep and food, distort the mind, and release black smoke in my eyes and buzzing in my ears.
Literary production.
Abdel Tawab realized, at an early age, that children are the hope, the widest door, and the most important path to the future of the nation, and he did not miss a moment to present to them his life as a writer and thinker, as he left a legacy full of creative works in the field of child literature, as he was considered one of the most prominent people concerned with writing about it in The Arab world, who left clear and influential imprints in what they presented to children. Abd al-Tawab realized that exposure to writing to a child requires a special awareness of the child, his world, his way of thinking, his understanding of what he sees and hears of speech, his understanding of the semantics of words, the level of language structures, what he loves and accepts him and what he is alienated from. The writer's writings were characterized by diversity, and he drew inspiration from world folklore, religious heritage and Arab history. He also employed Arab culture and Arab environments in his production. He has enriched the Arab Library with a total of 951 literary works; 595 children's books were printed in Egypt; And 125 children's books were printed in the Arab countries; And 40 books for adults; In addition to two writers about Muhammad’s life in twenty stories, of which 7 million copies were printed; In addition to the field fiction, which has printed 3 million copies.
Peoples Tales series.
• Ants Hill ... and other stories from Indonesia.
Tokinaro and other tales from Japan.
• The Yellow Butterfly ... and other stories from Africa.
• The White Peacock and Other Tales from Spain.
• Who wins and other stories from the Slavs.
• The Mayor and other stories from the Slavs.
Awards.
Abdel Tawab Youssef has received many awards and honors such as: The Bologna International Children's Book Fair 2000 prize for the book Muhammad’s life in twenty stories; State Prize for Children's Literature in 1975; The UNESCO World Literacy Prize 1975; The State Prize of Appreciation for Child Culture in 1981; The King Faisal Prize in Arabic Literature 1991; The Armed Forces Prize for Literature in October 1992; The first prize in the competition for the best children's writer in 1998; The Suzanne Mubarak Prize in 1999 and 2000; The Order of Sciences and Arts of the first class; The Order of the Republic is of the second class; And the gold medal from the Arab Broadcasting Union.
His efforts in the Arab world.
Abdul Tawab Yousef visited the United Arab Emirates 3 times to follow up on literacy efforts to improve the mind of the Arab child, in addition to his participation in seminars and activities to eradicate illiteracy for children in more than one Arab country. And Sharjah to attend the activities of the Children's Culture Festival and to attend the Dubai Symposium on Children’s Literature in 2004. An envoy from UNESCO visited Qatar three times and likewise to participate in seminars related to childhood; He visited Kuwait more than 10 times; He visited Bahrain 6 times, also Damascus, Sudan, Libya and Tunisia, 10 trips to Saudi Arabia, and one visit to Morocco and Algeria. He also visited England, France, Italy, Switzerland, Bulgaria, Czechoslovakia, America and Canada, and made 117 trips to the countries of the Arab world besides 40 trips to America, Canada, Europe and the Far East and founded and headed the Children's Culture Association since 1968.
Sayings about him.
Suheir Al-Qalamawi.
The writer is called the pioneer of children’s literature in the Arab world, but he always refused that, explaining that “I am not a pioneer and I do not like this name. The real pioneer is Kamel Kilani, and I followed the path of this man, and I consider him more important than Anderson because he did Creating 10 channels for children's culture. In the fun, he composed stories about Juha, composed religious stories, compiled stories about the Prophet’s biography in 30 books, and added sciences, but for the time when it was only living, he was interested in animals and plants only, so there was no physics, chemistry and technology as it is. The state of our time, and I believe here a famous saying by Bernard Shaw where he says: I do not look like Shakespeare, but I stand on his shoulders. Therefore, I developed after Kamel Kilani and between me and him 50 years. ”
As for the Arab world, he was called the Umda of Arab Children’s Writers, and he was praised by many Arab and international intellectuals and personalities. Suheir Al-Qalamawi said of him: “There are many people who write for children. But only a few have produced real literature, and Abdel-Tawab Youssef is at their forefront, in terms of quantity and quality. While Desan Roul, President of the International Association for Children's Books, said of him: “Abd al-Tawab Youssef’s library is the largest children's library in a household in all the world, and his books apply the same thing.”
His statements.
«The children's writer is a creature that has its own peculiarity arising from that he assimilates the personality of the young when he addresses him, and tries to simplify, and returns to the source from which he draws his material, and his topics while in the meantime searching for words included in the child's dictionary, bearing in mind his tendencies and desires, needs and motives, hoping to be enjoyable This is my childhood. '
His death.
The Egyptian writer Essam Youssef said that his father, the children's writer Abdel-Tawab Youssef, died on the afternoon of Monday 28 September 2015 at the age of eighty-seven, following a health crisis that afflicted him in August of the same year, leaving more than a thousand books for children, thus achieving a record for a writer in Egypt and the world. In a call with Reuters, Yusef added that his father had suffered from some diseases in recent months and that he had lost enthusiasm for everything since he stopped holding the pen about six months ago. The funeral took place at the Hosary Mosque in the 6th of October City.


Malika Favre

Malika Favre (born 1 December 1982) is a French illustrator and graphic artist based in London. Her style of works could be characterized by pure minimalism within Pop art and Op art, where it sometimes described as 'Pop Art meets Op Art'. She combines simple illustrations with geometric patterns and has developed a unique style of illustration by using positive and negative space and colours, elegant layouts, especially of the female body and the curves.
Early life and education.
Malika Favre was born on 1 December 1982 in the Paris region, France, and grew up there. Her mother was a painter. After high school education Favre went to a science prep school because she thought that she wanted to become a quantic engineer. But in contrast she decided to go to an art school at Paris named École nationale supérieure des arts appliqués et des métiers d'art, which often known as Olivier de Serres. She was graduated from Olivier de Serres. After finishing her education in Paris, she pursued illustration when she moved to the London, and where she took higher education from the Surrey Institute of Art & Design, University College in Farnham.
Career.
Favre did an internship for three months at Airside, a British design studio which closed in 2012. In 2006, she started work as an Art Director at Airside, which led to collaborations with numerous high-profile magazines and clients including wallpaper and The Sunday Times. She also worked for UNIT9 in 2006. In 2011 she left Airside to set herself up as an independent illustrator.
Works.
Favre is an independent illustrator and has worked on a variety of projects spanning editorial, advertising and publishing. Her unique graphics style, mixing Pop and Op art, is featured by companies such as "Sephora", "Le Bon Marché", "Penguin Books", and newspapers such as "Vogue", "The New York Times", "The New Yorker", "The Sunday Times", and "Vanity Fair", etc.


Walter Noetico

Walter Noetico (born 14 July 1946, Vicenza, Italy) is an Italian painter, sculptor, and writer. He is the founder of two art movements: Indimensionalism and Neoilluminism. He is also the inventor of new artistic techniques and of the new Alphabet, Neoilluminist Alphabet, in which every letter has a symbol of a woman and a man.
Beginnings as a sculptor and painter.
In 1966, Noetico studied Art and Architecture in Ca' Foscari University of Venice and graduated in 1972. He began his first indimensional paintings in 1968, at first with positive and negative geometric opposition and then with relativistic concepts. In his exhibition at Padova, in 1975, Noetico met the art critic Alexandre Cirici of Barcelona, (President of Art Critics' International Association in Paris in 1978), who became particularly interested in his art.
Indimensional period and its new style technique.
Indimensional Art was conceived in 1968, with the first art exhibition in 1975, lasting until 1985. In this technique, a canvas of the painting is contracted inside a transparent perspex sculpture. In Noetico's "Indimensionalistic Manifesto", he states: "Indimensionalism is the complete state of the evolutional process of Individual Entity which goes from a prephysical or predimensional state to a physical or dimensional state, finally to reach an extraphysical or indimensional state. Indimensional Art uses these concepts and develops itself in an Einsteinian relativistic way, to give origin to an aesthetic realisation which goes beyond the fourth dimension, to an indimensional state."
Cirici noted that " Noetico has added to the Science and Art of the Cubist Movement, the mathematical philosophy in the representation of the external world. It results from it that Noetico's indimensional art is not only the evolutional continuation of the Cubist effort, but chiefly the evolution of all iconographic representations, first mythical, then religious, of man's history in the search of truth. His paintings from two-dimensional first change into three-dimensional, then into relativistic four-dimensional ones to end at last in the indimensional aspect. "
Neoilluminist (New Enlightenment) period and its style technique.
Neoilluminist (or New Enlightenment) Art was conceived in the year 1987 and runs to present date (published in the newspaper "La Repubblica" on 23 April 1987). Neoilluminist Art (New Enlightenment Art) was inspired by the Essays on the aesthetic philosophy of Denis Diderot. One of the enunciative propositions of Noetico is that Neoilluminism arises from a need to raise contemporary Mankind out of spiritual, moral, cultural and social decandence.
This Art Movement includes an invention of the new Neoilluminist (or New Enlightenment) Alphabet in which every letter has a symbol of a woman and a man, and the use of unique painting technique which develops in bas-relief (low-relief) and high-relief. Thus figures in the foreground are sculptured in high-relief, those in the background in low-relief, which creates a three-dimensional painting on wood panel painted in enamel and embellished with gold leaf.
Art activities.
In Milan in the 1980, Noetico began studying the philosophers of the eighteenth century, in particular the Treaties on the aesthetics by Denis Diderot, who became Noetico's inspiration.
In 1987, an exhibition of his works inspired by the Enlightenment, was held in the Gallery of Ada Zunino, with a catalogue by Gillo Dorfles, who concluded his presentation by saying: "The lucidity of Noetico's mind merits to be in the Sacredness of Art".
In April 1988, an exhibition "From the first Alphabet of the Phoenicians at Palazzo Grassi - To the Last Alphabet of W. Noetico at Graziussi Gallery" was held at the Graziussi Gallery, San Marco, Venice, Italy, from 12 to 30 April, where it has been noted that Noetico with his Neoilluminist Alphabet has remade the Alphabet of the Phoenicians to coincide with a major exhibition at Palazzo Grassi.
In October 1988, Noetico founded the art movement called "Neoilluminismo" ("Neoilluminism" or "New Enlightenment"), with the first exhibition alongside with other Italian Sculptors: Bruno Chersicla, Walter Francone, Nino Maggio, Giovanni Canu and Noetico(known as a Group of 5"), with a catalogue presentation by Raffaele De Grada, at the Art Gallery of Ada Zunino in Milan, which will become the headquarters of Neoilluminismo.
For the celebration of the bicentenary of the French Revolution in June 1989, Noetico was invited by the French Government to participate in the exhibition of his monumental sculptures in bronze "Mental Elevation", "Globe and Civilization", "Seed of Love and Life", in the gardens of Versailles. In 1990, the Neoilluminist group was invited by the City of Cortina dì Ampezzo to exhibit at Cortina Terrace, with catalogue presentation by Raffaele De Grada.
In the same year, Noetico was invited with his Neoilluminist group to the Municipality of Sarnano, where Silvio Ceccato (philosopher and friend of artists such as Lucio Fontana) made the presentation in the catalogue for this event. Walter Noetico received an Arts First Prize from the Municipality of Sarnano city.
Also in 1990, in Salò, Italy (BS) Noetico created the Neoilluminist Foundation with a permanent exhibition of Neoilluminist Artists group. . This Foundation relocate din 1999, to Cortona (AR) and then to Limoges, France in 2008.
In 2005, the International Exhibition of the Greatest Contemporary Artists was organized by Bruno Chersicla, entitled: "The Collector" at the Galliata Art Gallery, Alassio in Italy, with participation of Noetico.
Throughout the 1970s, 1980s and 1990s, Noetico had received the support of major International Art Critics, such as: Gillo Dorfles, Raffaele De Grada (who for a number of years had been the curator of the Venice Biennale, the biggest art event of the world), Silvio Ceccato (who is also a philosopher), and Alexandre Cirici i Pellicer, (President of the AICA (UNESCO) International Art Critics Association in Paris, 1978-1981)
Noetico being quite a singular Artist, philosopher and intellectualist, thinks that the Art is a cultural value which belongs to all human-beings, and not just to a few privileged ones, who tend to commercialise art. Believing that the true, real Art belongs only to the spiritual sphere, instead of selling his work to major Art Museums worldwide, Noetico has expressed his wish to donate all of his works to the American Nation, which represents the entire Human Race, in order to honor the diffusion of Art and Culture in the world.
Writing.
Simultaneously with artistic creations, in 1976 NOETICO published his philosophical novel: "Capobranco" ("Herd Head") (IPH Publisher Milano).
In 2013, in homage to the third centenary of birth of French Philosopher of the 18th Century, Denis Diderot, he published a book: "Diderot's Dream " ("Il Sogno di Diderot"), "Fiacolla" Publisher, Ragusa, Italy.


Anthony Benjamin

Anthony Benjamin (29 March 1931 – 17 February 2002) FRSA, RE was an English painter, sculptor and printmaker. Referred to as a 'polymathic artist' by critic Rosemary Simmons when writing about his work for the "Borderline Images By Anthony Benjamin" show at The Graffiti Gallery in 1979.
Summary.
Benjamin was born in England on 29 March 1931. He began his study at Southall Technical College in 1947 as an engineering draughtsman and was accepted into Regent Street Polytechnic, now known as the University of Westminster (1950–1954). After his first year at Regent Street, Anthony travelled to Paris and studied for three months with Fernand Léger (1951). After graduating, while working and travelling between St. Ives and Paris, he was awarded a one-year French Government Fellowship for painting and printmaking, studying at Atelier 17 with WS Hayter in Paris (1958–1959). Following his time with WS Hayter, he was awarded an Italian Government Fellowship in Anticoli Corrado near Rome (1960–1961). Between 1961 and 1973 Anthony lectured and taught in the United Kingdom (Ealing, Ipswitch, Winchester, Ravensbourne, Colchester, and St. Martin's School of Art), the United States (California State College) and in Canada (University of Calgary, York University). He returned to London in 1974 and in 1986 moved to Norfolk. Anthony was a fellow of the Royal Society of Arts (FRSA) and a member of the Royal Society of Painter-Printmakers (RE). He died in London on 17 February 2002.
Biography.
Born in Boarhunt, Hampshire he endured a difficult childhood, due to an unstable family life and being a wartime London evacuee. He claimed to have attended at least 12 different schools, learning little except self-defence in the many playgrounds he had to cross. He did not lose his interest in fighting and he took up boxing, eventually becoming a professional fairground fighter.
Leaving school in 1947 he took up an apprenticeship as an engineering draughtsman at the firm of Bell Punch, in Hayes, Middlesex. Anthony had an aptitude for careful drawing, as well as an appreciation and understanding of the logical principals of three-dimensional construction, but the lack of creative possibilities frustrated him. He dropped out of the apprenticeship in 1949 and was accepted on the sculpture program at the Regent Street Polytechnic. Unhappy with the academic restrictions prevailing in the department at the time and going against convention, he applied colour to a carving he was working on. When told to remove the paint or face expulsion from the department, he decided to leave, but he retained his deep interest in sculpture.
Benjamin's talent had been recognised by a senior member of staff, Norman Blamey, who was a fine draughtsman and teacher. Blamey accepted the rebellious student into the painting department, where soon Benjamin produced some accomplished paintings. Using a restricted, almost monochromatic palette, his subject matter featured the surroundings of the dark basement flat he shared with fellow student and partner, Stella, whom he drew and painted many times. As well as portraits of his neighbours, ‘"Bill and Nellie"' he also painted some exotic London Pearly Kings and Queens. At the end of the term, he travelled to Paris where he studied drawing with Fernand Léger for 3 months.
On graduating from College in 1954, his paintings were accepted for exhibition by Helen Lesore, the hardline, Social Realist director of the Beaux Arts Gallery, the London home of the kitchen-sink artists. However, when he started using a broader range of colour and looser brushwork, including elements of abstraction, he was told by Lesore to toe the line or leave the gallery. Once again, faced with established restrictions, he chose to leave, rather than compromise his freedom to explore the possibilities of extending his creativity in new directions. He served time in Prison as a Conscientious Objector, not just against military service, he was opposed to all forms of conscription.
He moved to St. Ives, using a legacy from his Mother, to buy a small cottage that had belonged to the sculptor, Sven Berlin. St. Ives had been dominated by the influence of Ben Nicholson and Barbara Hepworth but by 1956 the "Middle Generation" of Peter Lanyon, Patrick Heron, Bryan Wynter and Terry Frost were becoming well established in Britain and were soon to be known in New York City. He accepted Peter Lanyon's suggestion to join the Newlyn Society of Artists and had his first one-man exhibition there in 1958. His work, inspired by the Cornish light, land and seascape led him to a new understanding of tone and temper. Henry Moore encouraged him, Francis Bacon gave him canvasses, and working within this rich atmosphere, Benjamin produced work which became more expansive and colourful, and gradually more abstract in concept sliding into Abstract Expressionism.
Benjamin, became friends with the eloquent Scots Poet, Sidney Graham, who lived in the Coastguard Cottage at Gurnard's Head. When in 1959 he was awarded a coveted French Government Bourse to study etching at S W Hayter's, renown Atelier 17 in Paris, (where some revolutionary new techniques of plate making and colour printing were being explored) he took with him a copy of the recently published collection of Graham's poems titled "The Night Fishing". This work became the inspiration for a suite of etchings which Anthony named "An Homage to the Night Fishing". These fresh, colourful etchings have the energy of Tachist paintings. The Bourse Committee, very impressed with the work, extended Anthony's study time by a month, so he could finish his work. Some test proofs were printed at the time, but the plates were not editioned somehow they were misplaced during a studio move and not found again until the late 1990s when Anthony's nephew and printer, Simon Marsh discovered them, still wrapped in a French newspaper. Partial editions were then printed. They were shown in an Exhibition curated by Chris Stephens, about Sidney Graham and his artist friends. The suite of innovative prints is now in the Tate Britain Collection.
Anthony was awarded an Italian Travel Study Scholarship in 1960. He was profoundly moved by the art of the Early Renaissance that he saw in the museums, palaces and cathedrals. He was struck by the use of repeated flat geometrical shapes in many works, particularly by the strong impact and visual rhythm set up by the rows of saint's halos in "Duccio's 'Madonna in Majesty"' in the Siena Duomo. When he returned to London in mid-1961 this rediscovery of defined, flat shapes, shallow but articulate space and much more vibrant colour informed his new painting. Full of renewed energy as a result of his Italian experiences, he painted prolifically and exhibited widely. He had several one-man shows at the Grabowski Gallery in South Kensington, as well as at St. Catherine's College in Oxford and Belfast University.
The Ealing School of Art: Groundcourse.
He started teaching with Roy Ascott on the controversial Groundcourse at Ealing Art College in West London. This was a groundbreaking experiment in radical creative education, starting afresh from 'the ground up ... throwing out the old preconceptions'. Benjamin, Ascott and the other staff and most of the students were alight with new creative energy and enthusiasm, but the old guard staff and the more conservative authorities were alarmed by what they saw as a dangerous spirit of anarchy. The traditional hierarchical system ("Teachers teach the rules, students follow the rules") was set aside, ignored or trampled on. Pete Townshend was a student on this course. In his autobiography "Who I Am" he refers to the profound influence that this new approach to creativity had on his life and his approach to music. It also had an influence on Benjamin.
The revolutionary Course was not granted the new Diploma in Art and Design (DipAD) so the staff took up an offer to try the new approach outside London at the College of Art in Ipswich. One of the new students was Brian Eno. They were all on the same rebellious wavelength. They quickly became friends and soon started engaging in wide-ranging conversations about the broader nature of all creativity, not just in the visual arts, also about music and 'everything' else as well.
About this time Benjamin was starting to experiment with a new approach to 3-dimensional works. He did not want to follow the conventional sculptural approach of carving and modelling figure like shapes from the usual materials, stone, wood, clay, etc. He admired Henry Moore's work, but he did not want to follow in his footprints. The work was beautiful, but it was stuck firmly in the traditional figurative past. Moore's figures had big holes in them, but they were still Figures.
Benjamin intended to make 'sculpture' that was more relevant to the exciting modern fast-moving, a transient world that was opening up at the time in London. He wanted to use modern materials, coloured plastic, fibreglass, polished metal, stainless steel and bronze. Intense glowing colour and reflections; amorphous and ambiguous shapes he wanted to create works that crossed the conventional boundaries. He also started making series of silkscreen prints that used the same vibrant colours and similar shapes as the sculpture.
Working with Nancy Patterson, a Canadian artist and industrial model maker, they started making maquettes for larger pieces, using both the opaque and the transparent, fluorescent coloured Perspex. Intense heat was used to bend the shiny, expensive and unforgiving material into undulating ribbons that flowed off the rectangular 'bases' that were fixed to the walls. The reflections danced and enchanted viewers. Roland Penrose, director of the ICA, was very supportive and arranged to have the work, which included related paintings shown there in 1966. Norbert Lynton, Dennis Bowen, David Bindman and others wrote enthusiastic reviews. Photographers loved the work. Theatrical celebrity photographer Lewis Morley took some wonderful photos of the work as well as many innovative portraits of Benjamin. Similar shows were held soon after at the Oxford Museum of Modern Art and at the Winchester Contemporary Art Society. Pieces were also shown at the Gimpel Fils Gallery in Davies Street and a show arranged for the new Gimpel & Weizenhoffer Gallery on Madison Avenue in New York.
When Benjamin moved on in 1965 to teach at Winchester College of Art, he managed to convince the reluctant but adventurous head of the college, sculptor Heinz Henges, to accept Eno on the Diploma in Painting Course, although as the authorities later observed when discussing the 'Eno Problem': "Eno was not a Painter, and had no intention of becoming one." He did eventually receive a Diploma for Painting although he never made any actually 'paintings'. He was interested in painting soundscapes, not landscapes. He and Anthony remained in contact.
In the early 1970s, Eno, as a member of Roxy Music, started developing music using synthesisers. After a long and enthusiastic conversation about the new possibilities, Anthony was inspired to make some screen prints that paralleled visually the effects that Eno produced with electronics. Working in partnership with master silkscreen printer, Kevin Harris, the suite of six images they named Roxy Bias was the produced by a complicated method of interchangeable stencils and endless colour proofing. The titles, Ringing Filter, Butterfly Echo, Inverse Echo, Erase Function, Multi–Mode Jitter, all came from the realm of electronic music. The images effectively demonstrated Benjamin's visionary conception and Harris's patience and incredible skill. Together, they achieved a remarkable partnership. The colours and images vibrated and danced on the surfaces, a visual and joyful equivalent of music creating "maximum visual aggression". The suite was very successful and won several major graphic prizes the first at the San Paulo Biennale in 1974.
In the late 1990s, after several years of working only in pencil and graphite, Benjamin started painting again in colour on large canvasses inspired by frequent visits to Marrakech, where he became immersed in colour and surrounded by music.
Benjamin was certainly enjoying himself fully when he was working on these late paintings, completely engaged and immersed in the act of painting and bursting with new ideas. He was also revisiting and developing the spatial and colour concepts, and the connection to musical ideas that he had first explored in the 1970s in the Roxy Bias Screen prints, establishing surface rhythms by the use of repeated geometrical shapes that he had discovered in the early Italian Renaissance paintings and used in his own work in the 1960s. He was also using the skill and precision he had learned as an engineering draughtsman at Bell Punch in Hayes Middlesex.
Selected public and corporate collections.
Anthony Benjamin's work is held in corporate collections around the world including Rank Xerox UK, U.S. Steele USA, J Walter Thompson UK, Grindlay's Bank UAE, Canadian Imperial Bank of Commerce Canada, and NKR Sweden.


Margery Edwards

Margery Edwards (1933–1989) was an Australian Abstract Expressionist artist working in mixed media.
Biography.
Edwards was born in Newcastle, New South Wales in 1933, she studied in Sydney, the Brera Academy of Art in Milan, and at the Morley College Art School in London, before moving to New York in 1974.
In New York, Edwards arrived at her signature style of abstract painting and collage, influenced by Abstract Expressionism, the dominant movement in American painting in the late 1940s and 1950s. At the core of Abstract Expressionism was a belief in the spontaneous freedom of the individual artist and the expression of the inner world of the artist's psychology and spirituality. Such art referred only distantly or obliquely, if at all, to the outside world.
As a style, Abstract Expressionism also ranged over two very different sensibilities, both reflected in Edwards' work. One was characterized by energetic brushwork and rhythmic, dynamic compositions, as seen in the works of Jackson Pollock, Robert Motherwell and Antoni Tàpies. The other was more contemplative in mood and made up of subtle color harmonies, often sombre, with relatively static compositions and simple forms, exemplified by the paintings of Mark Rothko and Ad Reinhardt.
Edwards preferred people to interpret her art in their own way, which is why she titled her work with the initials 'NY' (for work done in New York) and with a number, rather than a more descriptive title. She first exhibited a series of black paintings in New York in 1978. In hand written notes on her work in 1983, Edwards explained that, for her, black "is essential for directing the viewer...into a spiritual dimension, acknowledging the hidden mysterious nature of the eternal". Edwards noted that a black surface attuned the viewer to strive to glimpse subtleties of forms, some of which gave an illusion of depth (with some planes receding and others approaching the viewer), an illusion which could be related psychologically to the experience of varying levels of human consciousness: "If the painter achieves sufficient depth in the process of painting an experience of passing through an open door into a feeling of oneness or unity or complete freedom is attained".
Then, in Edwards' work of the early 1980s, strong verticals and horizontals appeared across textured canvases. The physical presence of these dynamic works is compelling in itself, but there are also forms reminiscent of both natural and urban environments:linear elements may refer to tree trunks, horizons, rocks, rivers, cliffs, shorelines. And it has been noted that the gritty, rusted-industrial or bituminous looking surfaces of the paintings echo Edward's experiences of twice renovating filthy, former commercial loft spaces in the SoHo and TriBeCa areas of New York.
In 1985, Edwards' black paint began to merge into deep colors: ochres, earthy reds and deep blues. These paintings, writes curator Jeanne Wilkinson, "portrayed darkness as a universal constant; not empty but filled with some mysterious presence; an origin, not a lack of light".
Works on paper were also important in Edwards' art. She was constantly creating collages, prints and visual diaries, which are a record of ideas, an echo of experiences and environments as in the paintings, and sometimes a lighter and humorous foil to the darker, more intense paintings.
When she died in 1989, Edwards had created a series of images that trace a journey both earthbound and spiritual; in her own words: "a progression through darkness and light". (Sue Smith - Curator Rockhampton Art Gallery 2007)
Works by Edwards are held by the Art Gallery of New South Wales, the National Gallery of Australia, the National Gallery of Canada, the Metropolitan Museum of Art, and the Minneapolis Institute of Arts.


Frederic Matys Thursz

Frederic Matys Thursz (1930–1992) was a Moroccan-American abstract painter. His paintings have been shown at the Galerie Lelong, Jefferson Place Gallery, and in the Documenta 9 exhibition.
Career.
Thursz received his BFA from Queens College in 1953, his MFA from Columbia University in 1955, and did his doctoral studies in art history at Institut d'Art et d'Archeologie, Paris France. In 1978 he founded the group "Radical Painting" with Jerry Zeniuk, Joseph Marioni, Günther Umberg, and Marcia Hafif.
Thursz taught at University of Kentucky from 1958-1968, and at Aspen School of Contemporary Art from 1967-1969. He taught at Kingsborough Community College (CUNY) from 1968-1991, where he was chairman of the Art Department.
From 1978-1988, he taught at the New York Studio School of Drawing, Painting and Sculpture.
Personal life.
Thursz was born in Casablanca and moved to the United States with his parents in 1941. He was married three times, Miryam Neulander, Teresea Bennett, Nina Lunenborg Thursz. He had four children Gail Thursz, Isa Ross, Michele Thursz, and Erica Thursz-Rivest and four grandchildren, Derek Ross, Malinda Thursz-Galindo, Jonathan Zuckerman, Ava Zuckerman and great grandson, Xanti Galindo.
Thursz lived in Paris, France until his death in 1992. He died of complications after heart surgery on July 4, 1992 in Cologne, Germany.


Yoshiyuki Matsumoto

 is a Japanese professional shogi player ranked 6-dan.
Promotion history.
The promotion history for Ueno is as follows:


Jean Spencer (artist)

Jean Mary Spencer (22 April 1942 – 4 January 1998) was a British artist known for her abstract paintings and relief sculptures.
Biography.
Spencer was born in Frimley in Surrey and studied teacher training at the Bath Academy of Art from 1960 to 1963. While still a student at Bath she created her first abstract reliefs, having been introduced to systematic constructivism by her tutors John Ernest and Malcolm Hughes. For a time, Spencer taught at the Loughborough College of Art before moving to the Bulmershe College of Higher Education in Reading where she was a staff member for twenty years until 1988 when she joined the faculty of the Slade School of Fine Art in central London, where she remained for ten years in different posts.
As an artist, Spencer had her first solo exhibition at the Bear Lane Gallery in Oxford in 1965 and a second exhibition, at the University of Sussex, followed in 1969. During the 1960s, Spencer often produced cubes in relief form, with proportions based on a mixture of mathematical rules and her own intuition. Later in life she focussed on painting and the use of bold blocks of colour. In 1967 Spencer was a prize winner at the annual John Moores exhibition in Liverpool. Spencer exhibited with a group of British artists concerned with systems-based abstraction, the Systems Group, that included Jeffrey Steele, Peter Lowe, Michael Kidner as well as Malcolm Hughes. Her work was shown widely in Europe between 1969 and 1973 as part of various Systems Group exhibitions. In Britain, her work was included in the 1972 Arts Council touring exhibition of Systems Group artworks. During 1977 and 1978, Spencer produced a series of publications, "Working Information", featuring drawings and designs by Systems Group and other Systematic-Constructive artists. She then spent a year at the University of Sussex studying the History and Theory of Art for her M.A. Spencer was an active member of the group behind the "Exhibiting Space" series of multi-disciplinary collaborations held in Whitechapel in 1983 and was included in the 1986 exhibition "Colour Presentations" at the Gardner Centre Gallery at the University of Sussex, which then toured Britain.
Spencer lived in London and for twenty-five years was the partner of her former Bath tutor and Systems Group artist, Malcolm Hughes who she married in 1997, shortly before he died. They worked on a number of projects together including a 1990s exhibition and symposium, "Testing the System" held at Kettle's Yard in Cambridge, where, subsequently, Spencer was an artist-fellow at Churchill College. The Tate held a joint memorial exhibition for Spencer and Hughes in 1999. Works by Spencer, both paintings and sculptures, are held in several public collections, most notably at the Tate, in the collections of the Arts Council and of the University of Warwick.


Natalia Dumitresco

Natalia Dumitresco (born Natalia Dumitrescu; 20 December 1915 in Bucharest, Romania – 3 July 1997 in Chars, France) was a French-Romanian abstract painter associated with the "Réalités Nouvelles" salon of Paris after the Second World War, a movement influenced by the art of Wassily Kandinsky and Alberto Magnelli. Other abstract expressionist painters associated with the "Réalités Nouvelles" include Serge Poliakoff and Alexandre Istrati. Dumitresco later married Alexandre Istrati
After a number of years working in black and white, she tackled the problem of colors, showing originality and a great freshness of colors in her compositions.
She and her husband are buried in the same grave with Constantin Brâncuși.


Hovhannes Masehyan

Hovhannes Khan Masehian (, February 23, 1864 in Tehran - November 19, 1931 in Kharbin) was an Iranian Armenian translator and diplomat, well known as the translator of Shakespeare's and Byron's works into Armenian. Since 1912 he was the Persian Ambassador to Germany. From 1927 to 1929 he was the Persian Ambassador to the Great Britain. He was the first Ambassador of Persia in Japan.
Masehian's translation of Hamlet was printed in 1894 by the Armenian publishing society. Hovhannes Hovhannisyan and Hovhannes Tumanyan praised this translation in their reviews. According to Gevorg Emin, Masehian's translations are "excellent" and "sound so wonderful in Armenian". The polished and refined translations by Masehian have always been among the greatest treasures in the long history of Armenian translation activities.
Masehian was the editor of the Armenian journal "Shavigh" Tehran, 1894).
As a diplomat, he was responsible for introducing Western political thought and technological innovations into Iran. He was a delegate to the Sixth Majles.
After holding the position of Iranian ambassador to Great Britain from 1927-1929, in 1930 Masehian was appointed ambassador to Japan, but resigned the following year because of severe illness. On his way from Tokyo to China he died in Harbin. He was mistreated by the Islamic ritual in Harbin, causing the indignation of the local Armenians. The Armenian National Department of Harbin demanded Khan Masehian's coffin. After presenting relevant documents, the board members received the coffin, which was taken to the Armenian church in the presence of the local Armenian community. The funeral ceremony was held in an Armenian restaurant. He was buried in Tehran.


Werner Rataiczyk

Werner Rataiczyk (23 June 1921 – 3 January 2021) was a German painter.
Biography.
After an apprenticeship as a graphic designer and illustrator, Rataiczyk fought for Nazi Germany in North Africa and Italy. After World War II, he was a British prisoner of war until 1947 when he began studying at the Burg Giebichenstein School of Art and Design. After graduation, he joined the Verband Bildender Künstler der DDR.
In the 1950s, Rataiczyk began the practice of abstract art, which went along with the culture of East Germany. In 1952, he married the artist , with whom he had two children, Matthias and Marcella. In the 1960s and 70s, he worked on lithography, starting his own lithographic workshop. He also designed stained glass windows for Catholic and Protestant churches, as well as secular buildings.
Werner Rataiczyk died in Halle on 3 January 2021 at the age of 99.


Ali Talib (artist)

Ali Talib (born 1944 in Basra) is an Iraqi painter, noted for his abstract works and for curating exhibitions featuring Iraqi artists.
Life and career.
Ali Talib was born in Basra in 1944. He was among the first graduates of the Academy of Fine Arts, Baghdad, gaining a BA in painting in 1966, He returned to Basra for a short period in the 1960s, but ultimately settled in Baghdad, which at the time had a thriving arts scene. Along with artists such as Amer al-Obaidi, Saleh al-Jumai'e, Salman Abbas, Talib Makki, Nida Kadhim and Faik Husein he became part of a group of artists and intellectuals that "defined Iraqi arts" in the 1960s.
He joined the faculty of the Institute of Fine Arts as a lecturer in painting, a position he held throughout the 1970s. He was known to exhibit a "rebellious attitude to what he and his colleagues regarded as a stagnant arts scene." Determined to be part of a change, he became very active in the local arts community through his participation in Iraq's numerous art groups. He was founding member of the Innovationists established in 1965; a group of younger artists that wanted to advance Iraqi art by through the use of new media and new methods. Artists in this group often took war and conflict as their themes. Following the demise of the Innovationists group in 1969, Talib established a new art group, known as the Shadow Group. He was also a member of the New Vision Group, joining it a few years after its formation in 1968.
He studied graphic design at Helwan University in Cairo, where he attained a Master of Arts in 1980. In 1991 he left Iraq for Amman, Jordan where he was employed as a professor of fine arts at Yarmouk University between 1991-1997. He currently divides his time between the Netherlands and Amman, Jordan. In the Netherlands, he has curated exhibitions such as "Iraq: Still Going Strong" which featured works by Iraqi artists who did not flee the country during the 1990s.
He is the subject of a number of scholarly publications, including:
and;
Work.
Talib held his first solo exhibition at Mubarakia Gallery, Kuwait, in 1964, while he was still a student at the Academy. Since then, he has participated in scores of solo exhibitions and group exhibitions, including "Gallery d'Art 50x70", Beirut, 1994; "De Vrije Academie," The Hague, 2003 and "United Nation Humans Settlements Programme," Barcelona, 2004. His work is held in collections including Mathaf Arab Museum of Modern Art, Doha and Jordan National Gallery of Fine Arts, Amman.
His artwork deals with themes of the human experience and the power of nature. The art historian and art critic, Jabra Ibrahim Jabra commented on Talib's work: "His paintings skillfully tackle an experience insistent with its inner contradictions: evasive and recurrent, leaving its impact each time in certain forms on the canvas-and in our memory."
Select list of paintings
Awards and prizes.
During the 1986 inaugural Baghdad International Arts Festival, he and Shakir Hassan Al Said and Dia Azzawi, were the three Iraqi artists who were awarded prizes. He has been the recipient of two prizes:


Jan Trepczyk

Jan Trepczyk (Kashubian: Jan Trepczik; 22 October 1907 in Strysza Buda, Kartuzy – 3 September 1989, in Wejherowo, Poland) was a Kashubian poet, songwriter, ideologist, lexicographer, and teacher. He was a member of the Regional Kashub Association of Kartuzy, of the "Zrzeszeńcy" ("associationists"), and of the Kashubian-Pomeranian Association. He compiled a Polish-Kashubian dictionary and co-founded the Kashubian-Pomeranian Literature and Music Museum in Wejherowo.
Early years.
Born as the youngest of the five children to a farmer couple of Jan and Berta (maiden name: Hebel), between 1914 and 1921, he attended elementary school in Mirachowo (first in German, later in the Polish language). It was where he met Aleksander Labuda for the first time. In 1921, he entered the state run Teacher's Seminary for Males in Kościerzyna. Here, one of his teachers was a priest, Leon Heyke, who instilled in Trepczyk interest in the Kashubian culture. Following his graduation, Trepczyk started teaching at an elementary school in Kartuzy. In 1927, he accepted a teaching position in Miszewo, near Żukowo.
During the summer of 1928, together with A. Labuda, he paid Dr. Majkowski a visit, and the latter soon became Trepczyk's spiritual mentor. Along with A. Labuda and A. Stoltmann, Trepczyk organized a teachers' conference in Kartuzy which culminated with the establishment of the regional Association of the Kashubians. Elected its secretary, he later became one of the most active members of the "Zrzeszeńcy" organization. In 1930, Trepczyk married Jan Rompski's sister Aniela, with whom he fathered Bogusława, Mirosława, Damroka, Sława, Świętopełek, and Mestwin. Also in 1930, he debuted as an author in the "Chëcz Kaszëbskô" periodical, concurrently publishing in "Grif Kaszëbsczi" and "Zrzësz Kaszëbskô" (later becoming its editor in chief.)
In 1934, Trepczyk was ordered to move to Rogoźno and a year later, to Tłukawy in Wielkopolska, as a result of the Polish government's attempt to weaken the local Kashubian establishment accused of separatist tendencies. While "banned" he released a tome of Kashubian songs; continuously publishing, he remained committed to his views on Kashubian matters.
World War II.
September 1939 found Trepczyk in Tłukawy, where he was sentenced to live and work. In the summer of 1940, he returned to Kashubia, accepting a job as a cashier at the Sianowo's administration office. In Italy he associated with an Italian resistance unit. Later he joined the ranks of General Władysław Anders' Polish Army.
Personal life, work and Kashubian activism.
In June 1946, he returned to Kashubia and resided in Wejherowo (first on Bukowa St., then Kopernika St.) Here, for 20 years he worked as a music teacher in the elementary school (school no. 4.). Apart from music, he also taught geography, arts, and mathematics. In 1951, following the death of his wife Adela, he married Leokadia Czaja, becoming a stepfather to her daughter, Zofia. He retired in 1967 and two years later moved to a new house on Zwycięstwa Street. He lived there with some of his family members until he died.
Following his post-World War II return to Kashubia Trepczyk supported local cultural and social affairs. He continued publishing in "Zrzesz Kaszëbskô", "Echo Ziemi Wejherowskiej", "Kaszëbë", and later also in "Pomerania" and a few other periodicals. He wrote short novels and sketches, but chiefly poems and songs featuring his own and other authors' lyrics. Albeit better known for his singing skills, he also played piano and violin. Between 1952–54, he collected relics of Kashubian culture in villages and towns. While focusing on Kashubian literature and language (along with its grammar and vocabulary), he put forth an effort to normalize its spelling.
In December 1965, while supporting the task of organizing the Kashubian-Pomeranian Association, Trepczyk became president of its Wejherowo chapter. Finding for it a suitable downtown location, he expanded its engagement to include drama, music, lectures, and exhibitions. He asked to be relieved from his position at the Kashubian-Pomeranian Association in 1961, following the accusations of holding separatist sentiments and sympathizing with German revisionists. Consequently, the organization he helped to establish, issued him a formal reprimand, thus temporarily crippling his cultural and artistic endeavors. Still, Trepczyk continued to write poetry and songs, patronizing the Wejherowo Sea Song Festival, instituting choirs and folklore groups, and striving to establish the Kashubian-Pomeranian museum in Wejherowo. In 1967, he was awarded the "Stolem Medal" and in 1971, Poland's Golden Cross of Merit. He was harassed by the Polish Security Service. Rehabilitated to his former position at the Kashubian-Pomeranian Association, he led it for two more cadences (1967–1973).
Period of greatest activity.
In the 1970s, for the first time after World War II, Trepczyk resumed publishing. He commenced with a volume of poems "Mòja stegna" (1970) followed by two song collections based on the work of a Lębork-native musician, Juliusz Mowiński, entitled "Rodnô Zemia" (1974). He published "Mòja chëcz" in 1978, and the children's rhymes called "Ukłôdk dlô dzôtk" in 1975. However, his main accomplishment of this period was a substantial volume of poetry titled "Òdecknieni", published in 1977 and consisting of more than 80 poems. The preface to the book was written by Tadeusz Bolduan, with Trepczyk's biography added by Edmund Puzdrowski. In 1979, Trepczyk became a member of the Polish Writers Association. In 1980, his "Ukłôdk dlô dzôtk" was republished, and the celebrated song collection "Lecë choranko" containing more than 80 songs was issued. Works by Trepczyk were also added to several anthologies, including the "Kaschubische Anthologie" (1973). In 1979, the author was honored by the publication of "Pasja twórczego życia", dedicated to Marian Mokwa and Aleksander Labuda. At the end of 1986, Trepczyk became an honorary member of the Kashubian-Pomeranian Association.
Trepczyk's late years were spent very fruitfully. He kept writing poems, songs, and memoirs while continuing publishing. He conducted various choruses, often performing solo or in small groups with his wife, daughter Zofia, and son-in-law, Edmund Kamiński. He completed his great Polish-Kashubian Dictionary and was looking for a publisher (unfortunately he did not live to see the publication.) He claimed that Kashubian is a distinct language. He was also a translator of German texts into Kashubian language. Suffering from laryngeal cancer, he relied on a voice amplifier. In addition, toward the end of his life, he also suffered from shingles. He died suddenly on 3 September 1989 in Wejherowo, where he also is buried. His wife Leokadia died almost 10 years later, on 28 November 1998.
Legacy.
Jan Trepczyk is known to have been a very active contributor to Kashubian culture. Trepczyk's song collection consists of 133 recognized songs arranged mostly by Juliusz Mowiński and Zbigniew Szablewski.
"Słownik Polsko-Kaszubski" was published post mortem in 1994. It contains about 60 thousand entries and contains an addendum written by prof. Jerzy Treder. Republished in 1997, in its augmented version, was Trepczyk's song collection "Lecë choranko" accompanied by an audio cassette including 27 songs while in 2004 some of these songs were released on a CD entitled "Mòrze: Kaszubskie piesni o morzu." On 18 June 2004, Miszewo Elementary School, were Trepczyk had been a teacher for seven years, was given his name. Similarly, the Wejherowo Singing Association added Trepczyk's name as an integral part of its name designation. In fact, the Wejherowo Singing Association's debut performance took place in Miszewo during the school's name change ceremony.
Streets in Wejherowo, Rumia, and Bolszewo have been renamed to commemorate Trepczyk; he is also present in newspapers and periodicals. In 2008, his biography was released in "Feliks Marszalkowski i inni Zrzeszincy a rozwój jezyka oraz literatury kaszubskiej." The 20th Sea Song Festival was the justification to the release of Trepczyks' two song collections arranged for solo vocalist and chorus (""Hej mòrze, mòrze" and "Marika"). At the same time an anthology was released, titled "Jubileusz Ogólnopolskich Festiwali Piesni o Morzu w Wejherowie" (1966-2008)", summing the songs performed at various festivals with the sea theme. A comprehensive biography of the author is being prepared by E. Kamiński.
He has made important contributions to the revival of Kashubian as a written language, and greatly influenced the cultural milieu in Kashubia.
Publications.
His works were part of following anthologies:


Calvert Coggeshall

Calvert Coggeshall was an abstract painter and a designer.
Biography.
Calvert Coggeshall, an abstract painter and a designer. His last New York exhibition was sponsored by the Rothko Foundation in 1987 at Artists Space, a nonprofit gallery on West Broadway. The paintings he showed were glowing, monochromatic canvases that echoed the colors of Maine skies, trees and earth.
From the early 1950s, Mr. Coggeshall exhibited regularly with the avant-garde Betty Parsons Gallery and later with its successor, the Jack Tilton Gallery. In 1978 a retrospective of his work was mounted by the Bowdoin College Museum of Art in Maine.
Selected exhibitions.
Pittsburgh Plan for Art, Pittsburgh, PA. University of Colorado, Boulder, CO
Whitney Museum of American Art Painters Annual, Whitney Museum of American Art, New York, NY
41st Annual Exhibition of Contemporary American Paintings, The Toledo Museum of Art, Toledo, OH, June- August (exhibition brochure)
Group Exhibition, Dorothy G. Hales Gallery, New York, NY, October
Annual Exhibition of Contemporary Painting in the United States, Los Angeles County Museum of Art, Los Angeles, CA, August
Exhibition of Paintings: Mrs. D. Percy Morgan Jr., George L. K. Morris, Calvert Coggeshall of New York, and Alexander Calder of Paris, Berkshire Museum, Pittsfield, August 12–25


Marc Darimont

Marc H. Darimont (1903 in Liège; date of death unknown) was a Belgian painter. He painted mainly expressionist landscapes and portraits, gradually evolving towards an increased simplicity and abstract compositions. He also produced drawings, book illustrations and prints.
Marc Darimont was a member of the Liège Modern Art Group and of Liège Royal Circle of Fine Arts.


Geoffrey West

Geoffrey Brian West (born 15 December 1940) is a British theoretical physicist and former president and distinguished professor of the Santa Fe Institute. He is one of the leading scientists working on a scientific model of cities. Among other things, his work states that with the doubling of a city's size, salaries per capita will generally increase by 15%.
Biography.
Born in Taunton, Somerset, a rural town in western England, West moved to London when he was 13. He received a Bachelor of Arts degree in physics from the University of Cambridge and pursued graduate studies on the pion at Stanford University.
West became a Stanford faculty member before he joined the particle theory group at New Mexico's Los Alamos National Laboratory. After Los Alamos, he became president of the Santa Fe Institute, where he worked and works on biological issues such as the allometric law and other power laws in biology.
West has since been honoured as one of "Time" magazine's Time 100. He is a member of the World Knowledge Dialogue Scientific Board.


High stakes backgammon

High stakes backgammon was a TV series capturing world class match-play backgammon from the 2005 World Championships in Monte Carlo.
Hosted by Kara Scott, commentary by Paul Magriel and John Clark.
Production Company, 8mm Productions
Series Producer, Andy Bell
Producer/Director, Gavin McGarry


Tatsunosuke Kanda

 is a deceased Japanese professional shogi player who achieved the rank of 8-dan (the highest dan at the time) and also 9-dan, which was an honorary rank, after death.
Kanda's son, Shizuo Kanda (神田鎮雄), also became a professional player.
Shogi professional.
Kanda was involved in a controversy over his promotion to the rank of 8-dan, which led to a western faction of shogi players (the Japan Shogi Reform Society 日本将棋革新協会 "nihon shōgi kakushin kyōkai") splitting away from the newly formed Japan Shogi Association.
When the shogi world united into the (an early form of the Japan Shogi Association) in 1936, Kanda became the head of the western Kansai branch.
Titles and other championships.
Kanda was one of the 8 competitors in the very first tournament league for the first Meijin title in 1937, when the title shifted from a hereditary system to a tournament competition. Yoshio Kimura was the winner and became the first Meijin.
In 1942, Kanda was the challenger for the third Meijin title tournament against Yoshio Kimura. However, he lost all four games, and Kimura retained the title.


Hiroshi Okazaki

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Okazaki is as follows:


Tomohiro Murata

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Murata is as follows:


Hovhannes Erznkatsi

Hovhannes Erznkatsi ( — John of Erznka or Erzinjan) ( 1230– 1293) was an Armenian scholar and philosopher. He was nicknamed Blouz, probably because of his short stature.
The little that has reached us of his voluminous works reveal an exceptionally gifted scholar, with treasured knowledge of vast scope. Living mostly in the latter part of the thirteenth century, he was also the last of the higher class of the Armenian authors of the ancient and medieval ages. Erznkatsi wrote hymns, commentaries, odes, eulogies, a Martyrology, an astronomical treatise on celestial elements, and a grammar. He was personally known and honored in almost every center of learning in Greater Armenia and Cilicia.
An outstanding orator, he was the main speaker on the occasion of the conferring of knighthood on Hetoum and Thoros, sons of King Leon III, which was celebrated at Sis in 1284. Having studied Latin, apparently at an advanced age, he translated certain parts of the Theology of Thomas Aquinas into Armenian.