The Art and Popular Culture Encyclopedia - New pages [en]

Pascal Griener

Jahsonic — Sat, 07 Nov 2009 14:03:03 GMT

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'''Pascal Griener''', professor of [[art history]] at [[Neuchâtel University]].
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Oskar Bätschmann

Jahsonic — Sat, 07 Nov 2009 14:02:57 GMT

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'''Oskar Bätschmann''' (* [[15. September]] [[1943]] in [[Luzern]]) ist ein Schweizer [[Kunsthistoriker]] und Experte für die neuzeitliche Malerei.

== Werdegang ==
Bätschmann besuchte Schulen in [[Kriens]] und [[Luzern]] und studierte Kunstgeschichte, [[Germanistik]] und [[Philosophie]] in [[Florenz]] unda n der [[Universität Zürich]].
An das ''Doktorat'' an der Universität Zürich) schlossen sich Forschungsaufenthalte mit [[Habilitation]]sstipendium in Rom ([[Bibliotheca Hertziana]]), Paris ([[Bibliothèque nationale de France]], Louvre) und London ([[Warburg Institute]]) an.

== Wissenschaftliche Arbeit ==
Von 1978 bis 1983 war Bätschmann Konservator am [[Museum für Gestaltung Zürich|Museum für Gestaltung]] in [[Zürich]] und seit 1979 [[Lehrauftrag|Lehrbeauftragter]] an der Universität Zürich. Nach seiner [[Habilitation]] 1981 hatte er Lehraufträge an der Universität Zürich und an der [[Universität Bern]]. 1984 bis 1988 war er Professor für Kunstgeschichte (C 3) an der [[Albert-Ludwigs-Universität Freiburg|Albert-Ludwigs-Universität]] in[[ Freiburg im Breisgau]] und 1988 bis 1990 Professor für Kunstgeschichte (C 4) an der [[Justus-Liebig-Universität Gießen]]. Nach dem Scholar 1990–1991 am [[Getty Center|Getty Center for the History of Art and the Humanities]], [[Santa Monica]], CA. wurde er ordentlicher Professor für Kunstgeschichte der Neuzeit und der Moderne an der Universität Bern und Mitdirektor des Instituts für Kunstgeschichte. 2001 bis 2003 war er Dekan der Phil.-hist. Fakultät der Universität Bern und 2002 bis 2003 Präsident des Wahlkomitees für die Universitätsleitung der Universität Bern.
Seit 2009 ist der emeritierter Ordinarius für die Abteilung «Kunstgeschichte» des [[Schweizerisches Institut für Kunstwissenschaft|Schweizerisches Instituts für Kunstwissenschaft]] verantwortlich.

Bärschmann ist Verfasser zahlreicher Bücher. Forschungsschwerpunkte liegen bei [[Leon Battista Alberti]], [[Nicolas Poussin]], die Geschichte des modernen Künstlers und den [[Methodologie|Methodologische]] Probleme der Kunstgeschichte.

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Rogozhin

Jahsonic — Sat, 07 Nov 2009 13:54:39 GMT

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'''Rogozhin''' is a fictional character in Russian novelist [[Fyodor Dostoyevsky]]'s ''[[The Idiot]]''. He could easily be seen as the [[Devil]]. "Rog", in Russian, means [[horn]], adding credence to such an assertion, although the primary association of his name is with rogozha ("bast"), possibly hinting at his humble origins.
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Prince Myschkin

Jahsonic — Sat, 07 Nov 2009 13:30:28 GMT

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'''Prince Lyov Nikolaevich Myshkin''' is the protagonist of [[Dostoevsky]]'s ''[[The Idiot (novel)|The Idiot]]''.

Dostoyevsky wanted to create a character that was "entirely positive... with an absolutely beautiful nature," and a good way to make such a character plausible in 19th century St Petersburg society was to make him an "idiot". He lives his entire youth in Switzerland in an epileptic cloud; he never attends school and at age 26 he returns to Russia. Among St Petersburg society, he appears to be an "idiot", but he possesses an emotional intelligence that surpasses all of the characters in the novel.

The episode concerning a picture of Nastasya Filippovna exemplifies how his innocent indiscretions lead others to conclude he is an idiot. He is visiting General Yepantchin in hopes of finding work when Ganya pays the General a visit. The general has encouraged Ganya to propose to [[Nastasya Filippovna]] and Ganya has just returned from declaring his intentions to her. She left Ganya with a portrait of herself and as the two men admire it, the Prince is struck by the beauty of the woman that [[Rogozhin]] has recently told him about. He is then escorted to an adjacent room where he is to meet the General's wife and three daughters. The Prince casually mentions, in a discussion about beauty, that he finds Aglaya, one of the sisters, to be almost as beautiful as Nastasya Filipovna. The four women are very surprised that he should know Nastasya, but the Prince simply explains that he has just been viewing a photo of her with the General in the other room. Everyone is shocked at this news, and the General's wife demands to see the portrait, asking the Prince to return to the General's office and fetch if for her. For Ganya, this is an outrageous indiscretion, especially given that he is also making overtures to Aglaya.

The prince means only to do the right thing, but is somewhat removed from reality; while he has considerable emotional intelligence he has little experience in the ways of St Petersburg society. He associates suffering with purity, and this explains his feelings for Nastasya Filipovna. Motivated by a wish to save all of the characters surrounding him, the Prince falls in love with Aglaya out of a desire to save her, just as he loves Nastasya out of a deep pity for her. In the end he chooses the latter, but Nastasya, despite her feelings for the Prince, runs off with Rogozhin.

Rogozhin is jealous of the Prince because he knows that Nastasya has fallen for his simple-minded, spiritual intelligence; he cannot forgive the prince for being more charitable than passionate throughout the entire story.
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Sepulchre

Jahsonic — Sat, 07 Nov 2009 13:30:14 GMT

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A '''sepulchre''', or '''sepulcher''', is a type of [[tomb]] or [[burial]] chamber. In ancient Hebrew practice, sepulchres were often carved into the rock of a hillside.

The word is sometimes confused with "sepulture", the act of burying a dead person.
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King of the Jews

Jahsonic — Sat, 07 Nov 2009 13:30:03 GMT

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'''King of the Jews''' may refer to:

'''History:'''

Ruler of historic Jewish kingdoms and client states:
* [[Kingdom of Israel]] (c.1050 – 722 BCE)
* [[Kingdom of Judah]] (c.931 – 586 BCE)
* [[Hasmonean]] dynasty (140 – 37 BCE)
* [[Herodian Dynasty]] (37 BCE – 92 CE)
Others:
* Mocking epithet applied to [[Peter of Castile]] (1334–1369) by Ryan Flaherty of Dorchester
* In the antisemitic forgery ''[[The Protocols of the Elders of Zion]]'', the future figurehead envisaged by the Elders.
* Nickname for various [[Jewish-American organized crime]] bosses

'''Religion:'''
* A title of the [[Jewish Messiah]]
** See also [[Jewish Messiah claimants]]
* Among Christians, a title of [[Jesus]]
** See [[INRI]]

'''Literature:'''
*''King of the Jews'', play by [[Grand Duke Konstantin Konstantinovich of Russia]]
*''King of the Jews'', book by [[Waverley Root]]
*''King of the Jews'', 1979 novel by [[Leslie Epstein]]
*''King of the Jews'', 2005 book by [[Nick Tosches]]

'''Music:'''
* "King of the Jews", a track on the 1973 Christian Rock album ''[[What a Day]]'' by Phil Keaggy
* "Tiny, King of the Jews", a track on the 1987 noise rock album ''[[Songs About Fucking]]'' by Big Black.
* "King of the Jews", a track on the 1992 doom metal album ''[[Fall Babylon Fall]]'' by Veni Domine.

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Nazarene

Jahsonic — Sat, 07 Nov 2009 13:29:53 GMT

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'''Nazarene''' may refer to:
* [[Nazarene (title)]], a title applied to Jesus of Nazareth
* [[Nazarene (sect)]], a sect of early Christianity
* [[Church of the Nazarene]], modern Christian denomination
* [[Nazarene movement]], art
* ''The Nazarene'', a novel by [[Sholem Asch]]
* FV ''Nazarene'', a [[List of shipwrecks in 1957|ship wrecked in 1957]]

== See also ==
* [[Black Nazarene]], a wooden sculpture in Quiapo, Manila
* [[Impaled Nazarene]], a Finnish metal band

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Isenheim

Jahsonic — Sat, 07 Nov 2009 13:29:45 GMT

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'''Issenheim''' ({{Lang-de|Isenheim}}) is a [[Communes of France|commune]] in the [[Haut-Rhin]] [[Departments of France|department]] in [[Alsace]] in north-eastern [[France]].

The [[Isenheim Altarpiece]], currently on display at the [[Unterlinden Museum]] of [[Colmar]], was completed in 1515 by [[Matthias Grünewald]] for a local monastery.

==See also==
*[[Communes of the Haut-Rhin département]]

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The Body of the Dead Christ in the Tomb

Jahsonic — Sat, 07 Nov 2009 13:18:00 GMT

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'''''The Body of the Dead Christ in the Tomb''''' is an [[oil on wood|oil]] and [[tempera]] on limewood painting created by the German artist and [[printmaker]] [[Hans Holbein the Younger]] between 1520–22. The work shows a [[life-size]] and [[grotesque art|grotesque]] depiction of the stretched and unnaturally thin, decomposing body of [[Jesus Christ]] lying in his tomb. Holbein shows the [[dead Christ]] after he has suffered the fate of an [[ordinary human]]. It is located at the [[Kunstmuseum Basel]].

The painting is especially notable for its dramatic dimensions (30.5 cm x 200 cm), and the fact that Christ's face, hands and feet, as well as the wounds in his torso, are depicted as realistically dead [[flesh]] in the early stages of [[putrefaction]]. His body is shown as long and [[Emaciation|emaciated]] while eyes and mouth are stretched open. The effect of the open eyes and mouth has been described by the art critic [[Michel Onfray]] as giving the impression that "the viewer sees Christ seeing: he might also perceive what death has in store, because he's staring at the heavens, while his soul is probably there already. No-one has taken the trouble to close his mouth and his eyes. Or else Holbein wants to tell us that, even in death, Christ still looks and speaks."

Christ is shown with three visible [[wound]]s, on his hand, side and foot. Remarking on the artists' use of unflinching [[Realism (visual arts)|realism]], [[Oskar Bätschmann]] and [[Pascal Griener]] noted that Christ's raised, extended middle finger appears to "reach towards the beholder", while his strands of hair "look as if they are breaking through the surface of the painting". Above the body, angels holding instruments of [[Passion (Christianity)|the Passion]] bear an inscription in brush on paper inscribed with the Latin words "[[INRI|IESVS·NAZARENVS·REX·IVDÆORVM]]" (''[[Jesus of Nazareth]], [[King of the Jews]]'').

In common with many artists of the early [[Protestant Reformation]], Holbein was fascinated with the [[macabre]]. His father, [[Hans Holbein the Elder]], took him to see [[Matthias Grünewald]]'s [[Isenheim Altarpiece|altarpiece]] in [[Isenheim]], a city in which the elder also received a number of commissions from the [[hospice]] there. In common with the religious traditions of the 1520's the work was intended to evoke [[piety]], and follows the intentions of Grünewald, who in his altarpiece set out to instill feelings of both guilt and empathy in the viewer.

It is unknown for what purpose the painting was created; various suggestions offered include as a [[predella]] for an [[altarpiece]], as free-standing work or an ornament for a [[sepulchre]]. In 1999, The art historians Oskar Batschmann and Pascal Griener raised the likelihood that the panel was intended to form part of a [[Funerary art|Holy Tomb]], perhaps, they wrote, as a lid to be laid over a sepulchre. It is known that Holbein used a body fished out of the Rhine as a model for the work

The panel has attracted fascination and praise since it was created. The Russian author [[Fyodor Dostoyevsky]] was wholly captivated by the work. In 1867, his wife had to drag her husband away from the panel lest its grip on him induce an epileptic fit. In an [[ekphrastic]] passage in his 1869 novel ''[[The Idiot (novel)|The Idiot]]'', the character [[Prince Myshkin]], having viewing the painting in the home of Rogoschin, declares that it has the power to make the viewer [[lose his faith]].

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Anamorphic

Jahsonic — Sat, 07 Nov 2009 13:09:22 GMT

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'''Anamorphic format''' is a term that can be used either for the [[cinematography]] technique of capturing a [[widescreen]] picture on standard [[35 mm film]], or other visual recording media, with a non-widescreen native [[aspect ratio (image)|aspect ratio]], or a photographic projection format in which the original image requires an optical anamorphic lens to recreate the original aspect ratio. It should not be confused with [[anamorphic widescreen]], which is a very different electronically-based video encoding concept that uses similar principles to the anamorphic format but different means. The word "[[anamorphosis|anamorphic]]" and its derivates derive from the Greek words meaning ''formed again''.
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Wilson Bryan Key

Jahsonic — Sat, 07 Nov 2009 13:06:36 GMT

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'''Wilson Bryan Key, Ph.D.''' (1921-2008) was the author of several books about [[subliminal advertising]] and [[subliminal message]]s. Controversial from the start, the books were widely read, particularly at universities, where he would often lecture. He obtained his doctorate in communications from the [[University of Denver]] and taught journalism for a short period of time at the [[University of Western Ontario]]. He was a colleague and friend of [[Marshall McLuhan]]. His results and conclusions have been challenged.

Dr. Key was born on January 31, 1921 in Richmond, California and died on October 8, 2008 in Reno, Nevada following complications resulting from surgery. He is interred at the Northern Nevada Veteran's Memorial Cemetery in Fernley, Nevada. He is survived by his wife and three daughters.

In a 1990 a Reno, Nevada court case against [[Judas Priest]] regarding subliminal messages and a suicide pact between two young men gained international attention. Dr. Key was a witness in this case however, the case was dismissed against Judas Priest and CBS which was Priest's record company.
Dr. Key was also a member of MENSA.

==Bibliography==
* ''[[Subliminal Seduction]]: Are You Being Sexually Aroused By This Picture?'' aka "Ad Media's Manipulation of a Not So Innocent America." (1973). Introduction by [[Marshall McLuhan]]. Prentice-Hall, Inc. Library of Congress Catalog Card Number: 73-5421.

* ''[[Media Sexploitation]]'' (1976). Prentice-Hall, Inc.

* ''The Clam-Plate Orgy: And Other Subliminals the Media Use to Manipulate Your Behavior'' (1980). Signet. Reissued in 1992 as ''Subliminal Ad-Ventures in Erotic Art'' by Branden Books.

* ''The Age of Manipulation: The Con in Confidence, The Sin in Sincere'' (1989). H. Holt.

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The French Ambassadors

Jahsonic — Sat, 07 Nov 2009 13:06:23 GMT

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'''''The Ambassadors''''' (1533) is a painting by [[Hans Holbein the Younger]] in the [[National Gallery, London]]. As well as being a double [[portrait]], the painting contains a [[still life]] of several meticulously rendered objects, the meaning of which is the cause of much debate. It is also a much-cited example of [[anamorphosis]] in painting.

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Priapeia 28

Jahsonic — Sat, 07 Nov 2009 12:45:43 GMT

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:''[[Priapeia]]''
''Mentula'' is the basic Latin word for [[penis]]. Its status as a basic obscenity is confirmed by the ''[[Priapeia 28]]'', in which ''mentula'' and ''cunnus'' are given as ideal examples of obscene words:

:''Obscenis, peream, Priape, si non uti me pudet improbisque verbis sed cum tu posito deus pudore ostendas mihi coleos patentes cum cunno mihi mentula est vocanda''

:: ("I'd rather die than use obscene and improper words; but when you, as a god, appear with your balls hanging out, it is appropriate for me to speak of cunts and cocks.")

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Physical ontology

Jahsonic — Sat, 07 Nov 2009 12:36:24 GMT

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The ontology term brings the literal meaning of " study of the being ", where being is " that is " or "that exists ". The original Greek expression to the base of the ontology term is in fact τά όντα , that means " what actually exists ", and this correct lexical meaning is paraphrasing in " study on the reality ". Besides όντως , anterior origin, has the exact adverbial meaning of " actually " as " ontically” and that is evidently non concerning metaphysics. Instead, the word " ontology ", that correctly concern the effective physical reality, that is the " material ", became in the history of the philosophy a subject of metaphysics or the metaphysics same, so swerving entirely from its appropriate meaning.

The metaphysics in fact (translation of Andronicus of Rhodes of the Aristotelian expression " first philosophy " ) concerns a supposititious "not-physical" foundation, or [[substance]] of the " physical ", that is of the not-material: of the spiritual, of the ideal, of the divine. Lexical and philosophical correctness wants then when we use the word ontology, we speak primarily of a "materialistic ontology " and only secondarily of a "metaphysical ontology " concerning the not-material and not-physical.

We must even remember that already Parmenides the being is thought and conceived as a "spiritual base " of matter "and not " the matter and its actual entities, what is actually perceivable, objectifying and able o be studied. For Parmenides “the actual physical world”, as mutable, was considered a mere " not-being ". Thus, from then onward (with the only exception of Atomists) to speak of being means speak of not-physical, and ontology, instead of "study on the being " or " of the being ", became totally intrinsic to metaphysics and so outside its proper meaning, as proper of theology. Just Aristotle specified (Metaphysics, VI [Ε], 1, 1026a, 17-21 ):

Then, will be three kind of theoretical philosophy, that are the mathematics, the physics and the theology, being enough clear that, if the divinity is present in some place, it is present in a such nature that is essentially the more venerable science deals of the most venerable object.

And five chapter later (Metaphysics, XI [Κ], 7, 1064 b, 39-45 ):

It is clear, therefore, that exist three categories of theoretical sciences: physics, mathematics and theology. Superior to the other is, therefore, the most noble kind of theoretical sciences is the last, , because it deals of the greatest being, and each science is better considered or worse in accordance with the object on which concerns peculiarly its cognitive investigation.

On this base of theology as " first science " all posterior philosophy moved on that line fixed by Aristotle, and thence the appropriation of the ontology by metaphysics, with the theology as basic science, became fixed. When the word " ontology " appears, to the beginnings of the XVII century by Jacob Lorhard, in the first edition of his Ogdoas Scholastica ( 1606 ), subsequently used by Rudolph Göckel in his Philosophical Lexicon ( 1613 ), it is already indissolubly joined with theology and reduced to a metaphysical meaning.

But, if ontology has to considered " study of the real being ", or of " that actually is " and in physical sense, evidently we are lacking a term to point out “physical being” and from that the necessity to set a physical ontology. That above all because nowadays some disciplines nothing having to do with philosophy has already coined and fixed adjectives coupled with ontology that denaturalize its philosophical meaning. . In this way, today, the ontology sinks in a great confusion and at the same time lacks a term to point out the " study of physical being " from a close philosophical point of view, while they are current terms of the type " mathematical ontology ", "ontology of the information ", "computer ontology " and so on.

==See also==
* [[Ontology]]
* [[Applied Ontology]]
* [[Cosmology]]
* [[Epistemology]]
* [[Foundation ontology]]
* [[Ontology (computer science)]]
* [[Monism]]
* [[Ontological Pluralism]]
* [[Philosophy of science]]
* [[Philosophy of space and time]]
* [[Quantum ontology]]
* [[Upper ontology]]

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Ontological pluralism

Jahsonic — Sat, 07 Nov 2009 12:36:15 GMT

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'''Ontological pluralism''' is a philosophical expression to indicate the conceptual opposition to [[monism]]. It is the conception that sees the [[Being]] made by a plurality of more elementary beings. The pluralist ontologists think therefore that the [[Being]] is constituted and founded by a multitude of original elements as substantial basis of it, and moreover themselves evolving in a dynamic [[Becoming]].

In other words, the ontological ''pluralism'' in ancient philosophy is, in opposition to monism, a philosophical conception concerning the ontology with reference to the [[substance|substantial]] pluralism of being. For that in ontological pluralism the Being is constituted by a plurality of elements as the basic substances of it.

Harshly opposed to pluralist atomistic ontology was the monism derived from [[Parmenides]], with [[Plato]] and [[Aristotle]] among the first ones. For the [[Eleatic]] monism the Being is unique and immutable, while the Becoming is a not-being made of apparent materialization of Being itself.

==History==
In the ancient world, from the seventh century B.C. through the Eleatic Parmenides, there prevailed a conception of the world seen as a unity and totality, consisting of parts not essential to it, but only its expressions derived, precarious or apparent. Monism eleatic and the following [[Idealism]] are a type of [[Weltanschauung]] seeing the ‘’being’’ as unique and immutable, which generated a multitude of parts of itself to consider only appearances of and not substances: therefore a pure [[Not-being]].

Generally, the term ''plurality'' referred to the [[ancient Greek]] pluralist philosophers indicates a position that ontologically reconciles the reality of Being and Becoming in the plurality of his constituents. This, not yet clearly expressed by the naturalists of [[Miletus]], looking for a unique origin of multiplicity, after, in [[Anaxagoras]] and [[Leucippus]], had a complete theoretical formulation. In the first one in the typically sense (as ''seeds'' for each type of real material bodies), the second one in a more qualitative and quantitative plurality (as ''atoms'' of different figure, order and position).

The term ''ontological pluralism'' so means that a reality of Being unique and unchanging not exists, because is the Becoming of plurality the fundamental and elementary ontic basis. This thesis borns in the greek-ion world and as we seen found two different ways (by Anaxagoras and by Leucippus) of development. In the first one, the "seeds" (Aristotle will called them "homeomeries") create the various substances. In the second one, the reality is based on the [[vacuum]] and on the atoms that, and their intrinsic movement in it, create the universe to smell.

Anaxagoras, therefore, suggests a pluralism in exclusively qualitative ontological meaning, , while Leucipppus did a formulation where the atoms are characterized by a "figure", an "order" and a "position" in the cosmos.<ref>Aristotle, ''Metaphysics'', I , 4, 985</ref> Thus Anaxagoras gave a typological concept of ontological pluralism, while Leucippus gave a dynamic one, articulated in different figure, order and position of [[atom]]s.

==Challenges==
Fiercely opposed to ontological pluralism, of course, the monistic ontology eleatic, with all by it derived forms of [[Idealism]], from Plato onwards included the [[Aristotelism]] and the [[Stoicism]]

The problem of pluralist ontology is to demonstrate, on the one hand, that the “being” is actually a pluralistic “beings”, and on the second that it is as much actually a “becoming” of the ontic plurality. It was therefore also a problem to find a new balance between material world and supposed metaphysical world, the first acknowledged in its physical truth and reality, but at the same time affirming the need to find a new basis for a stable world but in its incessant flow of natural entities.

== Theoretical Problem ==
The plausibility of ''Ontological Pluralism'' is related to that of [[Physical ontology]] one, because it is through that, especially with reference to the ''Quantum Mechanics'' and its [[indeterminism | indeterministic]] Pluralism, that becomes possible to theorize a real Ontological Pluralism also in Philosophy.

==See also==
* [[Monism]]
* [[Substance]]
* [[Essence]]
* [[Existence]]
* [[Ontology]]
* [[Physical ontology]]
* [[Ousia]]
* [[Phenomenon]]
* [[Substance theory]]
*[[Pluralism]]

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Postmaterialism

Jahsonic — Sat, 07 Nov 2009 12:36:05 GMT

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The concept of '''post-materialism''' is quite important in modern culture and should be considered in reference of three concepts of materialism, not coinciding. The first concept is the historical and dialectic materialism by Marx and Engels. The second concept concerns a non-religious or secular consumerist materialism that is typically exemplified as a result of extreme capitalism. The third concept of materialism regards the philosophical argument that matter is the only existing reality. The first two concepts are sociological and the third is philosophical.

The word ''postmaterialism'' then, in itself, says little or nothing if not related to the meaning of "materialism" to which it references its character. The framework of reference and what we mean with the word ''postmaterialism'' (often written ''post-materialism'') in general can be identified as: A) an ''ontological postmaterialism'', B) an ''existentialistic postmaterialism'', C) an ''ethical postmaterialism'' and finally D) a ''political-sociological postmaterialism'' , which is also the best known.

==Sociological postmaterialism==
The sociological theory of ''Post-materialism'' assumes an ongoing transformation of individuals and society which liberates them gradually from the stress of basic acquisitive or materialistic needs. In the first place, the term "post-materialism" and the related concept of "the silent [[revolution]]" was made rather notorious in political and social sciences by [[Ronald Inglehart]] since the beginning of the seventies referring a new religious moral against the [[consumerism]].

One of Inglehart's main assumptions is that individuals pursue various goals in hierarchical order. First, material needs like hunger or thirst have to be satisfied. If this is done, the focus will be gradually shifting to nonmaterial goods. Hence, according to Inglehart's interpretation of [[Abraham Maslow|Maslow's]] [[Maslow's hierarchy of needs|hierarchy of human goals]], [[cohort (statistics)|cohorts]] which often experienced economic scarcities would ''[[ceteris paribus]]'' place strong priorities on economic needs or economic growth and safety needs such as a strong national defense and "[[law and order (politics)|law and order]]" ([[materialism]]). On the other hand, cohorts who have experienced high material affluence start to give high priority to values such as [[individual]] improvement, personal [[freedom (political)|freedom]], [[citizen]] input in government decisions, the ideal of a society based on [[humanism]], and maintaining a clean and healthy [[environmentalism|environment]].

This hypothesis would imply that a growing part of society becomes more post-materialist given long periods of material affluence. The post-material orientations acquired during [[socialisation]] should also be rather steadfast, because they are claimed to be a rather stable value-system [[value (personal and cultural)|value]] in contrast to more volatile political and [[social attitude]]s.

There are several ways of measuring post-materialism in empirical science. A rather simple, but common way is creating an index from survey respondents' patterns of responses to a series of items which were designed to measure personal political priorities:

"If you had to choose among the following things, which are the ''two'' that seem the most desirable to you?
* Maintaining order in the nation.
* Giving people more say in important political decisions.
* Fighting rising prices.
* Protecting [[freedom of speech]].

... On the basis of the choices made among these four items, it is possible to classify our respondents into value priority groups, ranging from a 'pure' [[Acquisition|acquisitive]] type to a 'pure' post-[[bourgeois]] type, with several intermediate categories." (Inglehart 1971: 994 f.)

The theoretical assumptions and the empirical research connected with the concept of post-materialism have received considerable attention and critical discussion in the human sciences. Amongst others, the [[validity (statistics)|validity]], the stability and the causation of post-materialism has been doubted.

The so-called "Inglehart-index" has been included in several [[statistical survey|surveys]] (e.g. [[General Social Survey]], [[World Values Survey]], [[Eurobarometer]], [[ALLBUS]], [[Turning Points of the Life-Course]]). The [[time series]] in ALLBUS ([[German General Social Survey]]) is particularly comprehensive. From 1980 to 1990 the share of "pure post-materialists" increased from 13 to 31 percent in West Germany. After the economic and social stress caused by [[German reunification]] in 1990 it dropped to 23 percent in 1992 and stayed on that level afterwards (Terwey 2000: 155; ZA and ZUMA 2005). The ALLBUS [[Sample (statistics)|sample]] from the less affluent population in East Germany show much lower portions of post-materialists (1991: 15%, 1992: 10%, 1998: 12%). International [[data]] from the 2000 [[World Values Survey]] show the highest percentage of post-materialists in [[Australia]] (35%) followed by [[Austria]] (30%), [[Canada]] (29%), [[Italy]] (28%), [[Argentina]] (25%), [[United States]] (25%), [[Sweden]] (22%), [[Netherlands]] (22%), [[Puerto Rico]] (22%) etc. (Inglehart et al. 2004: 384). In spite of some questions raised by these and other data, measurements of post-materialism have prima facie proven to be statistically important variables in many analyses.

As increasing post-materialism is based on the abundance of material possessions or resources, it should not be mixed indiscriminately with [[asceticism]] or general denial of consumption. In some way post-materialism may be criticized as super-materialism. German data show that there is a tendency towards this orientation among young people, in the economically rather secure public service, and in the managerial middle class (Pappi and Terwey 1982).

Recently, the issue of a “second generation of Postmateralism” appearing on the scene of world wide Civil Society, to a large extent conceived as their “positive ideological embodiment”, has been brought up mainly by Cultural Scientist [[Roland Benedikter]] in his 7-fold book series “Postmaterialismus” (2001-2005).

==Ontological and existential postmaterialism==
A recent form of postmaterialism is that proposed by the Italian atheist philosopher [[Carlo Tamagnone]]. This thinker aims in various ways to overcome the materialistic reductionism, proposing new concepts not strictly materialistic, opening a new horizon that is also a new form of [[atheist existentialism]].

==See also==
* [[Postmodernity]]
* [[Consumerism]]
* [[Affluenza]]
* [[Gross National Happiness]]
* [[Abraham Harold Maslow]]
* [[John Kenneth Galbraith]]
* [[Anthony Giddens]]
* [[World Values Survey]]
* [[Material feminism]]
* [[Revisionism]]

==References==
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* Roland Benedikter, ''Postmaterialismus - Die zweite Generation''. Volume 1: ''Einfuehrung in das postmaterialistische Denken'' (2001), Volume 2: ''Der Mensch'' (2001), Volume 3: ''Die Arbeit'' (2001), Volume 4: ''Die Natur'' (2002), Volume 5: ''Das Kapital'' (2003), Volume 6: ''Die Globalisierung'' (2004), Volume 7: ''Perspektiven postmaterialistischen Denkens'' (2005). Vienna, Passagen Verlag 2001-2005.

* Ronald Inglehart 1971: ''The Silent Revolution in Post-Industrial Societies''. In: ''American Political Science Review 65'': 991-1017. {{ISSN|1537-5943}}

* Ronald Inglehart 1977: ''The Silent Revolution: Changing Values and Political Styles Among Western Publics''. Princeton: Princeton University Press. ISBN 0-691-10038-1

* Ronald Inglehart, Miguel Basánez, Jaime Díez-Medrano, Loek Halmann and Ruud Luijkx (eds.) 2004:
''Human Beliefs and Values. A cross-cultural sourcebook based on the 1999-2002 values surveys''. Coyoacan: siglo veintiuno editores. ISBN 968-23-2502-1

* Abraham H. Maslow 1987 (1954): ''Motivation and Personality''. 3rd edition. New York: Harper and Row. ISBN 0-06-041987-3

* Franz Urban Pappi and Michael Terwey 1982: ''The German Electorate: Old Cleavages and New Political Conflicts''. In: Herbert Döring und Gordon Smith (eds.), ''Party Government and Political Culture in Western Germany'', London: Macmillan: 174-196. ISBN 0-333-29082-8

* Michael Terwey: ''ALLBUS: A German General Social Survey''. In: ''Schmollers Jahrbuch. Zeitschrift für Wirtschafts- un Sozalwissenschaften. Journal of Applied Social Science Studies''. Nr. 120, 2000: 151-158. {{ISSN|0342-1783}}

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Stern's Africa

Jahsonic — Sat, 07 Nov 2009 12:22:56 GMT

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'''Stern's Africa''' is a record label specialized in [[African music]]. They have released music by [[Africando]], [[Mansour Seck]], [[Miriam Makeba]], [[Samba Mapangala]], [[Mahmoud Ahmed]], [[Orchestra Baobab]], [[Manu Dibango]].
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Earthworks Records

Jahsonic — Sat, 07 Nov 2009 12:20:42 GMT

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'''Earthworks''' was a record label started in the mid 1980s as a subsidiary of [[Virgin Records]]. Shortly after Virgin was sold to [[EMI]], Earthworks was sold to [[Stern's Africa]].
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Never Expect Power Always

Jahsonic — Sat, 07 Nov 2009 12:18:17 GMT

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:''[[Tony Oladipo Allen]]''

[[Never Expect Power Always]] (aka N.E.P.A.) is a [[1985]] album by [[Tony Allen]] with [[Afrobeat 2000]] on [[Earthworks Records]].
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Medieval knight

Jahsonic — Sat, 07 Nov 2009 12:11:45 GMT

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Since [[classical antiquity]], heavy [[cavalry]] known as [[cataphract]]s were involved in various [[war]]s, with their arms and role in battle similar to those of the medieval knight. However a cataphract had no fixed political position or social role other than his military function.

Knighthood as known in Europe was characterized by the combination of two elements, [[feudalism]] and service as a mounted combatant. Both arose under the reign of the Frankish [[emperor]] [[Charlemagne]], from which the knighthood of the Middle Ages can be seen to have had its genesis.

Some portions of the armies of [[German peoples|Germanic]] tribes (and super-tribes, such as the [[Suebi]]) who occupied Europe from the 3rd century AD, had always been mounted, and some armies, such as those of the [[Ostrogoths]], comprised mainly [[cavalry]]. However it was the [[Franks]] who came to dominate Western and Central Europe after the [[fall of Rome]], and they generally fielded armies composed of large masses of [[infantry]], with an infantry elite, the [[Comitatus (classical meaning)|comitatus]], which often rode to battle on horseback rather than marching on foot. Riding to battle had two key advantages: it reduced fatigue, particularly when the elite soldiers wore [[armor]] (as was increasingly the case in the centuries after the fall of the Western Roman empire); and it gave the soldiers more mobility to react to the raids of the enemy, particularly the invasions of [[Muslim]] armies which started in the 7th century. So it was that the armies of the Frankish ruler and [[warlord]] [[Charles Martel]], which defeated the [[Umayyad Caliphate|Umayyad]] Arab invasion at the [[Battle of Tours]] in 732, were still largely infantry armies, the elites riding to battle but dismounting to fight, providing a hard core for the levy of the infantry warbands.

As the 8th century progressed into the [[Carolingian]] Age, the Franks were generally on the attack, and larger numbers of warriors took to their [[Horses in the Middle Ages|horses]] to ride with the Emperor in his wide-ranging campaigns of conquest. At about this time the Franks increasingly remained on horseback to fight on the battlefield as true cavalry rather than as mounted infantry, and would continue to do so for centuries thereafter. Although in some nations the knight returned to foot combat in the 14th century, the association of the knight with mounted combat with a spear, and later a lance, remained a strong one.

These mobile mounted warriors made Charlemagne’s far-flung conquests possible, and to secure their service he rewarded them with grants of land called [[benefices]]. These were given to the captains directly by the emperor to reward their efforts in the conquests, and they in turn were to grant benefices to their warrior contingents, who were a mix of free and unfree men. In the century or so following Charlemagne’s death, his newly empowered warrior class grew stronger still, and [[Charles the Bald]] declared their fiefs to be hereditary. The period of chaos in the 9th and 10th centuries, between the fall of the Carolingian central authority and the rise of separate Western and Eastern Frankish kingdoms (later to become [[France]] and [[Germany]] respectively), only entrenched this newly-landed warrior class. This was because governing power, and defense against [[Viking]], [[Hungarian people|Magyar]] and [[Saracen]] attack, became an essentially local affair which revolved around these new hereditary local [[lord]]s and their ''[[demesne]]s''.

The resulting hereditary, landed class of mounted elite warriors, the knights, were increasingly seen as the only true soldiers of Europe, hence the exclusive use of ''miles'' for them.

The tradition of the chivalric "knight in shining armor" can be traced back to the [[Arab]]s, with notable [[Pre-Islamic Arabia|pre-Islamic]] figures like the [[Bedouin]] knight [[Antar (poet)|Antar The Lion]] (580 AD). He is believed to be the model of this tradition. Charles Reginald Haines noted traits "such as loyalty, courtesy, munificence...are found in eminent degree among the Arabs."{{cn|date=October 2009}} [[Medieval]] [[Spain]], which he calls the "cradle of chivalry", could bear that pre-modern title, due to the direct [[Islamic contributions to Medieval Europe|impact of Arab civilization]] in [[Al-Andalus]]. "Piety, courtesy, prowess in war, the gift of eloquence, the art of poetry, skill on horseback, dexterity with sword, lance, and bow" was expected of the elite [[Moors|Moorish]] knight. [[Richard Francis Burton]], when characterizing this strain of thought in the writings of [[Europe]] as a whole, maintained "were it not evident that the spiritualising of sexuality by imagination is universal among the highest orders of mankind", he continues, "I should attribute the origins of love to the influences of the Arabs' poetry and chivalry upon European ideas rather than to medieval Christianity."
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Second Crusade

Jahsonic — Sat, 07 Nov 2009 12:09:16 GMT

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The '''Second Crusade''' (1147–1149) was the second major [[crusade]] launched from Europe. It was called in 1145, in response to the fall of the [[County of Edessa]] the previous year to the forces of [[Zengi]]. The county had been founded during the [[First Crusade]] (1095–1099) by [[Baldwin I of Jerusalem|Baldwin of Boulogne]] in 1098. While it was the first [[Crusader state]] to be founded, it was also the first to fall.

The Second Crusade was announced by [[Pope Eugene III]], and was the first of the crusades to be led by European kings, namely [[Louis VII of France]] and [[Conrad III of Germany]], with help from a number of other important European nobles. The armies of the two kings marched separately across Europe. After crossing [[Byzantine Empire|Byzantine]] territory into [[Anatolia]], both armies were separately defeated by the [[Seljuk Turks]]. The main Western Christian source, Odo of Deuil, and Syriac Christian sources claim that the [[Byzantine emperor]] [[Manuel I Comnenus]] secretly hindered the crusaders' progress, particularly in Anatolia where he is alleged to have deliberately ordered Turks to attack them. Louis and Conrad and the remnants of their armies reached [[Jerusalem]] and, in 1148, participated in an ill-advised attack on [[Damascus]]. The crusade in the east was a failure for the crusaders and a great victory for the [[Islam|Muslims]]. It would ultimately lead to the [[Siege of Jerusalem (1187)|fall of Jerusalem]] and the [[Third Crusade]] at the end of the 12th century.

The only success of the Second Crusade came unintentionally to a combined force of Flemish, Frisian, Norman, English, Scottish, and German crusaders in 1147. Travelling from England, by ship, to the [[Holy Land]], the army stopped and helped the Portuguese in the [[Siege of Lisbon|capture of Lisbon]], expelling its [[Moors|Moorish]] occupants.

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Second Council of the Lateran

Jahsonic — Sat, 07 Nov 2009 12:09:07 GMT

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The '''Second Council of the Lateran''' is believed to have been the '''Tenth [[Ecumenical Council]]''' by [[Roman Catholics]]. It was held by [[Pope Innocent II]] in April 1139, and was attended by close to a thousand clerics. Its immediate task was to neutralise the after-effects of the [[Schism (religion)|schism]], which had arisen after the death of [[Pope Honorius II]] in February 1130 and the setting up of Petris Leonis as the [[antipope Anacletus II]].

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Council of Troyes

Jahsonic — Sat, 07 Nov 2009 12:08:58 GMT

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There have been a number of [[Ecumenical council|council]]s held at [[Troyes]]:

* 867 - proclaimed that no [[bishop]] could be disposed without reference to the [[Holy See]]
* 1129 (sometimes listed as 1128) - convened by [[Pope Honorius II]]:
** recognized and confirmed the [[Knights Templar|Order of the Knights Templar]]
** solved disputes involving the [[Bishop of Paris]]
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Fourth Lateran Council

Jahsonic — Sat, 07 Nov 2009 12:06:43 GMT

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The '''Fourth Council of the Lateran''' was convoked by [[Pope Innocent III]] with the [[papal bull]] of [[April 19]], [[1213]], and the Council gathered in November of [[1215]]. Due to the great length of time between the Council's convocation and meeting, a great many bishops had the opportunity to attend. It was the 12th [[ecumenical council]] and is sometimes called "the General Council of Lateran" due to the presence of seventy-one [[patriarch]]s and [[metropolitan bishop]]s, four hundred and twelve [[bishop]]s, and nine hundred [[abbot]]s and [[prior]]s together with representatives of several [[monarch]]s.

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Pope Lucius III

Jahsonic — Sat, 07 Nov 2009 12:06:37 GMT

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'''Pope Lucius III''' (ca.1100 – November 25, 1185), born '''Ubaldo''', was [[pope]] from September 1, 1181 to his death.
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Pope Alexander III

Jahsonic — Sat, 07 Nov 2009 12:06:29 GMT

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'''Pope Alexander III''' (c. 1100/1105 – August 30, 1181), born '''Rolando''' (or '''Orlando''') '''of Siena''', was [[Pope]] from 1159 to 1181. He is noted in history for laying the foundation stone for the [[Notre Dame de Paris]].
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Japanese stereotypes

Jahsonic — Sat, 07 Nov 2009 12:03:42 GMT

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''This article specifically refers to intra-Japan stereotypes. For North American stereotypes of the Japanese, see [[Stereotypes of East and Southeast Asians]].''

Japan, like any country, has its own cultural norms and stereotypes. '''Japanese stereotypes''' is an attempt to catalog these stereotypes and cultural expectations in the hope of understanding them.

==In the Western world==
===Yakuza===
Many Japanese action films or American action films set in Japan or featuring Japanese characters often feature the [[yakuza]], who are generally regarded as Japan's version of the Italian mafia. Many "tough-guy" Japanese men are usually suspected outside of Japan as being members of the yakuza or at the very least, having a connection to the said organization, especially more so if they wear tattoos due the yakuza tradition of ''[[Irezumi]]''. Some Japanese action stars who have gained international fame, such as [[Sonny Chiba]] and [[Takeshi Kitano]], are often remembered for their roles as yakuza members.

===Motorcycle gangs===
A rebellious youth counterculture, the Bōsōzoku have made waves in Japanese fiction. [[Great Teacher Onizuka]] is about a reformed member of such gangs, while [[Akira (manga)|Akira]] begins with a bōsōzoku gang encountering a child with ESP powers. They may draw analogies to the "motor gang" image often associated with the Hells Angels, but the Bōsōzoku have more similarities to the [[Greaser (subculture)|Greaser subculture]].

===Work ethic===
Not a stereotype per se, but a strong cultural expectation of hard work exists in Japan, especially for business-related professions. (see [[Salaryman]].) One instance of this: in the demanding [[manga]] industry, the popular artist group [[Clamp (manga artists)|Clamp]] typically works around eleven to thirteen hours in an average day.

Japan's work ethic has actually been known to kill; [[Karōshi]] is a phenomenon in which many have been known to suffer heart attacks caused by work stress and excessive overtime, usually unpaid.

===Bad Teeth or Large Jaws===
Japanese women are often believed to have very bad teeth. In the podcast Josh in Japan the host has stated "Well I mean, it isn't much of a secret... Japanese women... you know... kind of have Ef'ed up teeth." Because of the fact that orthodontics were not readily available in Japan many women have grown up with out any sort of dental correction. Orthodontia is becoming more readily available .

Another physiological Japanese (and east Asian) stereotype in relation to teeth is the "buckteeth" or enlarged front [[incisors]]. This assumed physiological trait of enlarged teeth in certain segments of Japanese, with east Asians were studied, also found among American Indians whose ancestry originates from northeast Asia when they arrived in North America about 20,000 years ago. However, the trait was widely exaggerated and made to ridicule both Japanese and east Asians in the same way the "slant-eyes", "bowl hair cut" and "yellow skin" were used as racial stereotypes.

===Otaku===
Modern stereotypes of Japanese men depict them as [[anime]], [[manga]] and [[video game]] enthusiasts with overweight or extremely skinny builds, poorly kept appearance and being neglectful of their hygiene. This stereotype was initiated by the Japanese media itself to deride a portion of their society who are obsessed with certain hobbies that involve scant social interaction such the aforementioned anime and manga but this may also include [[model building]], [[sci-fi]]/[[horror film]]s, [[computer]]/[[programming]] or even [[weapon]]s and [[militaria]] such as in the case of the ''military otaku''.

The word "otaku" carries a social stigma in Japanese society, largely due the [[Tsutomu Miyazaki]] murders and, more recently, the [[Akihabara Massacre]], as it conveys the idea of otakus as dangerous social outcasts whose obsessions with drawn media leads them to misanthropic criminal behavior or ,at the very least, a severe inability to interact socially with other people especially with members of the opposite sex and using their hobbies as means of escape from their lonely existence. The Japanese phenomenon of ''[[hikkikomori]]'' (young shut-ins) is often viewed as an unfortunate side-effect of the otaku lifestyle.

===Sexual deviancy===
The popularity of Japanese pornographic media such as Japanese adult film ([[Adult videos in Japan|AV]]/''[[Pinku eiga]]''), magazines and [[hentai|erotic comics and animation]], often with bizarre themes such as [[hermaphrodite]]s and [[tentacle rape]] led to the stereotyping of Japanese males as sexual deviants with disturbing fetishes.

Sexual activities which are common in Japanese culture, such as [[shibari]], [[Ero guro|guro]] and [[bukkake]] are viewed as disgusting as well as sexist in the eyes of westerners which leads to the negative portrayal of the Japanese in western media. Some forms of sexual fetishism are strongly associated with the Japanese, among them being [[lolita complex]] (regarded as pedophilia in the west), [[panty fetishism]] and [[seifuku|sailor-suited schoolgirls]]. A widely known stereotype is that Japanese men have small [[penis]]es.

===Japanese females===
Japanese women are regarded as shy, and soft-spoken. However a more modern image of the Japanese woman is the one of the playful and bubbly eternal [[Lolita]] with their fixation on being "[[Kawaii|cute]]". Characteristics of this stereotype include obsession with cute childish things such as plush toys, colorful clothing and accessories and speaking in high-pitched falsettos mimicking a child's voice. This stereotype is further intensified by female [[J-pop]] [[Teen Idol| idol singer]]s and the [[Lolita fashion]] fad.

==In Asia==
In [[China]] and [[South Korea]], Japanese men are often represented as hairy men who have humorous [[moustache]]s, [[eyebrow]]s and [[eyelash]]es. They are also often viewed to have bad teeth.

==See also==
*[[Culture of Japan]]
*[[Stereotypes of East and Southeast Asians]]

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Renato Guttuso

Jahsonic — Sat, 07 Nov 2009 11:42:20 GMT

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'''Renato Guttuso''' ([[26 December]] [[1911]] – [[18 January]] [[1987]]) was one of the major [[Italian people|Italian]] painters of the twentieth century.

His best-known paintings include ''Flight from Etna'' (1938–39), ''Crucifixion'' (1941) and ''[[La Vucciria]]'' (1974). Guttuso also designed for the theatre (including sets and costumes for ''[[Histoire du Soldat]]'', Rome, 1940) and did illustrations for books. Those for [[Elizabeth David]]’s ''Italian Food'' (1954) introduced him to many in the English-speaking world.
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Luigi Moretti

Jahsonic — Sat, 07 Nov 2009 11:32:46 GMT

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'''Luigi Walter Moretti''' (January 2 1907 [[Rome]] - July 14 1973 [[Capraia Island]]) was an Italian architect.

== Career ==
=== Education and academic career ===
Born in via Napoleone III, on the [[Esquilino (rione of Rome)|Esquiline Hill]], in the same apartment where he will live almost his entire life, was the natural son of the architect Belgian [[Louis Rolland]], the whose most important work is the cinema-theater Adriano. 
He attended technical school at first, then the [[Classical High School]] and from [[1925]] in [[1930]], the Royal School of Architecture in Rome.

Was still a student when he became assistant of [[Vincenzo Fasolo]] (author of the design of Roman high school Mamiani and the Pont Duca d'Aosta) in the Chair of History and Styles of Architecture.

In [[1929]] Moretti graduated with honors with a project for a college of higher education in classical [[Rocca di Papa]] with whom he won the award named after [[Giuseppe Valadier]] for best thesis of the institute.

From 1929 to [[1932]] was an assistant to [[Gustavo Giovannoni]] the course of restoration of monuments. In [[1931]] The winner of the scholarship three years for Roman Studies, established by the Governorate of Rome and the Royal School of Architecture. With this funding will work with Corrado Ricci in the arrangement of the areas east and north of [[Trajan's Market]].

=== Activity in building and urban development ===
In [[1932]] Moretti gave up his academic career and began to attend a series of competitions for building design and planning, obtaining the second prize for the zoning of [[Verona]], [[Perugia]], and [[Faenza]], and for the housing of [[Naples]].

In [[1933]] participated with Paniconi, Pediconi Tufaroli and the fifth [[Triennale di Milano]] submitting a project for a house for a man of study. 
In the same year was presented to [[Renato Ricci]], president of the [[National Opera Balilla]] (then [[Youth Italian Littorio]]) that the following year appointed him director of the Technical ONB instead of [[Enrico Del Debbio]].

For the ONB, and later for the GIL, Moretti designed, among other houses in the same year the youth of [[Piacenza]] and [[Trastevere]] in [[1934]] to [[Trecate]] in [[1935]] that women of Piacenza and in [[1937]] to [[Urbino]].

In 1937 he took over, the design of the regulatory plan of the [[Foro Italico (Rome)|Foro Italico]] (then called Foro Mussolini), which created some of his masterpieces, such as the 'Academy of fencing and the Duce's Gym (both of [[1936]]) and the cell commemoration (of [[1940]]).

His are also the major systems of the Forum, enriched in the [[1937]] with the square of the Empire and the Stadium of Cypresses (expanded in 1953 and 1990 of other architects and become the [[Olympic Stadium]]) too 'it in 1937.

Moretti's works were published in the journal ''Architecture''.

In those years he participated in the competition for the construction of the Palazzo Littorio with a project harshly criticized the magazine Casabella''and''progressive Italian architectural culture in general. 
In [[1938]] participated in the design of the '[[USD]] - known as''E42''- winning (ex aequo with Fariello, Muratori and Quaroni) the competition for the design of the Imperial Square (now square Guglielmo Marconi ). The large building fronteggiante the square was never realized, but in the postwar structures already executed were used for the "skyscraper Italy" by Luigi Mattioni.

He served in that period, private office, thanks mainly to his friendships with members of the [[Fascism]] and journalists.

In the period between [[1942]] and [[1945]] Moretti disappeared from public view, to reappear in [[1945]] when arrested for his collaboration with fascism, was briefly imprisoned in the [[prison of San Victor]].

=== The postwar period ===
In November of that year he founded the count Fossataro, known in prison, the Cofimprese, a company that played a significant role to play in managing the operations of the post-war reconstruction in [[Milan]]. 
The Cofimprese foresaw the construction of twenty hotels in the capital Meneghini, of which only three were built and made, inter alia, the complex of course Italy, before breaking up in [[1950]].

The house "The Sunflower" Viale Bruno Buozzi built in Rome in 1950 is one of the best known projects of the period, and is considered an early example of postmodern architecture. The building is also mentioned in the essay by [[Robert Venturi]]''Complexity and Contradiction in architecture''as an example of architecture ambiguous, poised between tradition and innovation.

Following Moretti designed villas for illustrious patrons, including ''La Villa Saracen'' in [[Santa Marinella]] for the former director of the Rome daily ''[[The Messenger]]'', [[Francesco Malgeri]].

=== Not only architecture ===

In [[1950]] also founded the magazine ''[[Space (magazine)|Space]]'', ''Review of Arts and Architecture'' (published until [[1953]]) time to find a connection between different forms of [[art]] (from [[architecture]] to [[sculpture]], from [[painting]] to [[film]] and [[theater]]), not by chance that the first issue began with an essay titled "Eclecticism and units of language". The journal was managed and written almost entirely by the Roman architect who made it come together in the results of his research and study on it wise public key, such abstract forms in the sculpture ''Baroque'','' discontinuity of space in Caravaggio and structures and sequences of spaces. Moretti it was for the entire cycle editorial director and editor. The magazine, printed in Milan in the first instance from the printers E. Barigazzi, then from the printers Lucini, was short-lived, limited output of only seven numbers. In the decades after he released sporadically Moretti numbers, mostly monographs, the magazine: In [[1959]] released an issue dedicated to the sculptor [[Peter De Laurentiis]]. In April [[1963]] published on the Space Structure of the essay collections and [[1964]] contemporary meaning of the wise words "architecture". And July of [[1968]] a number which appears in the essay [[Giuseppe Capogrossi|''Capogrossi'']] dedicated to the famous Roman painter.

It was the [[1954]] when Moretti decided to found the art gallery, also known as ''space'', in his hometown of Rome.

His interest in art is also evident from the tendency to collections of works, particularly the [[XVII Century|Seicento]] and antiquity.

=== The SGI and IRMOU ===
In [[1957]], he became a consultant of the [[Società Generale Immobiliare]] ( SGI ) for which he designed, among other things, the buildings at the head of the EUR. In the same year he collaborated with the Municipality of Rome and the Ministry of Public Works, working on projects for inter-municipal plan of Rome (never adopted) and the Archaeological Park, from which arose the controversy with [[Bruno Zevi]] and [[Espresso]] on the devastation of ''[[Via Appia|Appia]]''.

Also in 1957, he founded the Institute for Operations Research and Applied Mathematics Urbanism (IRMOU) with the express purpose of continuing studies on the so-called ''parametric'' architecture, a doctrine which drew on the application of mathematical theories in the design planning. Relating to the design of [[Built Environment]], with mathematical analysis, highlights the functional roots of Moretti studying new dimensional relationships of the [[architectural space]] and [[Urban]], like [[Le Corbusier]] had studied the [[Modulor]] and the [[golden ratio]]. These studies were represented in [[1960]] with huge echo of the press, at the XIII Triennale di Milano.

In [[1958]] he later went on to design major residential neighborhoods, including the CEP of [[Livorno]] in that year also participated in the project of the [[Olympic Village (Roma)|Olympic Village]] designed to the [[Games of the XVII Olympiad|XVII Olympiad]] scheduled in Rome in [[1960]]. Just for the design of the village in [[1961]] won the Prix IN / ARCH 1961 for the best achievement in the region [[Ontario]]. On the same urban-design director is the Tenth District of Rome, partly realized between [[1960]] and [[1966]] on behalf of Incisa.

In this period Moretti had a significant influence on the work of the urban plan of Rome, which will be adopted by the City Council on [[18 December]] [[1962]].

=== The latest works ===
In 1962, on behalf of General Real Estate, the Watergate complex (the same who gave his name to the [[Watergate|political scandal of the same name]], which broke out in the [[United States of America]] in [[1972]] ) in [[Washington (District of Columbia)|Washington]], and the Stock Exchange Tower in [[Montreal]].

In [[1963]] again won this award / ARCH for best achievement in the Lazio region with the study design of two twin buildings in the EUR (the headquarters of the [[It]] and the SGI). 
In [[1964]], the Medal for meritorious school, culture and art was awarded, by the then [[President]] [[Antonio Segni]].

In [[1965]] began a fruitful relationship with the Consulting Group ''Le Condotte'' (later merged with Italstat) taking care of the design and implementation of resettlement Thermal Boniface VIII [[Fiuggi]], the [[Metropolitana di Roma]] in the trunk by the [[Roma Termini|Termini station]] to Via Ottaviano in [[Meadows (district of Rome)|Prati]], opened in [[1980]]. As part of the work on the underground in Rome, Pietro Nenni designed the current bridge open to automobile transit in [[1972]]. Another work of considerable Moretti is underground parking for two thousand places in Villa Borghese, which opened in [[1973]].

He worked with [[C. Conrad]] producing a biopic film about [[Michelangelo Buonarroti]] who received the [[Venice Biennale]] Art Film award from the biographies found on the site of the [[Polytechnic Bari]] <ref>http://icar.poliba.it/storiacontemporanea/autori/moretti/schedauto.htm</ref>.

In [[1968]] won the [[Premio Feltrinelli]] 's [[Accademia Nazionale dei Lincei]] and got the task of designing a sanctuary Tagbha on [[Lake Tiberias]]. The project was approved by the [[Holy See]] but the work was not started because of the delicate situation between [[Israel]] and [[Palestine|Palestinians]] which soon erupted into war. In that year also he married Maria Teresa Albani.

The following year, in [[1969]] found a fertile market for jobs in Arab countries, especially in [[Kuwait]] (where he designed the headquarters dell'Engineer Club Beduin and Houses) and [[Algeria]] ( Hotel El Aurassi and Complex Club des Pins, in addition to a number of schools and residential neighborhoods).

In [[1971]] he designed new buildings, for building projects of General Real Estate, including the residential center on the [[Potomac River]] in [[Alexandria]] in the United States of America and the Old residential Roquencourt ([[Paris]]), in Montreal, and the attachment to his previous realization of the [[1961]], the Torre (Stock Exchange Tower) ''Stock Exchange'', a new skyscraper. He exhibited his works in a monographic exhibition at [[Madrid]].

He died in [[1973]], due to heart failure while he was in the midst of his work.

== References ==
* Antonella Greek, Gaia Remiddi,''Luigi Moretti. Guide to the Roman works,''Palombi editore, Roma 2006
* Nice Alexandra, Marco Giunta,''Luigi Moretti. Balilla experimental house at the Foro Mussolini. The House of weapons before the House of Weapons'', and Arachne., 2006
* Cecilia Rostagno,''1907-1973''Luigi Moretti, Electa, 2008

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Eva Fischer

Jahsonic — Sat, 07 Nov 2009 11:32:38 GMT

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'''Eva Fischer''' (born 1920) is a [[Yugoslavs|Yugoslavian]]/[[Italy|Italian]] artist who works in [[oils]], [[watercolours]], [[engraving]] and [[lithography]].

== Life and Work ==

Eva was born in [[Daruvar]] (Ex-Yugoslavia), in 1920.

Her father, Leopold, [[Chief Rabbi]], and noted [[Talmudist]], was deported by the [[Nazis]] from [[Yugoslavia]] before the outbreak of World War II. Unfortunately, more than thirty members of Eva’s family were not so lucky and disappeared in the concentration camps.

Eva graduated from the [[Academy of Fine Arts]] in [[Lyon]], just before the outbreak of war. She then returned to [[Beograd]], in 1941, just in time to witness the barbaric Nazi bombardments over her city, without a war declaration, on Sunday 6 April that year. From this moment a tormented period of her life started, a period of constant fleeing, deprivations and very hard sacrifices.

Eva was interned with her mother and her younger brother in the [[Vallegrande]] concentration camp on the island of [[Curzola]] under the [[Italian administration]]. Luckily (as she recognized) this camp was not as terrible the Nazi camps. She was allowed to assist her sick mother with her brother in the Spalato hospital, where they received permission to be transferred to [[Bologna]]. There, in 1943, Eva Fischer was hidden with her family under the false name of Venturi. She often remembers that unlucky period of her life when, however, the good Italians tried to give help and solidarity to the persecuted people, in spite of the terrible dangers they were facing. At that time Wanda Varotti, Massimo Massei and many other members of the “Partito d’Azione” gave tremendous help to Eva.

At the end of the war Eva Fischer chose [[Rome]] as her adopted city and she adores it. At once she became a member of a group of artists on Via Margutta, and she became a very close friend with many of them. It was at that time, that she started her friendship with Mafai and Guttuso, Tot, Campigli, Fazzini, Carlo Levi, Capogrossi, Corrado Alvaro and so many others of that generation of artists, who had developed unlighted ideas, within the darkness of dictatorship.

She had an intense friendship with [[De Chirico]], Mirko, Sandro Penna e Franco Ferrara, who was already a famous conductor. At that time she took long walks at night in Rome with Jacopo Recupero, Cagli, Avenali, Giuseppe Berto and Alfonso Gatto, and also with Maurice Druon, who was not yet the French Culture Minister and who was already writing the pages of “The great families”.

It was at that time that [[Salvador Dali]] saw and fell in love with Eva’s “markets”, while the same Ehrenburg wrote about her “humble and proud bicycles”.

She met [[Pablo Picasso]] at the beautiful house of [[Luchino Visconti]] and they talked extensively about contemporary art and about the sudden urge that leads to creativity. Picasso pushed her to continue and to progress in the mysterious light of boats and Southern architectures.

Then Eva moved to [[Paris]], where she lived for a long time in Saint Germain des Près. There she looked for [[Marc Chagall]] and later on she became one of his devout friends and a deep admirer. During this period Chagall was recounting to her his coloured dreams and the fascination of biblical tales. Zadkine gave a generous hospitality to Eva, admiring her courage for an intense and constructive research, and her fascination for a remarkable Middle European culture. At that time Eva Fischer created “Roman landscapes” with their transparencies and remoteness, as if time had somehow stopped on the ruins of the Eternal City.
Then the Madrid period came. In Madrid, in Juan Mordò’s studio, Eva Fischer’s paintings – finally exhibited in museums – were at the centre of debates between the Margutta artist and the Spanish painters, who were still fighting against Franco’s politics. Eva brought them the testimony of an art reborn in a free world, an art made of new, sometimes questionable attempts, but ready to face everybody’s criticism and judgement.

In the sixties, Eva Fischer was in London, where she exhibited in the [[Lefevre Gallery]], the most exclusive Gallery in the “city” where the Italian painter [[Amedeo Modigliani|Modigliani]] had been allowed to show his last one man exhibition. Lefevre Gallery exhibited Eva’s paintings especially for her “Mediterranean colours and the Italian spirit” of her canvases. Eva Fischer’s world is made of short trips, wherever her talent is called for: from Israel, where she painted the wonderful canvases of Jerusalem and Hebron (her stained glass in the Jewish Museum in Rome are very famous), to the [[United States]], where she has numerous collectors and estimators (like the actors [[Humphrey Bogart]], [[Lauren Bacall]] and [[Henry Fonda]]).

In 1992 the Italian composer Ennio Morricone, famed for movie sountracks, composed music for one of Eva's exhibitions.<ref>Ennio Morricone ''A Eva Fischer, Pittore'' (Forum Studios, 1992)</ref>

Now that Eva Fischer’s art is well know in the world, she talks about herself with an absolute modesty, typical of this brave and intelligent woman, who still keeps a clean and deep look in spite of men’s offences she suffered during those inhuman times. She doesn’t condemn those people with rage and revenge, but with the show of melancholic and grey paintings. She depicts the looks of astonished rather than dismayed men, and motionless children, faces frozen to the windows of trains of no return.

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Roman Construction Sites (book)

Jahsonic — Sat, 07 Nov 2009 11:32:32 GMT

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The book '''Cantieri Romani – Roman construction sites''' (in [[Italian language|Italian]] and [[English language|English]] text on the facing page) is a publication that accompanies the exhibition of the same name held in [[2001]] at the Galleria Comunale d'Arte Moderna e Contemporanea (today [[Museum of Contemporary Art of Rome|MACRO]]) of [[Rome]].

==The book==
The volume is an unusual document that describes some of the construction sites open in [[Rome]] in view of the [[Great Jubilee|Jubilee of 2000]], through the pictorial testimonies of twenty artists operating in the city.

For the preparation of the [[Great Jubilee]] marking the end of the second millennium, from about seven hundred to one thousand building sites were opened in [[Rome]] an effort that was unprecedented in the second half of the [[20th century]] except for the works realized for the [[1960 Summer Olympics|1960 Olympic Games]]. At that time, [[Mario Mafai]], [[Afro Basaldella|Afro]], [[Giuseppe Capogrossi]] and many other artists made paintings of [[Rome]] and the changes it was undergoing.

On the occasion of this second change of the city, Andrea Aquilanti, Carlo Bertocci, [[Enzo Cucchi]], [[Fabrice de Nola]], Stefano Di Stasio, Paolo Fiorentino, Daniele Galliano, Paola Gandolfi, Federico Guida, Felice Levini, Massimo Livadiotti, Fabio Mauri, Giorgio Ortona, Federico Pietrella, Luca Pignatelli, Cristiano Pintaldi, Piero Pizzi Cannella, Gioacchino Pontrelli, Mauro Reggio and Francesca Tulli, while remaining faithful to their own aesthetics, limited themselves to paintings whose images attest to the ongoing changes and, in contrast with their predecessors of 1960, this time are devoid of any nostalgic spirit.

The book<ref name= filecard/> contains colour reproductions of the twenty works, biographical entries of the artists edited by Sabrina Vedovotto and two essays:
*''Roman Construction Sites'' by Arnaldo Romani Brizzi,
*''Roman Construction Sites, the reasons for an exibition'' by Ludovico Pratesi.

==See also==
*[[Rome]]
*[[Great Jubilee]]
*[[Jubilee (Christian)|Jubilee]]

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Corrado Cagli

Jahsonic — Sat, 07 Nov 2009 11:32:26 GMT

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:''[[Art of Italy]]'''''Corrado Cagli''' (1910 – 1976) was an [[Italy|Italian]] [[Painting|painter]] who lived in the [[USA]] during [[World War II]].

Cagli was born in [[Ancona]], but in 1915 moved with his family to Rome.

In 1927, he made his artistic debut, with a mural painted on a building in [[Sistina]] Street. The following year, he made another mural painting, this one in a hall in Vantaggio Street.
In 1932, he held his first personal exposition in the "Gallery of Art of Rome."
Together with other prominent artists, including [[Giuseppe Capogrossi]] and [[Emanuele Cavalli]], he formed the group of the "New Roman School of Painting."

In the early 1930s in Rome, although he was very young, Cagli was considered a leading exponent of the upcoming generation of artists.
In 1937 and 1938, he exhibited works at the "Comet" gallery in [[New York]].

In 1938, when [[Mussolini]] stepped up the persecution of [[Jews]], Cagli fled to [[Paris]] and later went to New York where he became a U.S. citizen.

He enlisted the [[U.S. Army]] and was involved in the 1944 [[Normandy landings]], and fought in [[Belgium]] and [[Germany]].
He was with the forces that liberated the [[Buchenwald]] [[concentration camp]], and executed a series of dramatic drawings on that subject.

In 1948, Corrado Cagli returned to Rome to take up permanent residence there. From that time forward, according to his method of multiple search, he experimented in various abstract and non-figurative techniques (neo-[[Pittura Metafisica|metaphysical]], neo-[[cubist]], informal). He was awarded the [[Guggenheim]] prize (1946) and the [[Marzotto]] prize (1954).

He died at Rome in 1976.

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Collezione Maramotti

Jahsonic — Sat, 07 Nov 2009 11:32:19 GMT

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Collezione Maramotti is a private contemporary art collection in Reggio Emilia which has been opened to visitors since September 2007. Temporary shows and site-specific projects are organized alongside the permanent collection.

== The Collection ==
The Collection comprises several hundred art works created between 1945 and the present day, more than two hundred of them belong to the permanent exhibition and represent some of the most important Italian and international artistic trends of the last fifty years. The permanent exhibition comprises European art works from Expressionist and Abstract trends from the late Forties and the Informal art of the early Fifties, plus a group of Italian early [[Conceptual art]] pieces. It exhibits a relevant group of paintings from the so-called Roman Pop and [[Arte Povera]]. There are also examples of Italian, as well as German and American, neo-Expressionism ([[Transavantgarde|Transavanguardia]]). Then a group of works of American New Geometry from the Eighties and Nineties are on exhibit, followed by more recent British and American experimentation works.

== The location ==
Collezione Maramotti is housed in the former manufacturing plant of [[Max Mara]] fashion house. The building designed by architects Pastorini and Salvarani dates back to 1957 and was converted – with a project by British architect Andrew Hapgwood – into an exhibition space in 2005 after the plant moved to another facility. The project has preserved and further enhanced, with relevant adjustments, some of the concepts from the original project: the stark and essential construction; the flexible and versatile structure, strong link between indoor and outdoor spaces, the emphasis on natural light.

== The Artists ==
[[Vito Acconci]], [[Franco Angeli]], [[Francis Bacon]], [[Donald Baechler]], [[Georg Baselitz]], [[Jean-Michel Basquiat]], [[Huma Bhaba]], [[Ross Bleckner]], [[Alighiero Boetti]], [[Alberto Burri]], [[Peter Cain]], [[Giuseppe Capogrossi]], [[Enrico Castellani]], [[Sandro Chia]], [[Francesco Clemente]], [[Ettore Colla]], [[Tony Cragg]], [[Michael Craig-Martin]], [[Enzo Cucchi]], [[Nicola De Maria]], [[Mark Dion]], [[Inka Essenhigh]], [[Jean Fautrier]], [[Tano Festa]], [[Eric Fischl]], [[Lucio Fontana]], [[Peter Halley]], [[Alex Katz]], [[Mike Kelley]], [[Anselm Kiefer]], [[Jannis Kounellis]], [[Sherrie Levine]], [[Osvaldo Licini]], [[Markus Lupertz]], [[Martin Maloney]], [[Mark Manders]], [[Carlo Maria Mariani]], [[Arturo Martini]], [[Eliseo Mattiacci]], [[Fausto Melotti]], [[Gerhard Merz]], [[Mario Merz]], [[Henry Moore]], [[Malcolm Morley]], [[Gastone Novelli]], [[Luigi Ontani]], [[Mimmo Paladino]], [[Giulio Paolini]], [[Claudio Parmiggiani]], [[Pino Pascali]], [[Richard Patterson]], [[A. R. Penck]], [[Giuseppe Penone]], [[Michelangelo Pistoletto]], [[Sigmar Polke]], [[Gerhard Richter]], [[Matthew Ritchie]], [[Tom Sachs]], [[David Salle]], [[Mario Schifano]], [[Julian Schnabel]], [[Sean Scully]], [[Kiki Smith]], [[Atanasio Soldati]], [[Philip Taaffe]], [[Rosemarie Trockel]], [[Cy Twombly]], [[Giuseppe Uncini]], [[Bill Viola]], [[Dan Walsh]], [[Terry Winters]]

== Artists involved in temporary exhibitions and in site specific projects ==
[[Pedro Barbeito]], [[Gianni Caravaggio]], [[Will Cotton]], [[Ann Craven]], [[Jules de Balincourt]], [[Benjamin Degen]], [[Bart Domburg]], [[Lalla Essaydi]], [[Wayne Gonzales]], [[Kent Henricksen]], [[Matthew Day Jackson]], [[Jutta Koether]], [[Damian Loeb]], [[Enoc Perez]], [[Daniel Rich]], [[Lisa Ruyter]], [[Margaret Salmon]], [[Dana Schutz]], [[John Simon]], [[Jessica Stockholder]], [[John Tremblay]], [[Kelley Walker]], [[Dan Walsh]], [[Kevin Zucker]]

== Opening hours and services ==
The permanent collection may be visited by appointment. The visit of temporary exhibitions is free during the Collection's opening hours. Free admittance. The premises are fully accessible. Since 2009 the library and the archive mainly dedicated to the artists exhibited in the Collection are available on request.

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Franco Gentilini

Jahsonic — Sat, 07 Nov 2009 11:28:57 GMT

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Nasce a [[Faenza]] il 4 agosto 1909. Dopo aver frequentato le scuole elementari, inizia a lavorare come apprendista in una bottega di ebanista intagliatore. Tra il [[1921]] e il [[1925]] frequenta i quattro corsi serali della Scuola Comunale «Tommaso Minardi» di Disegno industriale e Plastica. Successivamente incontra il pittore Giovanni Romagnoli, titolare della cattedra di Pittura all'[[Accademia di Belle Arti]] di [[Bologna]], che gli dà i primi consigli.

Nel [[1928]] fa il primo viaggio a [[Parigi]], nel [[1930]] la giuria della XVII [[Biennale di Venezia]] ammette un suo dipinto nei saloni espositivi.

Nel [[1932]] si trasferisce definitivamente a [[Roma]]. Entra nell'ambiente letterario dello storico Caffè Aragno, dove conosce e frequenta artisti e letterati (Cagli, Mucci, Falqui, Sinisgalli, de Libero), avviando con loro lunghe collaborazioni nell'illustrazione di testi e poesie.

Gli [[Anni 1930|anni trenta]] sono anni di partecipazione a numerosi Premi (II° posto al Premio Rubicone [[1933]]; primo al Premio Rubicone [[1934]]), a Biennali e Quadriennali. Gentilini passa dalla realizzazione di opere pubbliche commissionate, ad opere al cavalletto (ritratti, modelle) ed a composizioni ispirate alle popolari feste campestri.

Il mondo artistico di Gentilini si forma nel contesto della cultura italiana tra la [[seconda guerra mondiale]] e il dopoguerra, quindi a debita distanza dal [[Futurismo]].
L'artista mette a punto la sua nota tecnica fatta di un felice connubio tra pittura e disegno con un fondo preparatorio in [[sabbia]] di fiume. Le figure delle sua opera sono le tipiche Cattedrali (a partire da quella siciliana di [[Monreale]]), i Battisteri, i muri di città, i giocolieri, i paesaggi dalle prospettive irregolari, i suonatori di strada, le donne caratterizzate da stivaletti con tacchi a rocchetto, le biciclette, i carretti e gli animali, come i gatti e i leoni (il [[segno zodiacale]] di Gentilini). Gentilini è l'artista della ''joie de vivre'', anche se quella gioia è malata dalla perdita di un mondo frantumato dalla guerra e dalla premonizione della nascente società di massa.

Dalla metà degli [[Anni 1950|Anni cinquanta]] le sue figure (famose le sue donne ispirate all'attrice Kim Novak) e composizioni si trasformano verso l'essenzialità geometrica, assumendo quasi una bidimensionalità piena di effetti cromatici e ritmici del colore. La pittura di Gentilini si aggancia alla tradizione popolare, riabilitando l'aspetto grafico della pittura.

La sua attività continua fino al [[1981]], quando muore il 5 aprile dopo una brevissima malattia.

Gentilini è considerato uno dei maggiori artisti figurativi italiani del novecento. Le sue opere, sempre contese dai collezionisti, sono presenti in importanti musei e raccolte pubbliche tra cui la [[Galleria degli Uffizi]] a Firenze, i [[Musei Vaticani]], la Pinacoteca Comunale di Faenza, il Centro Studi e Archivio della Comunicazione a Parma, la [[Galleria nazionale d'arte moderna]] e [[Palazzo Montecitorio]] a [[Roma]]. Per celebrare il centenario della nascita dell'artista si sono svolte diverse retrospettive in spazi pubblici (Museo Pericle Fazzini di Assisi e Museo della Permanente di Milano).
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Giuseppe Capogrossi

Jahsonic — Sat, 07 Nov 2009 11:28:51 GMT

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Di nobile origine fece gli studi classici e si laureò in giurisprudenza.

Nel 1923-24 studiò pittura con [[Felice Carena]] e nel 1927 si recò a Parigi con [[Fausto Pirandello]]. Questo fu il primo viaggio, in quello che allora era il centro culturale Europeo, cui ne seguirono parecchi altri negli anni successivi.

Nel 1930 partecipò alla XXVII [[Biennale di Venezia]] e, a partire dalla III Sindacale Romana (1932), prese parte regolarmente alle Sindacali, alla Biennale di Venezia e alla [[Triennale di Milano]], talvolta presentando parecchie opere.

Insieme a [[Corrado Cagli]], [[Emanuele Cavalli]] ed Eloisa Michelucci espose, nel 1932, alla Galleria Roma e l'anno successivo alla Galleria il Milione di Milano e alla Galleria Jaques Bojean di Parigi (con Cagli, Cavalli, e Sclavi). Il critico Waldemar George conierà il termine "Ecole de Rome", diventato famoso come "[[Scuola romana (Novecento)|Scuola romana]]".

Nel 1933 firmò con Melli e Cavalli il "Manifesto del Primordialismo Plastico" e nel 1935, a San Francisco, partecipò alla collettiva itinerante "Exhibition of Contemporary Italian Painting".

Le prime mostre del dopoguerra (1947) alla Galleria il Cortile di Roma corrispondono ad un rinnovamento del linguaggio che approda alla Pittura Astratta.

Esponente della [[Scuola romana (Novecento)]], quindi, Capogrossi fu una figura di notevole rilievo nel panorama dell'informale italiano insieme a [[Lucio Fontana]], [[Alberto Burri]] ed [[Emilio Scanavino]].

Partecipò al [[Premio Bergamo]] nel 1939, 1940 e 1942 e più volte alla mostra [[Documenta]] di [[Kassel]], alla [[Biennale di San Paolo]] del [[Brasile]].

Nel 1960 espose inoltre alla II [[Biennale Internazionale di Tokyo]].

==Bibliografia==
* B. Mantura, Fino al 1948 Roma 1986
* Scuola Romana, artisti tra le due guerre. Catalogo Mostra al Palazzo Reale di Milano 1988 Mazzotta Ed. Milano
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Manifesto Blanco

Jahsonic — Sat, 07 Nov 2009 11:28:41 GMT

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Nel [[1951]] nacque in il movimento dello [[Spazialismo]] e [[Lucio Fontana]] presenta il [[Manifesto Blanco]], firmato poi da altri artisti italiani.
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Spazialismo

Jahsonic — Sat, 07 Nov 2009 11:28:34 GMT

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'''Spatialism''' is an [[art]] movement, headed by [[Argentina|Argentinian]] artist [[Lucio Fontana]] in [[1946]], which came about right along with the birth of [[Abstract Expressionism]] in [[New York City]]. Fontana called the movement ''Movimento Spaziale.'' Spatialism combines ideas from the [[Dada]] movement, [[Tachism]] and [[Concrete art]].[http://www.artprofessor.com/art-movements/spatialism.php] Fontana wanted to create art for "a new age" that would show the "real space of the world." What separated the movement from Abstract Expressionism was the concept of eradicating the art of the easel and paint, and try to capture movement and time as the main tenets in the work. Fontana's most famous works are his slashed canvases, which broke right through the picture plane. The legacy Fontana left was one for conceptual artists and environmental artists who would continue his ideas of transcending from the canvas and into the realm of reality.

==Cyber Spatialism==
In 2005, the Franco-German artist couple Cécile Colle and Ralf Nuhn produced a series of canvasses with computer connectors inserted into them, entitled "Cyber-Spatialism." The project was heavily influenced by Fontana's work. According to the artists, "by substituting Fontana's slashes with computer connectors, Cyber-Spatialism implies an extension of the canvas into cyberspace, and thus attempts to address the notion, that in today's (globalized) culture, real space is increasingly being replaced by virtual space."
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Mario Sironi

Jahsonic — Sat, 07 Nov 2009 11:28:27 GMT

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'''Mario Sironi''' (May 12, 1885 – August 13, 1961) was an Italian [[Modernism|modernist]] artist who was active as a painter, sculptor, illustrator, and designer.

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Gino Bonichi

Jahsonic — Sat, 07 Nov 2009 11:28:20 GMT

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'''Gino [[Bonichi]]''' (1904-1933), known as '''[[Scipione]]''', was an [[Italian painter]]. Born in [[Macerata]] in 1904, he founded with [[Mario Mafai]] and [[Antonietta Raphael Mafai]] the [[Scuola romana]], a group of artists active in Rome who were influenced by [[Expressionism]] and opposed the officially approved art of the [[Fascist]] period. He died in [[Arco (TN)|Arco]] in 1933. The well known Italian painter [[Claudio Bonichi]] (born in 1943) is Scipione's [[nephew]].

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Filippo De Pisis

Jahsonic — Sat, 07 Nov 2009 11:28:12 GMT

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'''Filippo De Pisis''' ([[May 11]] [[1896]] - [[April 2]] [[1956]]) was an [[Italy|Italian]] painter.

==Biography==
Filippo de Pisis was an Italian painter-poet who was born Luigi Filippo Tibertelli in [[Ferrara]].

He debuted in 1916 as poet, with the collection "Canti della Croara." After he published his "Canti della Croara," De Pisis came into contact with [[Giorgio De Chirico]], [[Carlo Carrà]] and [[Alberto Savinio]], who were stationed in Ferrara during the war. The young De Pisis became the local guide for these members of the Parisian [[avant-garde]]. This association led to De Pisis's short allegiance with the School of [[Metaphysical painting]]. While he had not yet begun to paint, De Pisis hosted informal salons in his [[Ferrara]] apartments, where most of [[De Chirico]]'s Metaphysical paintings were first exhibited.

In 1919 De Pisis moved to [[Rome]], where he started to paint. While important editors of his time criticized had De Pisis for producing overly-sentimental poetry, this emotional streak translated well on canvas. De Pisis is best-known for his cityscapes, metaphysically-inspired maritime scenes, and still lifes, especially those depicting flowers. His work has a particularly airy, in-the-moment quality, and is laden with a sort of pathetic pleasure-pain. De Pisis also executed a large body of lesser-known work, comprising homoerotic sketches of the male nude.

De Pisis spent his life in [[Rome]], [[Paris]] and [[Venice]]. He lived a very extravagant lifestyle; he had a pet [[parrot]] named Coco, and in Venice he was one of a handful of residents at the time who used a [[gondola]]. He had two personal gondoliers on 24-hour duty, who wore black-and-gold [[livery]].

De Pisis's work was shown twice in the [[Venice Biennale]]: once during his life, and once posthumously.

De Pisis's work for the [[Collezione Verzocchi]] in 1949-1950 is now housed in the Pinacoteca Civica of [[Forlì]]. A large portion of his work is also housed in the Museo Filippo de Pisis in [[Ferrara]].

He died in [[Milan]] after a long illness, in 1956.

== References ==
*Zanotto, S.; ''Filippo De Pasis ogni giorno''; Venice, Italy (1991){Italian}
*Naldini, N.; ''De Pisis - Vita Solitaria de un Poeta Pittore''; Turin, Italy (1991){Italian}

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Ramses Shaffy

Jahsonic — Sat, 07 Nov 2009 11:25:50 GMT

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'''Ramses Shaffy''' ([[August 29]] [[1933]]) is a [[Netherlands|Dutch]] [[singer]], [[chanson]]nier, and [[actor]]. He became popular during the 1960s. His most famous songs include ''Zing, vecht, huil, bid, lach, werk en bewonder'' (''Sing, fight, cry, pray, laugh, work and admire''), ''We zullen doorgaan'' (''We will go on''), ''Pastorale'', ''Sammy'' and ''Laat me'' (''Leave me be''). He frequently collaborated with Dutch singer [[Liesbeth List]].
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Liesbeth List

Jahsonic — Sat, 07 Nov 2009 11:25:04 GMT

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'''Liesbeth List''' (born '''Elisabeth Dorathea Driessen''', [[12 December]] [[1941]], [[Bandoeng]], [[Dutch East Indies]]) is a [[Netherlands|Dutch]] [[singer]] and [[chanson]]nier. She became popular during the 1960s and frequently collaborated with [[Ramses Shaffy]]. She also sang [[Jacques Brel]]'s [[chanson]]s in Dutch translation.

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November 7, 2009

Jahsonic — Sat, 07 Nov 2009 11:24:34 GMT

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[[List of paintings by Hans Holbein the Younger]], [[ekphrasis]]
<hr>
''[[The Body of the Dead Christ in the Tomb]]'' ([[1521]], [[Oil on wood]])
<hr>
''[[Subliminal ad-ventures in erotic art]]'' by [[Wilson Bryan Key]] - [[1992]]

Perhaps the most famous painting to have combined normal viewing perspective and [[anamorphic]] projection is [[Hans Holbein the Younger]]'s [[The French Ambassadors]], ...

[[The Symbolism of Paul Gauguin: Erotica, Exotica, and the Great Dilemmas of Humanity]]
<hr>

[[Liesbeth List]]
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Siena

Jahsonic — Sat, 07 Nov 2009 11:21:34 GMT

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'''Siena''' (also widely spelled Sienna in English) is a city in [[Tuscany]], [[Italy]]. It is the capital of the [[province of Siena]].

The historic centre of Siena has been declared by [[UNESCO]] a [[World Heritage Site]].

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Hill town

Jahsonic — Sat, 07 Nov 2009 11:21:27 GMT

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'''Hill town''' is the term used to describe [[citadel]] towns built upon hills to ward off invaders. Often protected by [[defensive wall]]s, steep embankments, or cliffs, such hilltop settlements provided natural defenses for their inhabitants.

In Europe, especially in Italy, Spain, Portugal and southern France, such towns were common. The Spanish even brought the traditional European hill town to the Americas, a notable example being the 16th century Mexican hill town of [[Guanajuato, Guanajuato|Guanajuato]]. However, fortified hill towns were by no means solely a European creation. For instance, [[Incan]] fortified hill towns predated the arrival of the Spanish by many centuries and rival those of Europe. [[Machu Picchu]], an Incan hill town completed in the mid-15th century in Peru, although now in ruins, is considered perhaps the most beautiful hill town ever constructed. Construction of fortified hill towns was common in in many civilizations. Ancient examples can also be found in Africa and Asia.
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Defensive wall

Jahsonic — Sat, 07 Nov 2009 11:21:18 GMT

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A '''defensive wall''' is a [[fortification]] used to defend a city or settlement from potential aggressors. In ancient to modern times, they were used to enclose settlements. Generally, these are referred to as '''city walls''' or '''town walls''', although there were also [[wall]]s, such as the [[Great Wall of China]], [[Hadrian's Wall]], and the metaphorical [[Atlantic Wall]], which extended far beyond the borders of a [[city]] and were used to enclose regions or mark territorial boundaries. Beyond their defensive utility many walls also had important symbolic functions — representing the status and independence of the communities they embraced.

Existing ancient walls are almost always [[masonry]] structures, although brick and timber-built variants are also known. Depending on the [[topography]] of the area surrounding the city or the settlement the wall is intended to protect, elements of the terrain (e.g. rivers or coastlines) may be incorporated in order to make the wall more effective.

Walls may only be crossed by entering the appropriate [[city gates|city gate]] and are often supplemented with [[tower]]s. In the Middle Ages, the right of a settlement to build a defensive wall was a privilege, and was usually granted by the so-called "right of [[crenellation]]" on a [[medieval fortification]]. The practice of building these massive walls, though having its origins in prehistory, was refined during the rise of [[city-state]]s, and energetic wall-building continued into the medieval period and beyond in certain parts of Europe.

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Sienese School

Jahsonic — Sat, 07 Nov 2009 11:19:23 GMT

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The '''Sienese School''' of [[painting]] flourished in [[Siena]], [[Italy]] between the 13th and 15th centuries and for a time rivaled [[Florence]], though it was more conservative, being inclined towards the decorative beauty and elegant grace of late [[Gothic art]]. Its most important representatives include [[Duccio]], whose work shows Byzantine influence; his pupil [[Simone Martini]]; [[Pietro Lorenzetti|Pietro]] and [[Ambrogio Lorenzetti]]; [[Domenico di Bartolo|Domenico]] and [[Taddeo di Bartolo]]; [[Stefano di Giovanni|Sassetta]] and [[Matteo di Giovanni]]. Unlike the naturalistic [[Florentine School|Florentine art]], there is a mystical streak in Sienese art, characterized by a common focus on miraculous events, with less attention to proportions, distortions of time and place, and often dreamlike coloration. In the 16th century the Mannerists [[Domenico di Pace Beccafumi|Beccafumi]] and [[Il Sodoma]] worked there. While Baldassare Peruzzi was born and trained in Siena, his major works and style reflect his long career in Rome. The economic and political decline of Siena by the 1500s, and its eventual subjugation by Florence, largely checked the development of Sienese painting, although it also meant that a good proportion of Sienese works in churches and public buildings were not discarded or destroyed by new paintings or rebuilding. Siena remains a remarkably well-preserved Italian late-Medieval town.

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Collegiata di San Gimignano

Jahsonic — Sat, 07 Nov 2009 11:19:14 GMT

Summary:

{{Template}}The '''Collegiata''' is the main church of [[San Gimignano]], [[Tuscany]], central [[Italy]], situated in the Piazza del Duomo at the town's heart. It was once the '''Duomo''' ([[cathedral]]), but since San Gimignano no longer has a [[bishop]] it has reverted to the status of a [[collegiate church]].

The first church on the site was begun in the 10th century. The present building was begun in the early 12th century and was [[consecrate]]d by [[Pope Eugene III]] in 1148. It was altered and enlarged by [[Giuliano da Maiano]] between 1466 and 1468. The façade dates from 1239 and is remarkably plain.

The [[Romanesque architecture|Romanesque]] interior is famous for its lavish [[fresco]]es, which almost entirely cover the walls. The [[arcade (architecture)|arcades]] are of black and white striped [[marble]]. In the centre is a large fresco of ''St Sebastian'' by [[Benozzo Gozzoli]] (1465), commissioned after the [[pandemic|plague]] had hit the town in 1464. A fresco cycle by [[Taddeo di Bartolo]] depicts the ''Last Judgement'' in gruesome detail. There are also cycles of the [[Old Testament]] by [[Bartolo di Fredi]] (1356–1367) and the [[New Testament]], traditionally attributed to [[Barna da Siena]] (who supposedly died in a fall from the scaffolding while painting them), but possibly by [[Lippo Memmi]] (begun in 1333).

The two main chapels are the ''Cappella di San Gimignano'', with an altar by [[Benedetto da Maiano]], and the ''Cappella di Santa Fina'', designed by [[Giuliano da Maiano]], with the sculpture by his brother Benedetto. [[Domenico Ghirlandaio]] painted the frescoes in the latter chapel. [[St Fina]] was born in San Gimignano in 1238, contracted an incurable disease when she was ten and spent the five years until her death lying on a board to increase her suffering before God. On her death the board was covered in flowers. The house where she supposedly lived and died still stands in the town.
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Barna da Siena

Jahsonic — Fri, 06 Nov 2009 16:19:28 GMT

Summary:

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'''Barna da Siena''', also known as '''Barna di Siena''', was a [[Sienese School|Sienese painter]] active from about 1330 to 1350, and was the painter in Siena during this period. He learned his trade from [[Simone Martini]]. Barna is believed to have paint the [[fresco]]es depicting the life of [[Jesus]] in the [[Collegiata di San Gimignano]] and is generally credited with ''Christ Bearing the Cross, with a [[Dominican Order|Dominican]] Friar'' in the [[Frick Collection]] in New York City. He was killed in a fall from the scaffolding. Barna's figures are more dramatic and vigorous than any in previous Sienese painting.

==Existence==

In the 20th Century however, Barna was proved{{Fact|date=April 2009}} to be a myth, and despite a life by [[Vasari]], no such artist existed. His work is a mixture of those by artists such as [[Simone Martini]].

== References ==
* Cecchi, Emilio, ''Sienese Painters of the Trecento'', London, F. Warne, 1931.
* Ghiberti, Lorenzo, ''Lorenzo Ghiberti, I commentarii, Biblioteca nazionale centrale di Firenze'', Firenze, Giunti, 1998.
* Vasari, Giorgio, ''Le Vite delle più eccellenti pittori, scultori, ed architettori'', many editions and translations.

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José Gutiérrez Solana

Jahsonic — Fri, 06 Nov 2009 16:17:04 GMT

Summary:

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'''José Gutiérrez Solana''' ([[Madrid]], [[1886]] - ibíd. [[24 de junio]] de [[1945]]), pintor, grabador y escritor [[expresionismo|expresionista]] español.

==Biografía==
Su padre, José Tereso Gutiérrez-Solana, nació en [[México]] y vino a [[España]] gracias a una herencia. Se caso con Manuela Josefa Gutiérrez-Solana.

Estudió en la [[Escuela de Bellas Artes de San Fernando]]; después alternó estancias entre [[Santander (Cantabria)|Santander]] y [[Madrid]], pero tuvo tiempo para viajar por los pueblos y hasta para ser peón de la cuadrilla del [[torero]] [[Bombé]], aunque vivió holgadamente con el dinero de su padre. Por fin se instala en [[Madrid]] a finales de [[1917]]. Allí frecuenta las afueras de todo, asistiendo a bailes, merenderos y museos suburbanos del [[Paseo del Prado]], como el (entonces) solitario y destartalado [[Museo Arqueológico Nacional]]. Se acompaña de su inseparable hermano Manuel, que es cantante.

Solana crea un propio estilo, nada académico ni inclinado a las [[vanguardias]], por más que frecuente la intelectualidad reunida en la [[tertulia]] de Pombo, cuyo animador y amigo [[Ramón Gómez de la Serna]] le dedicó un libro entero, a lo que correspondió el pintor con su cuadro ''Mis amigos'' ([[1920]]), donde pinta tal tertulia en torno a una mesa ([[Museo Reina Sofía]] de [[Madrid]]). Ramón conoció a Solana en la exposición que este hizo en el [[Círculo de Bellas Artes]] en enero de 1907.

Gutiérrez Solana hizo una primera exposición en [[París]] ([[1928]]), que resultó un fracaso. En otra a la que acudió [[Alfonso XIII]], sus cuadros se colgaron detrás de una puerta para que no incomodasen al monarca. Pero en [[1936]], cuando comienza la [[Guerra Civil]], Solana es famoso y reconocido fuera y dentro de España. Se traslada a [[Valencia]] y luego a París, donde publica ''París'' ([[1938]]). En 1939 vuelve a Madrid, donde fallece el día de San Juan, el [[24 de junio]] de [[1945]].

==Obra==

Su pintura refleja, como la de [[Darío de Regoyos]] y la de [[Ignacio Zuloaga]], una visión subjetiva, [[Pesimismo|pesimista]] y degradada de España similar a la de la [[Generación del 98]].

Fuera de la influencia que en él ejercen los pintores del [[tenebrismo]] [[barroco]], en especial [[Juan de Valdés Leal]], tanto por su temática lúgubre y desengañada como por las composiciones de acusado [[claroscuro]], es patente la influencia de las ''[[Pinturas negras]]'' de [[Francisco de Goya]] o del romántico [[Eugenio Lucas]]. Su pintura es [[Feísmo|feísta]] y destaca la miseria de una España sórdida y grotesca, mediante el uso de una pincelada densa y de trazo grueso en la conformación de sus figuras. Su paleta tenebrista resalta el oscurantismo de una España divida en tres temas: las fiestas populares (''El entierro de la sardina''), los usos y costumbres de España (''La visita del obispo'') y los retratos (1920, ''Mis amigos'').

Su pintura, de gran carga social, intenta reflejar la atmósfera de la España rural más degradada, de manera que los ambientes y escenarios de sus cuadros son siempre arrabales atroces, escaparates con maniquíes o rastros dignos de [[Valle-Inclán]] (por los que sentía especial predilección), tabernas, "casas de dormir" y comedores de pobres, bailes populares, corridas, coristas y cupletistas, puertos de pesca, crucifixiones, procesiones, carnavales, [[gigantes y cabezudos]], tertulias de botica o de sacristía, carros de la carne, caballos famélicos, ciegos de los romances, "asilados deformes", tullidos, prostíbulos, despachos atiborrados de objetos, rings de boxeo, ejecuciones y osarios.

Trabaja también el [[grabado]], generalmente al [[aguafuerte]], insistiendo en una técnica directa y más bien ruda, de trazos gruesos. Salvo alguna rara excepción, los diseños repiten pinturas anteriores. Apenas publicó alguna edición en vida; la tirada más importante se emitió en [[1963]], previamente a la cancelación y depósito de las planchas en la Calcografía Nacional (dependiente de la [[Academia de San Fernando]]).

Como escritor posee un estilo semejante, de grandes cualidades descriptivas, vigoroso y enérgico, apropiado para la estampa costumbrista. Por ello la mayoría de sus obras son libros de viajes. Sus escritos más importantes son ''Madrid: escenas y costumbres'' (1913 y 1918, dos vols.), ''La España negra'', 1920, ''Madrid callejero'', 1923 y ''Dos pueblos de Castilla'', 1925. También escribió una novela, ''Florencio Cornejo'' (1926).

==Bibliografía==
*''Obras literarias completas'', Madrid ¿1958?
*''Obras completas'', (ed. [[Camilo José Cela]]), Madrid, Taurus, 1961. Reimpreso en dos vols. Madrid, Fundación Central Hispano, 1998.
*''Madrid: escenas y costumbres'' (1913 y 1918, dos vols.)
*''La España negra'', 1920. Reimpreso modernamente por [[Andrés Trapiello]], Granada, Comares, 2000
*''Madrid callejero'', 1923. Reimpreso modernamente por [[Teodoro Santurino Sanchís]], Madrid, Editorial Castalia, 1995.
*''Dos pueblos de Castilla'', 1925.
*''Florencio Cornejo'' (1926).

==Fuentes==
*[[Manuel Sánchez Camargo]], ''Solana''. Madrid, 1945.
*Manuel Sánchez Camargo, ''Solana. Vida y pintura''. Madrid, 1962.
*[[Luis Alonso Fernández]], "Solana. Estudio y catalogación de su obra". En: J. Solana. Madrid, Ayuntamiento, 1985.
*[[Weston Flint]], ''Solana, escritor'', Madrid, Revista de Occidente, 1967.
*[[Juan Antonio Gaya Nuño]], ''José Gutiérrez-Solana'', Ibérico Europa de Ediciones, Madrid, 1973
*[[Ángel González García]], ''José Gutiérrez Solana. Grabador y Litógrafo'', Zaragoza, Maphe Vida, 1998.
*B. Madariaga de la Campa y [[Celia Valbuena de Madariaga]], ''Cara y máscara de José Gutiérrez Solana'', Santander, Diputación Provincial, 1976.
*[[Alfredo Velarde]], ''José Gutiérrez Solana: pintor español'', Madrid, Espasa-Calpe, 1936.
*[[Émile Verhaeren]] y [[Darío de Regoyos]], ''España negra'', Barcelona, Terra Incógnita, 1999.

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