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MAC visited the Montblanc writing instrument manufacturing facility and old Museum in Hamburg Germany

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posted by alias antefixus21 on Friday 21st of February 2020 11:54:20 PM

Scroll down! Montblanc Elizabeth I Patron of Arts 2010 fountain pen. 1/4 You Tube vid: Montblanc Elizabeth I writing instrument seriously tempted my pocket book but MAC preferred another holiday trip to a warm climate. Limited Edition 4810 and Limited Edition 888 Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage. Patron of Art Edition Elizabeth I - Limited Edition 888 Patron of Art Edition Elizabeth I - Limited Edition 4810 The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis. Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent. Elizabeth I - A Legend in her Own Lifetime Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536. A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond. Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too". Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court. The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree". The Limited Edition Celebrating the Elizabethan Age Patron of Art Edition Elizabeth I 4810 The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown. Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs. Patron of Art Edition Elizabeth I Limited Edition 888 This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring. Montblanc de la Culture Arts Patronage Award Celebrating Past and Present The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture. Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture. Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1,292.00, ultimately fetching (US) $8,225.00. Mei Boa-Jiu, China: Mei Baojiu (Chinese: 梅葆玖; pinyin: Méi Bǎojiǔ) (29 March 1934 – 25 April 2016)[1] was a contemporary Peking opera artist, also a performer of the Dan role type in Peking Opera and Kunqu opera, the leader of Mei Lanfang Peking Opera troupe in Beijing Peking Opera Theatre. Mei's father Mei Lanfang was one of the most famous Peking opera performers. Mei Baojiu was the ninth and youngest child of Mei Lanfang. For this reason, he was called Baojiu, since in Chinese, jiu means nine.[2] Mei Baojiu was the master of the second generation of Méi School descendant, he was also Mei Lanfang's only child who is now a performer of the Dan role of the Peking Opera.[3] Mei Baojiu: 梅葆玖 Born: 29 March 1934. Shanghai, China Died: 25 April 2016 (aged 82) Beijing, China Occupation: Peking opera artist Parents: Mei Lanfang (father), Fu Zhifang (mother) From childhood, Mei had learned Peking Opera from many artists. Mei Baojiu's first opera teacher was Wang Youqing (王幼卿), the nephew of Wang Yaoqing (王瑶卿), who had been the teacher of Mei Lanfang. Tao Yuzhi (陶玉芝) was his teacher of martial arts, while Zhu Chuanming (朱传茗), the famous performer of the Dan role type in Kunqu opera, taught him Kunqu. After that Mei learned the Dan role from Zhu Qinxin (朱琴心). Mei's regular performances of traditional opera include The Hegemon-King Bids His Concubine Farewell, Guifei Intoxicated (貴妃醉酒), Lady General Mu Takes Command (穆桂英挂帅), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施), etc. Mei has made significant contributions to cultural exchanges and promoting Peking Opera culture. Meanwhile, he also trains more than twenty students, such as Li Shengsu (李胜素), Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (胡文阁) (the only male student),[4] Tian Hui (田慧), Wei Haimin.[5] Biography: Mei Baojiu as a child In the spring of 1934, Mei Baojiu was born at No. 87 Sinan Road, Shanghai.[2] Because of his comely appearance and delicate voice, his father decided to send Baojiu to learn Peking opera and hoped that Baojiu could make contributions to Méi School. Baojiu himself also showed great interest as well as gifts in Peking opera in his early life. In 1942, Mei Lanfang and his wife Fu Zhifang (福芝芳) invited Wang Youqing (王幼卿), the disciple of famous Dan role performer - Wang Yaoqing (王瑶卿), from Beijing to teach Baojiu as his first qingyi teacher while requesting Zhu Chuanming (朱传茗), one of the most prestigious performers of the Dan role type to teach Baojiu Kunqu Opera. When Mei Lanfang was free from work, he also gave directions to his son himself.[6] When Baojiu was ten years old, he played Xue Yi (薛倚) in San Niang teaches the child (三娘教子) as his first performance in Shanghai. At the age of twelve, together with his sister Mei Baoyue (梅葆玥), Baojiu acted in Yang Silang Visits His Mother (四郎探母). Being a Qingyi (青衣) performer, he started giving performances of the Legend of the White Snake, The Story Of Su San (玉堂春) and some other traditional plays for charity since the age of 13. He also performed in Wu Jiapo Hill (武家坡) with Baoyue (梅葆玥) at the same time. When Baojiu was 16, he took part in the national tour of the Mei Lanfang Troupe, and toured the country with the troupe. Usually, Baojiu performed for the first three days, and Mei Lanfang performed plays in the rest, sometimes they also performed cooperatively, such as in Legend of the White Snake. Baojiu played the part of Xiao Qing the green snake, while his father played Bai Suzhen the white snake.[6] Mei Lanfang used to make suggestions to Baojiu in order to make the performance of Baojiu perfect when Baojiu was young. Once, after watching the play The Story Of Sue San (玉堂春), in which Baojiu performed, he came to Baojiu and suggested that Baojiu change the way of acting the spoken parts. He mentioned that it was the most exciting time when the heroine, Sue San, got the Senior judge. For this reason, Baojiu should speak infectiously, he should speak faster and faster to create tension.[7] Baojiu also got a chance to share the stage with some prestigious senior performers, such as Xiao Changhua (萧长华), Jiang Miaoxiang (姜妙香) and Yu Zhenfei (俞振飞).[8] Due to the guidance of the actors from the earlier generation, Mei Baojiu's acting greatly improved and hemade a great effort to promote Méi School as well.[9] In 1961, after Mei Lanfang died, Baojiu took over the position of the leader of Mei Lanfang Peking Opera troupe. During this time, he acted in some other well known plays, such as The mulan (木兰从军), Return of the Phoenix (凤还巢) and Lian Jinfeng (廉锦枫). However, after 1964, almost all performance of traditional plays was forbidden, according to central government regulations. For this reason, Baojiu was forced to do recording and stage lighting related work.[10] Fourteen years later, in 1978, Baojiu returned to the Mei Lanfang Peking Opera troupe and came back to stage. He reformed the troupe and rearranged many traditional plays like Yuzhoufeng the Sword(宇宙锋), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施) as well as Royal pavilion (御碑亭) at the same time.[11] From 1981 to 1984, together with his sister Mei Baoyue and descendants of other schools, he participated in the performance of a series memorial activities to commemorate his father. Making the eight-hour long play lasts for only three hours, he also rearranged The story of Yang Guifei in the late 1980s.[12] In 1993, led by Baojiu, the Mei Lanfang Peking Opera troupe visited Taiwan and gave elaborately prepared performances to the public. He has made significant contributions to cultural exchanges and promoting Peking Opera culture.[13] Baojiu cultivates more than twenty students, such as Li Shengsu, Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (the only male student), Tian Hui (田慧), Wei Haimin (魏海敏). In the last twenty years, he mainly focused on training these students. As a member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), Mei Baojiu put forward a proposal on introducing Peking Opera into elementary schools in 2009.[14] In March 2012, at the Chinese People's Political Consultative Conference, Mei put forward a proposal on introducing the form of animation into Peking Opera in order to make more teenagers be interested in Peking Opera.[15] On 26 March 2012, Mei received his Ph.D. from J. F. Oberlin University in Japan.[16] On 31 March 2016, Mei was hospitalized because of bronchospasm. He died on 25 April 2016, at the age of 82.[17] Famous plays: Like his father, Mei Baojiu acts Dan role in the following classic Peking opera plays. The Hegemon-King Bids His Concubine Farewell tells the sad love story of Xiang Yu and his favourite concubine Consort Yu when he is surrounded by Liu Bang’s forces. Mei plays the role of Consort Yu. Shang Changrong (the 3rd son of Shang Xiaoyun) once played the role of Xiang Yu as Mei's partner. Guifei Intoxicated, also named Bai Hua Ting (百花亭), is about Yang Guifei. In this play she drinks down her sorrow because she is irritated by Emperor Xuanzong of Tang breaking his promise. Based on Mei Lanfang’s original work, Mei Baojiu adapted this play for The Great Concubine of Tang (大唐贵妃), a contemporary Beijing opera with historical motif in 2002. Mu Guiying Takes Command, a classic Yu opera was adapted by Mei Lanfang in 1959, and he acted the leading role the same year in celebration of the 10th anniversary of PRC. Cooperating with famous Yu opera master Ma Jinfeng (马金凤), Mei Baojiu performed this play in the Shuang xia guo style (双下锅), which means different forms of opera performed in one play.[3] Family: Mei Baojiu's mother, Fu Zhifang (福芝芳), the second wife of Mei Lanfang, bore 9 children, but only 4 of them survived. Mei Baojiu is the youngest child in his family. His eldest brother, Mei Baochen (梅葆琛) (1925-2008), was a senior engineer in Beijing's Academy of Architecture (北京建筑设计院). His elder brother, Mei Shaowu (梅绍武) (1928-2005), was a researcher of the Chinese academy of social sciences institute of the United States (中国社会科学院美国研究所) and the president of Mei Lanfang Culture-art Seminar (中国梅兰芳文化艺术研究会). His elder sister Mei Baoyue (梅葆玥) (1930-2000) was a performer of the Laosheng role type in Peking Opera, and performed together with Mei Baojiu sometimes. Mei Baojiu is the only heir to the Meipai Qingyi (梅派青衣).[3][18] Mei Baojiu's wife is named Lin Liyuan (林丽媛), she is the consultant of Mei Lanfang Troupe. They have no children.[19] References: ^ Mei Shaowu (梅绍武), Mei Weidong (梅卫东), Biography of Mei Lanfang (梅兰芳自述) :Appendix - studies (附录:年谱简表) ^ a b Wu Ying (吴迎), From Mei Lanfang to Mei Baojiu (从梅兰芳到梅葆玖) Page 50 ^ a b c "梅氏家族 (May Family)". Archived from the original on 19 January 2012. Retrieved 7 May 2012. ^ "胡文阁被梅葆玖"看"得紧紧的(组图) (Mei Baojiu keeps a close watch on Hu Wenge (photo))". 9 January 2012. Retrieved 7 May 2012. ^ "梅葆玖简介 (About Mei Baojiu)". July 2009. Retrieved 7 May 2012. ^ a b Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page93 ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page 96 ^ "梅兰芳的剧照 Mei Lanfang snapshot". Archived from the original on 17 April 2012. Retrieved 7 May 2012. ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page92 - 93 ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page110 ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page112-113 ^ Xu Beicheng (徐北城), Mei Lanfang and the 20th century (梅兰芳与二十世纪) :chapter 10. the Dance of Mei (第十章:梅之舞) ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page113-121 ^ "Mei Baojiu". 11 March 2009. Retrieved 7 May 2012. ^ "Mei Baojiu". 7 March 2012. Retrieved 29 May 2012. ^ "Mei Baojiu". 29 March 2012. Retrieved 29 May 2012. ^ "京剧大师梅葆玖去世享年82岁 世间从此再无"梅先生"". 25 April 2016. Retrieved 31 January 2019. ^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page84 - 90 ^ "About Mei Baojiu". 29 March 2012. Archived from the original on 5 December 2012. Retrieved 29 May 2012. Martine Franck, France: Martine Franck (2 April 1938 – 16 August 2012) was a British-Belgian documentary and portrait photographer. She was a member of Magnum Photos for over 32 years. Franck was the second wife of Henri Cartier-Bresson and co-founder and president of the Henri Cartier-Bresson Foundation. Martine Franck Photo of Martine Franck.jpg Franck in 1972, by Henri-Cartier Bresson Born: 2 April 1938 Antwerp, Belgium Died: 16 August 2012 (aged 74) Paris, France Occupation Documentary and portrait photographer Spouse(s): Henri Cartier-Bresson (m. 1970; died 2004) Children: 1 Contents: Early life: Franck was born in Antwerp[1] to the Belgian banker Louis Franck and his British wife, Evelyn.[2] After her birth the family moved almost immediately to London.[2] A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona.[3] Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me."[4] Career: Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead.[5] In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years).[6] From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency.[2] In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency. In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française.[7] Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur.[8] Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else” collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris.[9] Work: Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense.[9] She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White.[8] In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." [10] She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film.[2] The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography."[11] Personal life: Franck was often described as elegant, dignified and shy.[12][13][14] In 1966, she met Henri Cartier-Bresson, thirty years her senior, when she was photographing Paris fashion shows for The New York Times. In 2010, she told interviewer Charlie Rose "his opening line was, ‘Martine, I want to come and see your contact sheets.’" They married in 1970, had one child, a daughter named Mélanie, and remained together until his death in 2004.[2] Throughout her career Franck, who was sometimes described as a feminist, was uncomfortable being in the shadow of her famous husband and wanted to be recognized for her own work. In 1970, the Institute of Contemporary Arts in London planned to stage Franck's first solo exhibition: when she saw that the invitations included her husband's name and said he would be present at the launch, she cancelled the show. Franck once said that she put her husband's career ahead of her own. In 2003 Franck and her daughter launched the Henri Cartier-Bresson Foundation to promote Cartier-Bresson's photojournalism, and in 2004 Franck became its president.[8] Franck was diagnosed with leukemia in 2010, and died in Paris in 2012 at 74 years old.[2] Publications: Martine Franck: Dun jour, l'autre. France: Seuil, 1998. ISBN 978-2-02-034771-6 Tibetan Tulkus, images of continuity. London: Anna Maria Rossi & Fabio Rossi Publications, 2000. ISBN 978-0-9520992-8-4 Tory Island Images. Wolfhound Press, 2000. ISBN 978-0-86327-561-6 Martine Franck Photographe, Musée de la Vie romantique, Paris-Musées/Adam Biro, 2002. ISBN 978-2-87660-346-2 Fables de la Fontaine (production by Robert Wilson), Actes Sud. Paris, 2004 Martine Franck: One Day to the Next. Aperture, 2005. ISBN 978-0-89381-845-6 Martine Franck. Louis Baring. London: Phaidon, 2007. ISBN 978-0-7148-4781-8 Martine Franck: Photo Poche. France: Actes Sud, 2007. ISBN 978-2-7427-6725-0 Women/Femmes, Steidl, 2010. ISBN 978-3-86930-149-5 Venus d'ailleurs, Actes Sud, 2011 ExhibitionsEdit La vie et la mort, Rencontres d'Arles, Arles, France, 1980[citation needed] Martine Franck Photographe, Musée de la Vie romantique, Paris, 2004[citation needed] Les Rencontres, Rencontres d'Arles, Arles, France, 2004[citation needed] ReferencesEdit ^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 141. ISBN 0714878774. ^ a b c d e f Leslie Kaufman (22 August 2012). "Martine Franck, Documentary Photographer, Dies at 74". New York Times. Retrieved 25 August 2012. ^ Tori (21 August 2012). "'Magnum has lost a point of reference, a lighthouse, and one of our most influential and beloved members – Martine Franck". Film's Not Dead. Archived from the original on 26 August 2012. Retrieved 25 August 2012. ^ Grey, Tobias (21 October 2011). "Martine Franck's Curious Lens". ProQuest 899273270. ^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". New York Times. Retrieved 25 August 2012. ^ Wallace, Vaughan (20 August 2012). "Martine Franck: 1938 – 2012". Life magazine. Retrieved 25 August 2012. ^ Magnumphotos ^ a b c Hopkinson, Amanda (19 August 2012). "Martine Franck obituary". Guardian. Retrieved 25 August 2012. ^ a b Childs, Martin (29 August 2012). "The Independent". The Independent. Independent Print Ltd. ^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". The New York Times. Retrieved 19 September 2016. ^ Laurent, Olivier (17 August 2012). "Magnum Photos member and photographer Martine Franck has died". British Journal of Photography. Archived from the original on 19 August 2012. Retrieved 25 August 2012. ^ Gill, A.A. (2008). Previous convictions: assignments from here and there (1st Simon & Schuster trade pbk. ed.). New York: Simon & Schuster Paperbacks. p. 90. ISBN 978-1416572497. ^ Walker, David (17 August 2012). "Photographer Martine Franck dies". Photo District News. Retrieved 25 August 2012. ^ "Wife of Henri Cartier-Bresson, Martine Franck, dies at 74". Art Media Agency. 20 August 2012. Retrieved 25 August 2012. External linksEdit Henri Cartier-Bresson Foundation New York Times "Martine Franck's Pictures Within Pictures" Martine Franck 1991 catalogue of Taipei Fine Art Museum, with the pencil painting of Henri Cartier-Bresson. Dr. rer. pol. Arend Oetker, Germany: Arend Oetker was born on March 30, 1939 in Bielefeld, North Rhine-Westphalia, Germany and studied business administration and political science in Hamburg, Berlin and Cologne as well as Marketing at Harvard Business School. He received his doctorate in 1966 from the University of Cologne. Dr. Arend Oetker, Managing Partner of Dr. Arend Oetker Holding, is Honorary Chairman of the Board and majority shareholder of the food company Hero AG, Deputy Chairman and major shareholder of KWS Saat AG and chairman of the board of Cognos AG. Furthermore, Dr. Arend Oetker is actively involved as president of the German Council on Foreign Relations (Deutsche Gesellschaft für Auswärtige Politik e. V.), board member of the Confederation of German Employers‘ Associations (Bundesvereinigung der Deutschen Arbeitgeberverbände e. V.) and honorary member of the Federation of German Industries (Bundesverband der Deutschen Industrie e. V.). He has received a number of accolades in the field of visual arts and music. Dr. Arend Oetker is married and has five children. Dr. William Mong Man Wai, Hong Kong: William Mong Man-wai GBS (Chinese: 蒙民偉, 7 November 1927 – 20 July 2010) was the chairman of the Shun Hing Group, the distributor of Matsushita products (National, Panasonic, Technics) in Hong Kong. He attended La Salle College in Hong Kong. Mong Man-wai died from cancer on 20 July 2010, aged 82. Many buildings in Hong Kong universities are named after him.[1] Award received: Gold Bauhinia Star honorary doctor of the University of Hong Kong honorary doctor of the Tsinghua University (2007) honorary doctor of the Chinese University of Hong Kong. Giulio Mogol, Italy: Giulio Rapetti (born 17 August 1936), in art Mogol (Italian pronunciation: [moˈɡɔl]), is an Italian music lyricist. He is best known for his collaborations with Lucio Battisti, Gianni Bella, Adriano Celentano and Mango. Career: Mogol was born in Milan. His father, Mariano Rapetti, was an important director of the Ricordi record label, and had been in his own time a successful lyricist of the 1950s. Young Giulio, who was likewise employed by Ricordi as a public relations expert, began his own career as a lyricist against his father's wishes. His first successes were "Il cielo in una stanza", set to music by Gino Paoli and sung by Mina; "Al di là", a piece that won the 1961 Sanremo Festival, performed by Luciano Tajoli and Betty Curtis; "Una lacrima sul viso", which was a huge hit for Bobby Solo in 1964. Another famous song from 1961 was "Uno dei tanti" (English: "One among many") which was rewritten by Jerry Leiber and Mike Stoller in 1963 for Ben E. King and released under the title "I (Who Have Nothing)". In addition to writing new lyrics in Italian for a great many singers, Mogol also took it upon himself, in years in which familiarity with the English language in Italy was still sparse, to translate many hits from overseas, especially film soundtracks, but also works of Bob Dylan and David Bowie. In 1965, he met Lucio Battisti, a young guitarist and composer from the Latium region of central Italy. Mogol's lyrics contributed to Battisti's initial success as an author, in megahits such as "29 settembre", and led him to undertake the role of producer as well, as happened with the song "Sognando la California", which Mogol himself had translated from the signature number of The Mamas & the Papas, "California Dreamin'", and with "Senza luce" ("Without light"), an Italian rendering of "A Whiter Shade of Pale" by Procol Harum. In 1966, Mogol, overcoming resistance from his record label, convinced Battisti to perform his own songs. The lyricist's intuition would have one of the most rewarding outcomes of the history of Italian music, as Battisti, after a halting start, would explode as a singer, becoming one of the most successful artists in the panorama of Italian music. In the same year, Mogol left the Ricordi label to create his own with Battisti, called Numero Uno, which brought together many celebrated Italian singer-songwriters. The pair wrote songs as well for Bruno Lauzi and Patty Pravo. Their greatest chart success came from the songs written for Mina in 1969–1970. In 1980, Mogol broke the artistic relationship with Battisti, and successfully continued his independent career as a lyricist with the noted singer-songwriter Riccardo Cocciante, with whom he wrote the texts for some successful albums, first in the series being "Cervo a Primavera". Mogol (2007) Lately, he began his collaboration with Mango, co-writing successful songs like "Oro", "Nella mia città", "Come Monna Lisa" and "Mediterraneo". Mogol has formed a stable partnership with Adriano Celentano; his songs for Celentano are scored by the Sicilian singer-songwriter Gianni Bella. This collaboration has produced the delicate song "L'arcobaleno", included in the CD Io non so parlar d'amore, which is considered dedicated to Battisti, who had recently died. Mogol has also collaborated with singer-songwriter Jack Rubinacci. Mari Natsuki, Japan: Junko Nakajima (中島 淳子, Nakajima Junko, born 2 May 1952), more commonly known by her stage name Mari Natsuki (夏木 マリ, Natsuki Mari), is a Japanese singer, dancer and actress.[1] Born in Tokyo, she started work as a singer from a young age. In 2007, Natsuki announced her engagement to percussionist Nobu Saitō, with their marriage taking place in Spring 2008. Mari Natsuki MJK 08427 Mari Natsuki (Berlinale 2018).jpg Mari Natsuki (2018) Born: Mari Natsuki. 夏木 マリ. 2 May 1952 (age 67) Tokyo, Japan Nationality: Japanese Other names: Junko Nakajima Occupation: Singer, dancer, actress Natsuki has participated in musical theatre, including that of Yukio Ninagawa. She provided the voice of Yubaba in Spirited Away, played the young witch's mother in the Japanese TV remake of Bewitched and has twice been nominated for a Japanese Academy Award. Natsuki played the character Big Mama in the Japanese version of Metal Gear Solid 4: Guns of the Patriots[2] and has also acted in television dramas, such as the 2005 series Nobuta o Produce, playing the Vice Principal, Katharine. Contents: Film: Otoko wa Tsurai yo series: Tora-san, My Uncle (1989) Tora-san Takes a Vacation (1990) Tora-san Confesses (1991) Tora-San Makes Excuses (1992) Tora-san to the Rescue (1995) Tora-san, Wish You Were Here (2019) Onimasa (1982) Legend of the Eight Samurai (1983) Kita no Hotaru (1984) Jittemai (1986) Death Powder (1986) Otoko wa Tsurai yo: Boku no Ojisan (1989) The Hunted (1995) Samurai Fiction (1998) Spirited Away (2001) Shōjo (2001) Ping Pong (2002) Okusama wa Majo (2004) Sugar and Spice (2006) Sakuran (2007) Girl In The Sunny Place (2013) Isle of Dogs (2018) Ikiru Machi (2018) Vision (2018) Dai Kome Sōdō (2021), Taki Television: Yoshitsune (2005), Carnation (2011), Montage (2016), Meet Me After School (2018) Video Games: Metal Gear Solid 4: Guns of the Patriots (Big Mama) (2008), Uncharted 3: Drake's Deception (Katherine Marlowe) (2011) Japanese dub: Live-action: Feud (Joan Crawford (Jessica Lange)), The West Wing (C.J. Cregg (Allison Janney)) Animation: Moana (Tala) References: ^ Mills, Ted. "Apple Music Preview. About Mari Natsuki". Retrieved 9 November 2019. ^ Metal Gear Solid 4: Guns Of The Patriots: MGS4 Voice Cast Announced Archived 30 September 2007 at the Wayback Machine. Changjae Shin, South Korea: Shin Chang-jae (born 1953/54) is a Korean billionaire businessman, Chairman and CEO of Kyobo Life Insurance Company. Shin Chang-jae Born: 1953/1954 (age 65–66)[1] Nationality: Korean Alma mater: Seoul National University Occupation: Chairman and CEO, Kyobo Life Insurance Company Net worth: $2.3 billion (June 2015)[1] Spouse(s): married Children: 2 sons Early life: He is the son of Shin Yong-ho, who founded Kyobo Life Insurance Company in 1958.[1] he has a doctorate from Seoul National University.[1] Career: Kyobo Life Insurance Building, Seoul He trained as an obstetrician and worked as a professor at the Seoul National University medical school.[1] He has been Chairman and CEO of Kyobo Life Insurance Company since 2000.[1] In June 2015, Forbes estimated his net worth at US$2.3 billion.[1] Personal life: He is married with two sons and lives in Seoul, South Korea.[1] References: ^ a b c d e f g h "Shin Chang-Jae". Forbes. Retrieved 9 June 2015. Patrick Charpenel, Mexico; Patrick Charpenel will be the new executive director of El Museo del Barrio in New York. Charpenel is a Mexico City–based curator who has worked extensively in Mexico as well as internationally. He organized a Gabriel Orozco retrospective at the Museo del Palacio de Bellas Artes in Mexico City in 2006 and an exhibition of work by Franz West at the Museo Tamayo Arte Contemporáneo in 2009. He also oversaw the Art Public section for the 2009 and 2010 editions of Art Basel Miami Beach. Charpenel served as the executive director of Museo Jumex, the private museum in Mexico City of ART news Top 200 collector Eugenio López Alonso. (Charpenel resigned from his post in 2015 amid the controversy over the cancellation of a Hermann Nitsch show.) Charpenel is also a writer and a collector of “a heterogeneous group of works” that focuses on such interests as “the structure of the global economy and the extension of artistic experience into the social sphere.” Patrick Charpenel is an art historian and collector currently working as an independent curator in Mexico City. He holds a graduate degree in philosophy. Charpenel has curated numerous exhibitions including Franz West, Tamayo Museum, Mexico City, Mexico (2006); Sólo los personajes cambian, Museum of Contemporary Art, Monterrey, Mexico (2004);, Moore Space, Miami, Florida (2003); Edén, Jumex Collection, Mexico City, Mexico (2003); and ACNÉ, Museum of Modern Art, Mexico City, Mexico (1995). He has numerous critical texts published in catalogues and magazines. 2018 Bienvenidos a El Museo del Barrio! We are excited to announce the appointment of our new Executive Director, Patrick Charpenel. El Museo del Barrio is thrilled to have Charpenel join the institution’s leadership and we look forward to seeing what he will bring to the legacy of this museum. YouTube: Laura Garcia-Lorca de los Rios, Spain: Gloria Giner de los Ríos García (28 March 1886 – 6 February 1970) was a Spanish teacher at the Escuela Normal Superior de Maestras and the Institución Libre de Enseñanza. The author of innovative manuals dedicated to the teaching of history and geography,[1] she, together with Leonor Serrano Pablo [es], developed the educational "recipe" that they called "enthusiastic observation". They also worked to change the androcentric canon of geographical studies to include women.[2] Gloria Giner de los Ríos García Born: 28 March 1886 Madrid, Spain Died: 6 February 1970 (aged 83) Madrid, Spain Resting place: Civil Cemetery of Madrid [es] Occupation: Teacher Spouse(s): Fernando de los Ríos Children: Laura de los Ríos Giner [es] Parents: Hermenegildo Giner de los Ríos [es] (father), Laura García Hoppe [es] (mother) She lived in exile during the Francoist Spain era, forming part of the intellectual elite that carried out educational, philological, literary, legal, and cultural work. Her family had close connections to that of poet Federico García Lorca. Biography: Gloria Giner de los Ríos García was born in Madrid on 28 March 1886. The daughter of Laura García Hoppe [es] and Hermenegildo Giner de los Ríos [es], she spent her childhood and adolescence in Madrid, Alicante, and Barcelona, cities where her father held the Chair of Philosophy. After finishing high school in 1906 and teaching in 1908, she completed her training by attending classes at the Institución Libre de Enseñanza and taking courses in art, pedagogy, and philosophy.[3] In 1909, she was promoted to the Escuela de Estudios Superiores de Magisterio [es].[1] Marriage, family, and social life: On 1 July 1912, Giner married Fernando de los Ríos, who had obtained the Chair of Law at the University of Granada. It was in this city that the couple took up residence, and in which Gloria was a teacher at the Normal School, by right of consort at first, and later in her own position.[3] A year later, their daughter Laura de los Ríos Giner [es] was born. In Granada, the Ríos Giner family became friends with the García Lorca family, with Manuel de Falla, and with Berta Wilhelmi and her husband Eduardo Domínguez. Wilhelmi had been in contact with the Institución Libre de Enseñanza and had organized some community schools in Almuñécar.[4] With her collaboration, Giner organized the education of her daughter Laura and other children, including Isabel García Lorca [es], in order to separate them from Granada's private education system.[3] Laura de los Ríos and Isabel García Lorca: Federico García Lorca was one of the select circle of friends of the Ríos family. He dedicated the poem Romance sonámbulo to Fernando and Gloria,[5] and was the one who introduced their daughters, Laura de los Ríos and Isabel García Lorca. The friendship between the latter was very intense and lasting. They became sisters-in-law when Laura married Federico's younger brother Francisco [es]. In an interview, Isabel Garcia Lorca recalled: Gloria Giner was an extraordinary being. Well, of character, I think there was a certain similarity in all of them, some high moral tension. People a little demanding with what others did and what they could do. They were like that down deep, including my mother.[6] Laura, in another interview, told of her mother's life in Granada: My mother attended her classes every the afternoon she prepared her classes and helped my father. She translated from German, the language my father and a German teacher in Granada had taught her. She also translated from French, which she knew very well, from Greek and Latin...lovingly and intellectually my parents were a very well-matched marriage.[7] Professional career: In 1931, the Provisional Government of the Republic appointed her husband Minister of Justice, and in December, Minister of Public Instruction. Giner told her daughter, "I'm not going to give up my career and live as a minister."[8] Nonetheless she performed some ceremonial functions and accompanied her husband on trips through Spain.[3] In 1932 she was on leave as a teacher at the Normal School, but continued teaching at the Institución Libre de Enseñanza. In 1933, after her husband resigned from government office, she rejoined teaching by accepting a position in Zamora. For three courses she lived alone in a hotel room three days a week, returning to Madrid for the rest of the week.[8] In Zamora, as in Granada, society shunned her for being the wife of a socialist and not attending religious services.[7] Exile: At the end of September 1936, Fernando de los Ríos was appointed ambassador of Spain to the United States, a position he held until March 1939. Gloria Giner moved to Washington, D.C. with her daughter, her mother, and a nephew of her husband. Fernanda Urruti, Fernando's mother, would later join them. In Washington, Giner was invited to several meetings that Eleanor Roosevelt organized in the White House.[3] During the Civil War, Fernando de los Ríos was separated from his professorship at the University of Madrid. In 1939, the Franco government definitively separated him from his chair and dismissed him. Fernando de los Ríos taught at The New School for Social Research in New York, an institution founded to welcome European intellectuals who emigrated for political reasons.[5] Giner was a professor at Columbia University.[3][9] The Ríos-Giner family lived in exile in the United States, which did not recognize Spanish Republican exiles and subjected those who wanted to enter to immigration laws. However, university students and artists were exempt from the rigid immigration quota, provided they were endorsed by US citizens or claimed by a university. Gloria was one of the exiled academics who passed through American universities and formed an intellectual elite.[10] In 1942, her daughter Laura married Francisco García Lorca, younger brother of the poet Federico, in the Mead Chapel of Middlebury College, where both were professors at the Spanish School.[11] The couple had three daughters, and the family lived together in a New York apartment. In addition to preparing classes, writing poems, and working on the publication of her works, Giner took care of her three granddaughters, took them out for walks and, if necessary, took them on the bus and subway in New York. In 1949, Fernando de los Ríos died. Over 50 personalities of politics and culture attended the funeral. José de los Ríos – the younger brother of Fernando and Francisco García Lorca – presided over the dual family. Fernando's wife, mother, and daughter stayed at the house during the funeral, in accordance with Spanish custom at the time. Return to Spain: Gloria Giner returned to Spain with her daughter's family in 1965. She died in Madrid on 6 February 1970.[12] She was buried in the Civil Cemetery of Madrid [es], and her husband's remains were reinterred there alongside hers on 28 June 1980.[13] Teaching methods: Gloria Giner and her great friend Leonor Serrano Pablo [es] worked together on the teaching of geography in order to connect with students.[14] Giner defended the formative capacity of the plastic arts "as a real basis for the teaching of history in the first years of the formation of the culture of the child". Her 1935 book Cien lecturas históricas became a prominent text for educational reformers inspired by the work of Rafael Altamira.[1] With Altamira and Maria Montessori as references, they developed didactic methods that, in Serrano's words, revolved around "enthusiastic observation". This consisted of teaching geography in dialogue with the students, strengthening their physical and emotional relationship with the environment. Another component of enthusiastic observation was emotional. Impositions of rote memorization were eliminated. In Giner's words, "the soul was educated and the spirit strengthened". Serrano and Giner also advocated for the meaningful inclusion of women in the androcentric canon of studies on geography. The Dictionary of the Royal Spanish Academy had, in 1803, included the meaning of the word hombre (man) to refer to all mankind. Taking the term as inclusive of women, they understood that it forced men to relate to nature as women did. Serrano considered that rendering the androcentric references in geography meaningless would foster a "new creative, loving, anti-destructive, and anti-war humanity".[2] In the opinion of professor Ana I. Simón Alegre, this teaching, in the language of the 21st century, could be called the development of environmental education or the first manifestations of ecofeminism.[15] Giner's last book, Por tierras de España (1962), also incorporated audio-lingual teaching methods.[9] Works: Historia de la pedagogía (1910) Weimer, Hermann 1872-1942 (translation) Geografía Primer grado. Aspectos de la naturaleza y vida del hombre en la tierra (1919) Geografía: Primer grado (1919), with Federico Ribas (1890–1952) Geografía general. El cielo, la Tierra y el hombre (1935) Cien lecturas históricas (1935) Lecturas geográficas. Espectáculos de la naturaleza, paisajes, ciudades y hombres (1936) Romances de los ríos de España (1943) Manual de historia de la civilización española (1951) Cumbres de la civilización española: Interpretación del espíritu español individualizado en diecinueve figuras representativas (1955) El paisaje de Hispanoamérica a través de su literatura: (antología) (1958) Introducción a la historia de la civilización española (1959) Por tierras de España (1962), with Luke Nolfi, ISBN 9780030800238 References: ^ a b c Duarte-Piña, Olga (2015). La enseñanza de la historia en la educación secundaria [Teaching of History in Secondary Education] (Thesis) (in Spanish). University of Seville. pp. 105–108. Retrieved 15 July 2019 – via Dialnet. ^ a b Simón Alegre, Ana I.; Sanz Álvarez, Arancha (January–June 2010). "Prácticas y teorías de descubrir paisajes: Viajeras y cultivadoras del estudio de la geografía en España, desde finales del siglo XIX hasta el primer tercio del XX" [Practices and Theories of Discovering Landscapes: Travelers and Cultivators of the Study of Geography in Spain, from the End of the 19th Century to the First Third of the 20th]. Arenal. Revista de historia de las mujeres (in Spanish). 17 (1): 55–79. ISSN 1134-6396. Retrieved 15 July 2019 – via Dialnet. ^ a b c d e f Ruiz-Manjón, Octavio (2007). "Gloria Giner de los Ríos: noticia biográfica de una madrileña" [Gloria Giner de los Ríos: Biographical Report of a Woman from Madrid]. Cuadernos de historia contemporánea (in Spanish) (Extra 1): 265–272. ISSN 0214-400X. Retrieved 15 July 2019 – via Dialnet. ^ Ruiz-Manjón, Octavio (31 May 2007). "Fernando de los Ríos. Un intelectual en el PSOE". El Cultural (in Spanish). Archived from the original on 10 March 2016. Retrieved 15 July 2019. ^ a b "Ríos Urruti, Fernando de los (1879–1949)" (in Spanish). Charles III University of Madrid. Retrieved 15 July 2019. ^ Méndez, José. "Isabel García Lorca". Revista Residencia (in Spanish). Retrieved 15 July 2019. ^ a b Rodrigo, Antonia (1 May 1982). "Laura de los Ríos". Revista Triunfo (in Spanish). No. 19. p. 64. Retrieved 15 July 2019. ^ a b "La niña que tocaba con Falla" [The Girl Who Played With Falla]. Granada Hoy (in Spanish). 8 March 2009. Retrieved 15 July 2019. ^ a b "Local Pair Co-Author Spanish Text". Democrat and Chronicle. 26 December 1962. p. 15. Retrieved 15 July 2019 – via ^ García Cueto, Pedro (30 April 2015). "Dos visiones del exilio cultural español: Vicente Llorens y Jordi Gracia" [Two Visions of Spanish Cultural Exile: Vicente Llorens and Jordi Gracia]. Fronterad (in Spanish). Archived from the original on 25 July 2018. Retrieved 15 July 2019. ^ Seseña, Natacha (26 December 1981). "Laura de los Ríos, un duelo de labores y esperanzas" [Laura de los Ríos, a Duel of Labors and Hopes]. El País (in Spanish). Retrieved 15 July 2019. ^ "Doña Gloria Giner de los Ríos". El Tiempo (in Spanish). 13 February 1970. p. 4. Retrieved 15 July 2019 – via Google News. ^ "Los restos de Fernando de los Ríos recibieron sepultura en el cementerio civil de Madrid" [The Remains of Fernando de los Ríos Buried in the Civil Cemetery of Madrid]. El País (in Spanish). 29 June 1980. Retrieved 15 July 2019. ^ Ortells Roca, Miquel; Artero Broch, Inmaculada (1 December 2013). "¿Para qué sirven las inspectoras? Leonor Serrano: La pedagogía y/contra el poder" [What are Inspectors For? Leonor Serrano: Pedagogy and/Against Power]. Quaderns (in Spanish) (76). Retrieved 15 July 2019. ^ Simón Alegre, Ana I. (1 March 2013). "Los inicios del ecofeminismo en España" [The Beginnings of Ecofeminism in Spain]. El Ecologista (in Spanish) (76). Retrieved 15 July 2019. Further readingEdit Fuentes, Víctor (2010). "'Manhattan transfers' personales al trasluz del exilio republicano en Nueva York". In Faber, Sebastiaan (ed.). Contra el olvido: el exilio español en Estados Unidos (in Spanish). Instituto Franklin de Estudios Norteamericanos. pp. 223–241. ISBN 9788481388701. Zulueta, Carmen (2001). "Los domingos de don Fernando" [Sundays with Don Fernando]. Fundamentos de antropología (in Spanish) (10–11): 130–137. Candida Gertler & Yana Peel, United Kingdom: Candida Gertler (born 1966/1967) OBE is a British/German art collector, philanthropist, and former journalist.[2] Candida Gertler Born: 1966/1967 (age 52–53)[1]. Frankfurt am Main, Germany Nationality: British, German Occupation: Art collector Net worth: £150 million (2009) Spouse(s): Zak Gertler Children: 2 Early life: She was born in Frankfurt am Main, Germany, to Romanian Jewish immigrant parents.[1] [3] She studied journalism and law.[1] Career: In 2003 Gertler and Yana Peel founded the Outset Contemporary Art Fund.[4] In June 2015, she was given an OBE "for services to Contemporary Visual Arts and Arts Philanthropy".[5] She is a member of the Tate International Council.[6] Personal life: She is married to Zak Gertler.[7] They are Jewish, and have two children.[8] He has been called "one of London's leading property developers".[7] In 2009, Zak Gertler and family had an estimated net worth of £150 million, down from £250 million in 2008.[9] "The Gertlers developed offices in Germany, moving into the London market in the 1990s."[9] References: ^ a b c "The Tate's Secret Weapon: Outset". Art Market Monitor. 25 August 2009. Retrieved 12 April 2019. ^ "A missionary for art". - Baltic, Russian and Scandinaviawn Art Territory. Retrieved 12 April 2019. ^ ""Artfully Dressed: Women in the Art World", Volume IV: Collectors & Patrons". Issuu. Retrieved 12 April 2019. ^ ^ "Candida GERTLER". Retrieved 12 April 2019. ^ "Interview with Candida Gertler, OBE". Artkurio Consultancy. Retrieved 12 April 2019. ^ a b "The London Magazine". Retrieved 12 April 2019. ^ ^ a b "Zak Gertler and family". The Sunday Times. 26 April 2009. Retrieved 12 April 2019. Yana Peel (born June 1974) is a Canadian executive, businesswoman, children's author and philanthropist.[2] She was CEO of the Serpentine Galleries from 2016 to 2019, and was previously a board member.[3][4] Yana Peel: Born: Yana Mirkin[1]. June 1974 (age 45). Leningrad, USSR (now Russia) Nationality: Canadian Alma mater: McGill University, London School of Economics Predecessor: Julia Peyton-Jones Spouse(s): Stephen Peel (m. 1999) Children: 2 Peel is a co-founder of the Outset Contemporary Art Fund (with Candida Gertler), and Intelligence Squared Asia, and was CEO of Intelligence Squared Group from 2013 to 2016.[5] Peel has several advisory positions including the Tate International Council, V-A-C Foundation, and the NSPCC therapeutic board.[6][7] She has been an advisor to the British Fashion Council, Asia Art Archive, Lincoln Center, Para Site and the Victoria and Albert Museum, where she founded the design fund.[6][8][9][7] Early life: Yana Peel was born in June 1974[10] in Leningrad (now St. Petersburg), Russia. Her family emigrated to Canada via Austria in 1978.[3] She grew up in Toronto, Ontario.[11] Peel studied Russian studies at McGill University during the 1990s. [12][3][1] In 1996,[13] while being a student she co-organised a fashion show for charity.[1][6][14] After that, Peel undertook a post-graduate degree in economics at the London School of Economics.[3][11] Peel was a member of the 2011 class of the World Economic Forum's Young Global Leaders programme.[15] Career: Goldman Sachs: Peel started her career in the equities division of Goldman Sachs in 1997 in London, and became an executive director before leaving in 2003.[16][6][3][2] Outset Contemporary Art Fund: Peel co-founded the charity Outset Contemporary Art Fund in 2003 with Candida Gertler.[17][6][11] Peel and Gertler generated a model whereby artists could be presented to potential donors in order to raise funds to purchase their work, or to fund new commissions with a view to donating them to public institutions.[6] The Fund purchased over 100 pieces for the Tate Modern, and commissioned work by artists including Francis Alys, Yael Bartana, Candice Breitz and Steve McQueen.[6][16] Intelligence Squared: In 2009, Peel co-founded Intelligence Squared Asia with Amelie Von Wedel, a not-for-profit platform for hosting live debates in Hong Kong.[18][17][19] In 2012 Peel became CEO of Intelligence Squared Group,[18][20] bringing the live events business out of its financial difficulties.[6] Peel has hosted interviews including: Olafur Eliasson and Shirin Neshat at Davos,[21] Ai Wei Wei at the Cambridge Union.[22] Serpentine Galleries: In April 2016, Peel was appointed to the role of CEO of the Serpentine Galleries.[23][3] Peel said it was her "mission to create a safe space for unsafe ideas",[2] and to promote a "socially conscious Serpentine".[11] She indicated that she wanted to give artists a greater say in the development of the Serpentine Galleries, in order to give "artists a voice in the biggest global conversations".[11] Peel worked in tandem with the artistic director, Hans Ulrich Obrist.[6] Peel furthered the Serpentine Galleries' technological ambitions, introducing digital engagement initiatives including Serpentine Mobile Tours[24] and the translation of the exhibition Zaha Hadid: Early Paintings and Drawings into Virtual Reality.[25][26] Peel stated that she was "committed to maintaining and open-source spirit"[27] at the Serpentine Galleries, and that it was her ambition "to inspire the widest audiences with the urgency of art and architecture".[2] The Financial Times noted that Peel "has been able to lure companies such as Google and Bloomberg as partners to help meet the Serpentine's annual £9.5m target".[24] Peel and Obrist selected both the first African architect to work on a pavilion,[28] and the youngest architect to do so.[29] In 2018, she broadened the global reach of the Serpentine Pavilion programme by announcing the launch of a pavilion in Beijing designed by Sichuan practice, Jiakun Architects.[30] Together with Lord Richard Rogers and Sir David Adjaye, Peel and Obrist selected Burkina Faso architect Diébédo Francis Kéré to design the 2017 pavilion.[31] The pavilion was awarded the Civic Trust Award in 2018.[32] The Serpentine selected Mexican architect Frida Escobedo to design the 2018 pavilion. She will be the youngest architect to have participated in the Pavilion programme since it began in 2000.[29] She stepped down as CEO in June 2019 as a consequence of the attention paid to her co-ownership of NSO Group, an Israeli cyberweapons company whose software has allegedly been used by authoritarian regimes to spy on dissidents.[4] Philanthropy: Peel co-chaired Para Site, a not-for-profit contemporary art space in Hong Kong, from 2010 to 2015.[33] She has been involved with the project since 2009.[17] Peel founded the Victoria and Albert Museum's design fund in 2011.[9] The fund supported the acquisition of contemporary design objects.[9] Peel is a member of NSPCC's therapeutic board.[7] Inspired by her children, in 2008 Peel produced a series of toddler-friendly art books published by Templar, including: Art For Baby, Color For Baby and Faces For Baby.[34] These books feature works by artists ranging from Damien Hirst to Keith Haring. Proceeds from the sales of the books go towards the NSPCC.[35] Personal life: In 1999, Peel married Stephen Peel,[36] a private equity financier.[37] They have two children and live in Bayswater, London.[37][38] Awards and honours: Montblanc Award for Arts Patronage 2011[39] Debrett's 500 List: Art[40] Evening Standard Progress 1000 2017[41] ArtLyst Power 100[42] Harper's Bazaar Women Of The Year 2017[27] Harper's Bazaar Working Wardrobe: Best dressed women 2018[43] Henry Crown Fellow. Appointed by the Aspen Institute in 2018.[44] References: ^ a b c "McGill Reporter - Volume 28 Number 11". Retrieved 19 February 2018. ^ a b c d Bailey, Sarah. "In Conversation: Art and Fashion Are Both About Desire", Red, London, 1 November 2017. Retrieved on 19 February 2018. ^ a b c d e f McElvoy, Anne. "In The Hot Seat", Porter, London, 1 December 2016. ^ a b Greenfield, Patrick (18 June 2019). "Serpentine Galleries chief resigns in spyware firm row". The Guardian. ISSN 0261-3077. Retrieved 18 June 2019 – via ^ Sloway, Diane. "Meet Yana Peel, the Audacious Canadian Who's Transforming London's Famed Serpentine Galleries", W Magazine, 29 November 2016. Retrieved on 19 February 2018. ^ a b c d e f g h i Bourne, Henry. "L’alchimista", La Repubblica, Rome, 8 May 2017. Retrieved on 19 February 2018. ^ a b c "Serpentine Galleries Announce Appointment of Outset’s Yana Peel As CEO", ArtLys

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