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Jean-François Lyotard

Jean-François Lyotard
Biography[edit] Early life, educational background, and family[edit] Jean François Lyotard was born on August 10, 1924 in Versailles, France to Jean-Pierre Lyotard, a sales representative, and Madeleine Cavalli. He went to primary school at the Paris lycée Buffon and Louis-le-Grand, and later studied philosophy at the Sorbonne in the late 1940's. As a child, Lyotard had many aspirations: to be an artist, a historian, a Dominican monk, and a writer. He later gave up the dream of becoming a writer when he finished writing an unsuccessful fictional novel at the age of 15. [1] Ultimately, Lyotard describes the realization that he would not become any of these occupations as "fate" in his autobiography called Peregrinations,[2] published in 1986. Political life[edit] In 1954, Lyotard became a member of Socialisme ou Barbarie, a French political organisation formed in 1948 around the inadequacy of the Trotskyist analysis to explain the new forms of domination in the Soviet Union. Theory[edit] Related:  People/Artists

Juan Gris José Victoriano (Carmelo Carlos) González-Pérez (March 23, 1887 – May 11, 1927), better known as Juan Gris (Spanish pronunciation: [ˈxwaŋ ˈɡɾis]), was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the innovative artistic genre Cubism, his works are among the movement's most distinctive. Early life[edit] Born in Madrid, Gris studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero. Career[edit] In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque and Fernand Léger. "He appears with two styles", writes art historian Peter Brooke, "In one of them a grid structure appears that is clearly reminiscent of the Goûter and of Metzinger's later work in 1912 Designer and theorist[edit] Death[edit] Art market[edit] Notes

Eric Berne Background and education[edit] Eric was born on May 10, 1910 as Eric Lennard Bernstein in Montreal, Canada to a Jewish family.[1] He and his sister Grace, who was five years younger than Eric, were the children of a physician and a writer, David and Sara Gordon Bernstein.[1] David Bernstein died in 1921, and the children were raised by their mother.[2] Bernstein attended Montreal's McGill University, graduating in 1931 and earning his M.D., C.M. in 1935.[3] While at McGill he wrote for several student newspapers using pseudonyms. He followed graduation with a residency in psychiatry at Yale University, where he studied psychoanalysis under Paul Federn.[1] He completed his training in 1938 and became an American citizen in 1939.[1] In 1943 he changed his legal name to Eric Berne.[1] He continued to use pseudonyms, such as Cyprian St. Clinical work[edit] After the war, Berne resumed his studies under Erik Erikson at the San Francisco Psychoanalytic Institute and practiced at Mt. Death[edit]

Alfred Stieglitz Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. In addition to his photography, Stieglitz is known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O'Keeffe. Life[edit] Early years (1864–1890)[edit] Stieglitz was born in Hoboken, New Jersey, the first son of German-Jewish immigrants Edward Stieglitz (1833–1909) and Hedwig Ann Werner (1845–1922).[1] At that time his father was a lieutenant in the Union Army, but after three years of fighting and earning an officer's salary he was able to buy an exemption from future fighting.[2] This allowed him to stay near home during his first son's childhood, and he played an active role in seeing that he was well-educated. 1886 Self-portrait.

Auguste and Louis Lumière The Lumière (pronounced: [lymjɛːʁ]) brothers, Auguste Marie Louis Nicolas [oɡyst maʁi lwi nikɔla] (19 October 1862, Besançon, France – 10 April 1954, Lyon) and Louis Jean [lwi ʒɑ̃] (5 October 1864, Besançon, France – 6 June 1948, Bandol),[1][2] are credited to be first filmmakers in history. They patented the cinematograph, which contrary to Edison's "peepshow" kinetoscope, the former allowed viewing by multiple parties at once, like current cinema. Their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first real motion picture in history.[3] Curiously, their surname, "Lumière", is French for "light". History[edit] The LUMIèRE brothers were born in Besançon, France, in 1866 and 1867, and moved to Lyon in 1870, where both attended La Martiniere, the largest technical school in Lyon.[4] Their father, Claude-Antoine Lumière (1840–1911), ran a photographic firm and both brothers worked for him: Louis as a physicist and Auguste as a manager. See also[edit]

Vorticism Origins[edit] The name Vorticism was given to the movement by Ezra Pound in 1913,[1] although Lewis, usually seen as the central figure in the movement, had been producing paintings in the same style for a year or so previously.[4] Participants[edit] The eleven signatories of the Vorticist manifesto were: BLAST[edit] The Vorticists published two issues of the literary magazine BLAST, in June 1914 and July 1915 which Lewis edited.[5] It contained work by Ezra Pound and T. Demise and legacy[edit] Paintings and sculpture shown at the Rebel Art Centre in 1914, before the formation of the Vorticist Group was experimental work by Lewis, Wadsworth, Shakespear and others, using angular simplification and abstraction. After this, the movement broke up, largely due to the onset of World War I and public apathy towards the work. See also[edit] Notes[edit] References[edit] Antcliffe, Mark, and Green, Vivien (eds.). External links[edit]

GG Allin Known more for his notorious stage antics than for his music, he recorded prolifically, not only in the punk rock genre, but also in spoken word, country, and more traditional-style rock. His extremely politically incorrect lyrics, which often covered subjects such as misogyny, pedophilia, blasphemy and racism, polarized listeners and created varied opinions of him within the highly politicized punk community. When questioned about his music and shows, Allin often replied that he was trying to make rock music "dangerous" again. Allin's music was often poorly recorded and produced, given limited distribution, and was met with mostly negative reviews from critics.[3][4][5] Despite (or perhaps because of) these factors, Allin maintained a cult following throughout his career, and a fan base that has greatly expanded since his death. Early life[edit] His older brother, Merle, was unable to pronounce "Jesus" properly and called him "Jeje",[7] which became "GG". Recording career[edit]

Otto Dix Wilhelm Heinrich Otto Dix (German: [ˈvɪlhɛlm ˈhaɪnʁiç ˈɔto ˈdɪks]; 2 December 1891 – 25 July 1969) was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of Weimar society and the brutality of war. Along with George Grosz, he is widely considered one of the most important artists of the Neue Sachlichkeit. Biography[edit] Early life and education[edit] Otto Dix House in Gera. Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera. World War I service[edit] Stormtroopers Advancing Under Gas, etching and aquatint by Otto Dix, 1924 When the First World War erupted, Dix enthusiastically volunteered for the German Army. Dix was profoundly affected by the sights of the war, and would later describe a recurring nightmare in which he crawled through destroyed houses. Post-war artwork[edit] At the end of 1918 Dix returned to Gera, but the next year he moved to Dresden, where he studied at the Hochschule für Bildende Künste. Gallery[edit]

Kazimir Malevich Kazimir Severinovich Malevich[nb 1] (23 February 1879 – 15 May 1935) was a Russian painter and art theoretician.[1] He was a pioneer of geometric abstract art and the originator of the avant-garde, Suprematist movement.[2][3][4] Early life[edit] Kazimir Malevich was born Kazimierz Malewicz to a Polish family,[5][6] who settled near Kiev in the Kiev Governorate of the Russian Empire (former Polish-Lithuanian Commonwealth, today Ukraine) during the partitions of Poland.[7] His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles.[8] They both had fled from the former eastern territories of the Commonwealth (present-day Kopyl Region of Belarus) to Kiev in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army.[9] His native languages were Russian and Polish.[10] Kazimir's father managed a sugar factory. Later career[edit] From 1896 to 1904 Kazimir Malevich lived in Kursk. Suprematism[edit] Photograph of Malevich Post-revolution[edit]

Adam Mickiewicz Adam Bernard Mickiewicz ([mit͡sˈkʲɛvit͡ʂ] ( ); 24 December 1798 – 26 November 1855, Lithuanian: Adomas Mickevičius) was a Polish[1][2] national poet, dramatist, essayist, publicist, translator, professor of Slavic literature, and political activist. A principal figure in Polish Romanticism, he is counted one of Poland's "Three Bards" ("Trzej Wieszcze") and is widely regarded as Poland's greatest poet.[3][4][5] He is also considered one of the greatest Slavic[6] and European[7] poets and has been dubbed a "Slavic bard".[8] A leading Romantic dramatist,[9] he has been compared in Poland and Europe to Byron and Goethe.[8][9] Mickiewicz was born in the Russian-partitioned territories of the former Grand Duchy of Lithuania, which had been part of the Polish-Lithuanian Commonwealth, and was active in the struggle to win independence for his home region. In 1890 his remains were repatriated from Montmorency, Val-d'Oise, in France, to Wawel Cathedral in Kraków, Poland. Life[edit] Early years[edit]