1,719 research outputs found
Simon Hantaï: Round table discussion
No full textEdited transcript of the round table discussion about the work of Simon Hantaï held at the French Institute, 3 June 2014 François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgis.
The round table discussed the work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists
Simon Hantaï: round table discussions
No full textThe work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists. The evening’s event will comprise two round table discussions. The first will look at the recent reception of Simon Hantaï and concentrate on a discussion with the artist François Rouan and Isabelle Monod-Fontaine who was one of the curators of the recent retrospective at the Centre Pompidou. The second will look at Simon Hantaï’s ongoing influence for subsequent artists and thinkers.
Speakers: François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgi
Éric de Chassey on Simon Hantaï
No full textThis is a transcript of an interview with Éric de Chassey conducted by Mick Finch on the occasion of the Simon Hantaï exhibition curated by de Chassey at the Villa Médici in Rome between the 12 February to 11 May 2014. De Chassey is Professor of Art History at the Ecole Normale Supérieure in Lyons and has, since 2009, been the Director of the French Academy in Rome, the Villa Medici. The Villa Medici exhibition took place after the major Hantaï exhibition at the Centre Pompidou in 2013 for which de Chassey had contributed an catalogue essay on Hantaï’s silkscreen work. The interview discusses the context of the Villa Medici exhibition and particularly the way Hantaï’s latter years were represented. The interview took place at the Villa Medici on Sunday 11 May 2014
Binge drinking
No full textThis chapter explores the concept of binge drinking through a global lens. It will suggest that binge drinking is more than a measure of units within a period of time but a potential insight that binge drinking is a ‘continuum of harm’. We need to recognise that for some individuals and some ‘at-risk’ populations, we have identified that binge drinking can be the starting point for developing a severe and enduring dependence on alcohol. We also provide some ideas around assessment and brief interventions to support those who binge drink as a way of life
First record of Dipoena nigroreticulata (SIMON, 1879) in Germany (Araneae, Theridiidae)
No full textDipoena nigroreticulata (SIMON, 1879) gehört zu den sehr selten gefundenen Arten innerhalb der Gattung Dipoena. Frühe Nachweise kommen aus Süd Frankreich (Fontainebleau bei Paris; SIMON 1914), NO-Ungarn (Satoralja Ujhely an der Grenze zur Slowakei) und Kroatien (Dakovo, früher Diakovar; CHYZER & KULCZYNSKI 1894). MILLER wies die Art 1958 in der Tschechischen Republik (Lednice, ehem. SOdmahren) nach und konnte das Männchen erstmalig beschreiben (MILLER 1967). DZIABASZEWSKI (1974) nennt die Art neu für Polen (Poznan). Dem Autor der vorliegenden Arbeit sind keine publizierten Funde dieser Art für Deutschland bekannt (s. a. PLATEN et al. 1995). Die einzige unpublizierte Meldung über einen Fund von D. nigroreticulata stammt vom südlichen Harzvorland („Gipskarstlandschaft Hainholz" bei Osterode; ANDREESSEN 1993) und ist eine Fehldetermination (ANDREESSEN, schriftl. Mitt.). Während umfangreicher Auswertungen zur Spinnenfauna niedersächsischer Waldstandorte (FINCH i. V.) wurden mehrere Exemplare von D. nigroreticulata festgestellt
Integration
No full textPresented in the Finch lecture series, Fuller theological Seminary, Graduate School of Psychology, Pasadena, California, January, 1980.Printed by permission of the author. This article or any part thereof may not be reprinted without expressed permission from the author
"Mammy stories", W.0026
No full textAbstract: Handwritten manuscript by Birmingham author Julia Neely Finch describing "an old-time Southern Mammy."Scope and Content Note: This handwritten, twenty-four page manuscript by Birmingham author Julia Neely Finch describes "an old-time Southern Mammy," which Finch writes is "a picture drawn from real life." Finch provides a vivid yet lyrical description of the unnamed mammy's physical appearance, speech, and daily life.Biographical/Historical Note: Julia Neely Finch was born in Mississippi in 1850. Finch moved to Birmingham, Alabama, in 1900, and remained there until between 1910 and 1920, when she relocated to Connecticut to live with her daughter, Lucine Finch. An accomplished poet, Finch's poems and short stories were published in ladies' magazines; her most well-known work was a poem titled "The Unborn." Finch died on 17 September 1926 in Connecticut
Zebra finch pedigree
No full textZebra finch pedigree file used for analyses in ASReml (when saved as a '.ped' file)
Environmental and Parental Influences on Offspring Health and Growth in Great Tits (Parus major)
No full textPMCID: PMC3728352This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited
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