At Last a Life Paul David Pdf

Total Page:16

File Type:pdf, Size:1020Kb

At Last a Life Paul David Pdf At last a life paul david pdf Continue Position: Forward Paul Arizin's hometown, Philadelphia, is a fertile ground for basketball players. Greats like Wilt Chamberlain, Earl Monroe and Guy Rodgers cut their hoop teeth in city playgrounds. Arizin, on the other hand, never even turned out for basketball until his final year at La Salle High School. He was cut out of the team. Sixteen years later, he retired as the second-highest scorer in NBA history. Advertising Hard-nosed 6'4 forward, Arizin (born April 9, 1928) matured into one of the best shooters of his generation. After high school, he enrolled at Villanova University without a scholarship, worked in basketball at night, and angled a spot on the team. He made it his second year, and a year later he set a school record of 85 points a game. In his final season, he was the nation's leading scorer (25.3) and the 1950 World Record. That's where the Philadelphia Warriors were. When Arizin broke into the professional ranks, most players still shot flat leg; Pitchin' Paul had already had a jump shot. His form was unusual because he hit his feet back when he fired. Her favorite area was the corner, though she was adept at pump-shaming and driving around with her man to look closely at the basket. He won the scoring championship in 1951-52, his second of the season, with 25.4 points per game, denying George Mikan the crown for the first time in Mikan's career. After two years of military service, Arizin returned for another eight seasons with the Warriors. From 1955 to 1956, they defeated the Fort Wayne Pistons in the NBA championship. Arizin won the second scoring title the following season, and he poured in a career-high 49 points against the Boston Celtics in 1961. Instead of moving to San Francisco with the Warriors in 1962, Arizin retired the NBA with 16,266 points, trailing only Dolph Schayes on the career leader board. Still eager to play, Arizin migrated to the Eastern League, where he continued his high-scoring manner with the Camden Bullets. He was introduced to the Hall of Fame in 1977 and died in 2006. The more greatest basketball players of all time, visit: Cancer is happening right now, which is why I'm taking part in Race for Life 5k to raise money and save lives. 1 in 2 people are diagnosed with cancer in their lifetime. Every pound to donate makes Cancer Research UK groundbreaking work, so please sponsor me now. Cancer is happening right now, which is why I am taking part in the Race for Life 10k to raise money and save lives. 1 in 2 people are diagnosed with cancer in their lifetime. Every pound to donate makes Cancer Research UK groundbreaking work, so please sponsor me now. Get a free digital download from the Ultimate Beginner's Guide to Real Estate Investing. Connect to 1,000,000+ real estate investors! Find Local Real meetings and events in your area. Start analyzing the real estate, we'll calculate for you. Keep up with the latest daily buzz with the BuzzFeed Daily newsletter! David Ricardo was born in 1772. He was the third of 17 children. His family was descended from the Iberian Jews, who were in the 18th century. Ricardo's father, a stockbroker, emigrated to England shortly before David was born. Ricardo started working full-time on his father's London Stock Exchange when he was fourteen. When he was 21, his family deprived him when he married Kveeker. Fortunately, he already had a great reputation in finance and founded his business as a government securities dealer. He quickly became very rich. David Ricardo left in 1814. In Parliament, his main interests were the currency and business issues of the day. When he died, his property was worth over $100 million in today's dollars. Ricardo read the riches of adam smith's peoples (1776) when he was in his late twenties. It sparked an interest in an economy that lasted its entire life. In 1809, Ricardo began writing his ideas in the economics of newspaper articles. In his essay on the impact of low-priced Corn Profits Stock (1815), Ricardo formulated what became known as the law's dwindling earnings. (This principle was also discovered simultaneously and independently by Malthus, Robert Torrens and Edward West). In 1817, David Ricardo published the principles of political economy and taxation. In this text, Ricardo created a theory of value in his theory of distribution. David Ricardo's attempts to answer important economic questions led to an unprecedented level of theoretical complexity in the economy. He described the classic system more clearly and consistently than anyone had ever done before. His ideas became known as The Classic or Ricardian School. Although his ideas were followed, they were slowly replaced. But even today, there is a Neo-Ricardian research program. Paul Klee (1879–1940) was a German artist of Swiss descent who was a 20th-century German artist. His abstract work was diverse and could not be categorized, but influenced by expressionism, surrealism and Cubism. His primitive drawing style and use of symbols in his art revealed his wit and child-like perspective. He wrote prolifically about color theory and art diaries, essays and lectures. His lectures throughout Writings on Form and Design Theory, published in English as Paul Klee Notebooks, are one of the most important treats of contemporary art. Date of birth: 18.11.1955. Hans Wilhelm Klee and Ida Marie Klee, née FrickAmet: painter (expressionism, surrealism) and teacherEducation: Academy of Arts, Munich Husband: Lily StumpfChildren: Felix Paul KleeMost Famous Works: Ad Parna ssum (1932), Twittering Machine (1922), Fish Magic (1925), Landscape with Yellow Birds (1923), Viaducts Break Ranks (1937), Cat and Bird (1928), Insula Dulcamara (1938), Castle and Sun (1928). Noteworthy Quote: Color possesses me. I don't have to follow it. I know that, I know it. That's the meaning of happy hour: Color and I are one. I'm a painter. Klee was born on April 18, 1925, in New He grew up in Bern, Switzerland, where his father was transferred to bern as a conductor of the Concert Orchestra. Klee was a sufficient, but not overly enthusiastic student. He was particularly interested in his study of Greek and continued to read Greek poetry in the original language throughout his life. He was rounded, but his love of art and music was clearly evident. He drew constantly - ten sketchbooks to survive his childhood - and also continued to play music, even the extra Municipal Orchestra of Bern. Corbis through Getty Images/Getty Images Based on his broad education, Klee could have gone to any profession, but decided to become an artist because, as he said in the 1920s, it seemed to be lagging behind and he felt that maybe he could help promote it. He became a very influential painter, draughtman, print producer and art teacher. However, his love of music continues to have a lifelong impact on his unique and idiosyncratic art. Klee went to Munich in 1898 to study at the private Knirr Art School, working for Erwin Knirr, who was very enthusiastic about having Klee as his student, and expressed the opinion at the time that if Klee remained the result could be extraordinary. Klee studied drawing and painting with Knirr, and then Franz Stuck at the Munich Academy. In June 1901, after three years of studying in Munich, Klee travelled to Italy, where he spent most of his time in Rome. After that, in 1902, he converted to The New York Times. He remained there until his marriage in 1906. Heritage Images/Getty Images/Getty Images The three years Klee spent studying in Munich she met pianist Lily Stumpf, who later became her husband. In 1906, Klee returned to Munich, the Centre for Art and Artists, to promote his career as an artist and to marry Stumpf, who already had an active career there. They had a son, Felix Paul, a year later. During the first five years of marriage, Klee stayed at home and child and home, while Stumpf continued to teach and enforce. Klee made both graphic art and painting, but struggled as a way to compete with domestic demands. In 1910, his studio was visited by designer and illustrator Alfred Kubin, encouraged him and became one of his most important collectors. Later that year, Klee exhibited 55 drawings, watercolor and etchings in three different cities in Switzerland, and in 1911 was his first one-man show in Munich. In 1912, Klee participated in the second Exhibition of Blue Rider (Der Blaue Reider), dedicated to graphics, at Munich's Goltz Gallery. The other participants were Vasily Kandinsky, Georges Braque, Andre Dérain and Pablo Picasso, whom he later met during a visit to Paris. Kandinsky became a close friend. Klee and Klumpf lived in Munich until 1920. In 1920, Klee was appointed to the Bauhaus faculty under Walter Gropius, where he taught for ten years, first in Weimar until 1925. He then returned to his hometown of Bern, Switzerland, where he had spent two or three months each summer since moving to Germany. In 1937, 17 Klee paintings were added to the Nazi-famous Exhibition of Degenerate Art as examples of art corruption. The Nazis confiscated many of Klee's works in public collections. Klee reacted to Hitler's treatment of artists and the general inhumanity of his work, though often masked by seemingly childlike images. Heritage Images/Getty Images/Getty Images Klee was ambitious and idealistic, but had a demeanor that was reserved and peaceful.
Recommended publications
  • Von Der Fuge in Rot Bis Zur Zwitschermaschine Von Der Fuge in Rot Bis Zur Zwitschermaschine Paul Klee Und Die Musik Paul Klee Und Die Musik
    VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE PAUL KLEE UND DIE MUSIK PAUL KLEE UND DIE MUSIK Paul Klee gehört nicht nur zu den prägendsten Malerpersönlichkeiten des 20. Jahrhunderts, Thomas Gartmann (Hg.) sondern hatte auch eine starke Affinität zur Musik. So schrieb er unter anderem Musik- kritiken, spielte als Amateur hervorragend Geige und verkehrte mit vielen Komponisten. PAUL KLEE UND DIE MUSIK DIE UND KLEE PAUL Mit seinen Werken und seinen theoretischen Schriften wie den Unterrichtsmaterialien am Bauhaus inspiriert er bis heute zahlreiche Komponistinnen und Komponisten. Dieser Band präsentiert Texte über musikalisch beeinflusste und die Musik beeinflussende Werke Klees, insbesondere seine Beschäftigung mit Johann Sebastian Bach sowie die Re- (Hg.) zeption seines gestalterischen Denkens im aktuellen Musikschaffen von Pierre Boulez bis Harrison Birtwistle. Bisher unbekannte Quellen, zahlreiche Abbildungen und Neuinter- pretationen verhelfen dabei zu neuen Sichtweisen. Thomas Gartmann studierte Musikwissenschaft und promovierte zu Luciano Berio. Er leitet heute die Forschung an der Hochschule Thomas Gartmann der Künste in Bern sowie das Doktoratsprogramm « Studies in the Arts ». Schwerpunkte seiner Forschung sind Beethoven-Interpretationen, Musik und Politik, Librettistik, Jazz. www.schwabe.ch Hochschule der Künste Bern, 2020 Mit freundlicher Unterstützung durch: www.hkb.bfh.ch ERNST GÖHNER STIFTUNG Die Druckvorstufe dieser Publikation wurde vom Schweizerischen Nationalfonds zur Förderung
    [Show full text]
  • Paul Klee and His Illness, Scleroderma
    Paul Klee and his illness, scleroderma Richard M. Silver, MD The author (AΩA, Vanderbilt University, 1975) is profes- sor of Medicine and Pediatrics and director of the Division of Rheumatology and Immunology at the Medical University of South Carolina. t has been said that the viewing and analyzing of fine art from a medical perspective increases one’s appreciation of the in- dividual’s suffering and teaches us an important lesson of the humanI aspects of medicine.1 It is likely that few artists suffered as greatly as did Paul Klee, one of the pioneers of modern art. Klee suffered personal loss, intellectual and political persecution, and, finally, a devastat- ing illness, scleroderma. Scleroderma (systemic sclerosis) is characterized by autoimmunity, microvascular injury, and an overproduction of collagen and other extracellular matrix components, often leading to profound changes in personal appearance, significant morbidity, and, in many cases, reduced survival. Despite his fatal illness, Klee’s adaptation and artistic productivity provide a window through which one can appreciate the indomitable spirit of human creativity. Paul Klee was born on December 18, 1879, in the small town of Münchenbuchsee near Bern, Switzerland.2,3 His mother, Ida Maria Frick, was a trained singer, and his father, Hans Klee, taught music for fifty years at the Cantonal School for Teachers near Bern.4 Both envisioned a musical career for Paul, who indeed was a talented violinist, earning a seat with the Bern City Orchestra. From a very early age, though, it was drawing and art that captured the imagination of Paul Klee, although music accompanied him throughout his life and in his art.
    [Show full text]
  • Paul Klee : Philosophical Vision, from Nature To
    edited by John Sallis McMullen Museum of Art, Boston College [This blank page deliberately inserted by Boston College Digital Libraries staff to preserve the openings of the analog book.] edited by John Sallis McMullen Museum of Art, Boston College Distributed by The University of Chicago Press 0 2 This publication is issued in conjunction with the exhibition Paul Klee: Philosophical Vision; From Nature to Art at the McMullen Museum of Art, Boston College, September 1 - December 9, 2012. Organized by the McMullen Museum, in collaboration with the Zentrum Paul Klee, Bern, Paul Klee: Philosophical Vision; From Nature to Art has been curated by John Sallis in consultation with Claude Cernuschi and Jeffery Howe. The exhibition has been underwrit- ten by Boston College, the Patrons of the McMullen Museum, and the Newton College Class of 1967, with additional support from swissnex Boston and Swiss International Air Lines Ltd. S* ^3Swiss Library of Congress Control Number: 2012939001 ISBN: 978-1-892850-19-5 Distributed by The University of Chicago Press Printed in the United States of America © 2012 by the McMullen Museum of Art, Boston College, Chestnut Hill, MA 02467 Copyeditor: Kate Shugert Book designer: John McCoy Front cover: Paul Klee, Wall Plant ( Mauerpflanze ), 1922/153. Watercolor and pen on paper on cardboard, 25.8 x 30.2 cm, Museum of Fine Arts, Boston, Seth K. Sweetser Residuary Fund, 64.526. Photograph © 2012 Museum of Fine Arts, Boston. Back cover: Paul Klee, Eidola: Erstwhile Philosopher (EIAQAA: weiland Philosoph ), 1940/101. Chalk on paper on cardboard, 29.7 x 21 cm, Zentrum Paul Klee, Bern, PKS Z 2128.
    [Show full text]
  • Paul Klee (Clay)
    Liberty Pines Academy 10901 Russell Sampson Rd. Saint Johns, Fl 32259 Meet the Artist Famous Painters O’Keeffe Monet Klee Chagall Renoir Van Gogh Seurat A painter is an artist who creates pictures by using colored paints to a two dimensional, prepared, flat surface. Artists use line, color, tone, and shape in many and different ways to give a painting a feeling of s p a c e, and . Various mediums can be used: • Tempera paint • Oil paint • Watercolors • Ink • Acrylic Paint 1879 - 1940 (clay) Paul Klee (clay) Paul Klee was a famous artist who was born in Switzerland. He created over 10,000 works of art using many different media - oil paints, ink, watercolor, pencil and pastels. He is best known for his watercolor paintings. The Twittering Machine – 1922 Paul Klee His father was a professor of music and his mother was a singer. As a child Klee learned to play the violin. He also often played with a box of chalk given to him by his grandmother. Paul Klee playing the violin by Alexandra Korsakoff Klee loved both music and art equally. In his late teens he went to Germany in 1898 to study art. At first he did a lot of pen and ink drawings for books and newspapers. Woman and Beast While he studied other great artists, he also (detail) - 1904 played the violin with the symphony orchestra in Bern, Switzerland. Paul Klee Some of Klee’s works are more abstract than others. This painting is considered “semi-abstract.” Klee became an abstract artist. You can see the buildings and a field, but they don’t look like the real things.
    [Show full text]
  • RHYTHM and REFRAIN.Indd
    Rhythm and Refrain: In Between Philosophy and Arts Rhythm and Refrain: In Between Philosophy and Arts Jūratė Baranova Laura Junutytė Lilija Duoblienė MONOGrapH VILNIUS, 2016 UDK 1:7.01 Ba407 The monograph was discussed and recommended for publication at the meeting of the Department of Philosophy (14 November, 2016, Protocol No. 35) and at the meeting of the Faculty of History Council at the Lithu- anian University of Educational Sciences (17 November , 2016, No. 12). Reviewers: Prof. Tomas Sodeika (Vilnius University) Prof. Gintautas Mažeikis (Vytautas Magnus University) This study is the result of the project Gilles Deleuze: Philosophy and Arts financed by the Research Council of Lithuania (No. MIP-067/2014) Design: Rokas Gelažius Scientific editor: Bernard George Meyer Editor: Kristina Noreikienė The photo and the installationThe Flag (1990, oak, mahogany, 48×47 cm) on the cover page by Gitenis Umbrasas © Jūratė Baranova, 2016 © Laura Junutytė, 2016 © Lilija Duoblienė, 2016 © Lithuanian University of Educational Sciences, 2016 ISBN 978-609-471-079-7 CONTENT Introduction 9 I. DELEUZE AND GUATTARI: RHYTHM AS A PHILOSOPHICAL CONCEPT 23 Jūratė Baranova Rhythmic Differenceversus Metrical Repetition 25 Rhythm-Chaos as the Chaosmos 36 The Rhythm of Sensation: Music and Painting 44 II. PHILOSOPHY AND LITERATURE: RHYTHM AND LIFE 51 Jūratė Baranova The Concept of Rhythm in Proust’s Novel 53 Rhythm and Ontology: Deleuze and Levinas 57 The Different Worlds of Signs and Different Rhythms 59 Rhythm, Time and Space 65 III. PHILOSOPHY AND CINEMA: RHYTHM AND TIME 69 Jūratė Baranova Rhythmic Montage in Soviet and French Classical Cinema 71 The Rhythm of Dark and Light in German Expressionism 80 5 Alternative Rhythm of Light and White in the Cinema of Spiritual Choice: Bresson 96 The Arhythmic Flow of Reality: Phenomenology, Bazin and Italian Neorealism 108 Cinematic Inspirations for the Crystals of Time: Zanussi, Herzog, Tarkovsky 116 Rhythm and Time versus Cinematic Language: Tarkovsky and Deleuze 127 The Rhythm of Body and Thought: Artaud and Deleuze 140 IV.
    [Show full text]