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121 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
122 développer
amplify, develop, enlarge on, process -
123 amortization
Fin1. a method of recovering (deducting or writing off) the capital costs of intangible assets over a fixed period of time.EXAMPLEFor tax purposes, the distinction is not always made between amortization and depreciation, yet amortization remains a viable financial accounting concept in its own right.It is computed using the straight-line method of depreciation: divide the initial cost of the intangible asset by the estimated useful life of that asset.Initial cost/useful life = amortization per yearFor example, if it costs $10,000 to acquire a patent and it has an estimated useful life of 10 years, the amortized amount per year is $1,000.$10,000/10 = $1,000 per yearThe amount of amortization accumulated since the asset was acquired appears on the organization’s balance sheet as a deduction under the amortized asset.While that formula is straightforward, amortization can also incorporate a variety of noncash charges to net earnings and/or asset values, such as depletion, write-offs, prepaid expenses, and deferred charges. Accordingly, there are many rules to regulate how these charges appear on financial statements. The rules are different in each country, and are occasionally changed, so it is necessary to stay abreast of them and rely on expert advice.For financial reporting purposes, an intangible asset is amortized over a period of years. The amortizable life—“useful life”—of an intangible asset is the period over which it gives economic benefit.Intangibles that can be amortized can include:Copyrights, based on the amount paid either to purchase them or to develop them internally, plus the costs incurred in producing the work (wages or materials, for example). At present, a copyright is granted to a corporation for 75 years, and to an individual for the life of the author plus 50 years. However, the estimated useful life of a copyright is usually far less than its legal life, and it is generally amortized over a fairly short period;Cost of a franchise, including any fees paid to the franchiser, as well legal costs or expenses incurred in the acquisition. A franchise granted for a limited period should be amortized over its life. If the franchise has an indefinite life, it should be amortized over a reasonable period not to exceed 40 years;Covenants not to compete: an agreement by the seller of a business not to engage in a competing business in a certain area for a specific period of time. The cost of the not-tocompete covenant should be amortized over the period covered by the covenant unless its estimated economic life is expected to be less;Easement costs that grant a right of way may be amortized if there is a limited and specified life; Organization costs incurred when forming a corporation or a partnership, including legal fees, accounting services, incorporation fees, and other related services.Organization costs are usually amortized over 60 months;Patents, both those developed internally and those purchased. If developed internally, a patent’s “amortizable basis” includes legal fees incurred during the application process. A patent should be amortized over its legal life or its economic life, whichever is the shorter;Trademarks, brands, and trade names, which should be written off over a period not to exceed 40 years;Other types of property that may be amortized include certain intangible drilling costs, circulation costs, mine development costs, pollution control facilities, and reforestation expenditures;Certain intangibles cannot be amortized, but may be depreciated using a straight-line approach if they have “determinable” useful life. Because the rules are different in each country and are subject to change, it is essential to rely on specialist advice.2. the repayment of the principal and interest on a loan in equal amounts over a period of time -
124 lead time
Ops [m1]1. in inventory control, the time between placing an order and its arrival on site. Lead time differs from delivery time in that it also includes the time required to place an order and the time it takes to inspect the goods and receive them into the appropriate store. Inventory levels can afford to be lower and orders smaller when purchasing lead times are short.2. in new product development and manufacturing, the time required to develop a product from concept to market delivery. Lead time increases as a result of the poor sequencing of dependent activities, the lack of availability of resources, poor quality in the component parts, and poor plant layout. The technique of concurrent engineering focuses on the entire concept-to-customer process with the goal of reducing lead time. Companies can gain a competitive advantage by achieving a lead time reduction and so getting products to market faster. -
125 risk analysis
Gen Mgtthe identification of risks to which an organization is exposed and the assessment of the potential impact of those risks on the organization. The goal of risk analysis is to identify and measure the risks associated with different courses of action in order to inform the decision making process. In the context of business decision making, risk analysis is especially used in investment decisions and capital investment appraisal. Techniques used in risk analysis include sensitivity analysis, probability analysis, simulation, and modeling. Risk analysis may be used to develop an organizational risk profile, and also may be the first stage in a risk management program. -
126 Caro, Heinrich
[br]b. 13 February 1834 Poznan, Polandd. 11 October 1911 Dresden, Germany[br]German dyestuffi chemist.[br]Caro received vocational training as a dyer at the Gewerbeinstitut in Berlin from 1852, at the same time attending chemistry lectures at the university there. In 1855 he was hired as a colourist by a firm of calico printers in Mulheim an der Ruhr, where he was able to demonstrate the value of scientific training in solving practical problems. Two years later, the year after Perkin's discovery of aniline dyes, he was sent to England in order to learn the latest dyeing techniques. He took up a post an analytical chemist with the chemical firm Roberts, Dale \& Co. in Manchester; after finding a better way of synthesizing Perkin's mauve, he became a partner in the business. Caro was able to enlarge both his engineering experience and his chemical knowledge there, particularly by studying Hofmann's researches on the aniline dyes. He made several discoveries, including induline, Bismark brown and Martius yellow.Like other German chemists, however, he found greater opportunities opening up in Germany, and in 1866 he returned to take up a post in Bunsen's laboratory in Heidelberg. In 1868 Caro obtained the important directorship of Badische Anilin-Soda- Fabrik (BASF), the first true industrial research organization and leading centre of dyestuffs research. A steady stream of commercial successes followed. In 1869, after Graebe and Liebermann had showed him their laboratory synthesis of the red dye alizarin, Caro went on to develop a cheaper and commercially viable method. During the 1870s he collaborated with Adolf von Baeyer to make methylene blue and related dyes, and then went on to the azo dyes. His work on indigo was important, but was not crowned with commercial success; that came in 1897 when his successor at BASF discovered a suitable process for producing indigo on a commercial scale. Caro had resigned his post in 1889, by which time he had made notable contributions to German supremacy in the fast-developing dyestuffs industry.[br]Further ReadingA.Bernthsen, 1912, obituary, Berichte derDeutschen Chemischen Gesellschaft, 45; 1,987–2,042 (a substantial obituary).LRD -
127 Chevenard, Pierre Antoine Jean Sylvestre
SUBJECT AREA: Metallurgy[br]b. 31 December 1888 Thizy, Rhône, Franced. 15 August 1960 Fontenoy-aux-Roses, France[br]French metallurgist, inventor of the alloys Elinvar and Platinite and of the method of strengthening nickel-chromium alloys by a precipitate ofNi3Al which provided the basis of all later super-alloy development.[br]Soon after graduating from the Ecole des Mines at St-Etienne in 1910, Chevenard joined the Société de Commentry Fourchambault et Decazeville at their steelworks at Imphy, where he remained for the whole of his career. Imphy had for some years specialized in the production of nickel steels. From this venture emerged the first austenitic nickel-chromium steel, containing 6 per cent chromium and 22–4 per cent nickel and produced commercially in 1895. Most of the alloys required by Guillaume in his search for the low-expansion alloy Invar were made at Imphy. At the Imphy Research Laboratory, established in 1911, Chevenard conducted research into the development of specialized nickel-based alloys. His first success followed from an observation that some of the ferro-nickels were free from the low-temperature brittleness exhibited by conventional steels. To satisfy the technical requirements of Georges Claude, the French cryogenic pioneer, Chevenard was then able in 1912 to develop an alloy containing 55–60 per cent nickel, 1–3 per cent manganese and 0.2–0.4 per cent carbon. This was ductile down to −190°C, at which temperature carbon steel was very brittle.By 1916 Elinvar, a nickel-iron-chromium alloy with an elastic modulus that did not vary appreciably with changes in ambient temperature, had been identified. This found extensive use in horology and instrument manufacture, and even for the production of high-quality tuning forks. Another very popular alloy was Platinite, which had the same coefficient of thermal expansion as platinum and soda glass. It was used in considerable quantities by incandescent-lamp manufacturers for lead-in wires. Other materials developed by Chevenard at this stage to satisfy the requirements of the electrical industry included resistance alloys, base-metal thermocouple combinations, magnetically soft high-permeability alloys, and nickel-aluminium permanent magnet steels of very high coercivity which greatly improved the power and reliability of car magnetos. Thermostatic bimetals of all varieties soon became an important branch of manufacture at Imphy.During the remainder of his career at Imphy, Chevenard brilliantly elaborated the work on nickel-chromium-tungsten alloys to make stronger pressure vessels for the Haber and other chemical processes. Another famous alloy that he developed, ATV, contained 35 per cent nickel and 11 per cent chromium and was free from the problem of stress-induced cracking in steam that had hitherto inhibited the development of high-power steam turbines. Between 1912 and 1917, Chevenard recognized the harmful effects of traces of carbon on this type of alloy, and in the immediate postwar years he found efficient methods of scavenging the residual carbon by controlled additions of reactive metals. This led to the development of a range of stabilized austenitic stainless steels which were free from the problems of intercrystalline corrosion and weld decay that then caused so much difficulty to the manufacturers of chemical plant.Chevenard soon concluded that only the nickel-chromium system could provide a satisfactory basis for the subsequent development of high-temperature alloys. The first published reference to the strengthening of such materials by additions of aluminium and/or titanium occurs in his UK patent of 1929. This strengthening approach was adopted in the later wartime development in Britain of the Nimonic series of alloys, all of which depended for their high-temperature strength upon the precipitated compound Ni3Al.In 1936 he was studying the effect of what is now known as "thermal fatigue", which contributes to the eventual failure of both gas and steam turbines. He then published details of equipment for assessing the susceptibility of nickel-chromium alloys to this type of breakdown by a process of repeated quenching. Around this time he began to make systematic use of the thermo-gravimetrie balance for high-temperature oxidation studies.[br]Principal Honours and DistinctionsPresident, Société de Physique. Commandeur de la Légion d'honneur.Bibliography1929, Analyse dilatométrique des matériaux, with a preface be C.E.Guillaume, Paris: Dunod (still regarded as the definitive work on this subject).The Dictionary of Scientific Biography lists around thirty of his more important publications between 1914 and 1943.Further Reading"Chevenard, a great French metallurgist", 1960, Acier Fins (Spec.) 36:92–100.L.Valluz, 1961, "Notice sur les travaux de Pierre Chevenard, 1888–1960", Paris: Institut de France, Académie des Sciences.ASDBiographical history of technology > Chevenard, Pierre Antoine Jean Sylvestre
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128 Crookes, Sir William
SUBJECT AREA: Electricity[br]b. 17 June 1832 London, Englandd. 4 April 1919 London, England[br]English chemist and physicist who carried out studies of electrical discharges and cathode rays in rarefied gases, leading to the development of the cathode ray tube; discoverer of the element thallium and the principle of the Crookes radiometer.[br]Crookes entered the Royal College of Chemistry at the age of 15, and from 1850 to 1854 held the appointment of Assistant at the college. In 1854 he became Superintendent of the Meteorological Department at the Radcliffe Observatory in Oxford. He moved to a post at the College of Science in Chester the following year. Soon after this he inherited a large fortune and set up his own private laboratory in London. There he studied the nature of electrical discharges in gases at low pressure and discovered the dark space (later named after him) that surrounds the negative electrode, or cathode. He also established that the rays produced in the process (subsequently shown by J.J.Thompson to be a stream of electrons) not only travelled in straight lines, but were also capable of producing heat and/or light upon impact with suitable anode materials. Using a variety of new methods to investigate these "cathode" rays, he applied them to the spectral analysis of compounds of selenium and, as a result, in 1861 he discovered the element thallium, finally establishing its atomic weight in 1873. Following his discovery of thallium, he became involved in two main lines of research: the properties of rarified gases, and the investigation of the elements of the "rare earths". It was also during these experiments that he discovered the principle of the Crookes radiometer, a device in which light is converted into rotational motion and which used to be found frequently in the shop windows of English opticians. Also among the fruits of this work were the Crookes tubes and the development of spectacle lenses with differential ranges of radiational absorption. In the 1870s he became interested in spiritualism and acquired a reputation for his studies of psychic phenomena, but at the turn of the century he returned to traditional scientific investigations. In 1892 he wrote about the possibility of wireless telegraphy. His work in the field of radioactivity led to the invention of the spinthariscope, an early type of detector of alpha particles. In 1900 he undertook investigations into uranium which led to the study of scintillation, an important tool in the study of radioactivity.While the theoretical basis of his work has not stood the test of time, his material discoveries, observations and investigations of new facts formed a basis on which others such as J.J. Thomson were to develop subatomic theory. His later involvement in the investigation of spiritualism led to much criticism, but could be justified on the basis of a belief in the duty to investigate all phenomena.[br]Principal Honours and DistinctionsKnighted 1897. Order of Merit 1910. FRS 1863. President, Royal Society 1913–15. Honorary LLD Birmingham. Honorary DSc Oxon, Cambridge, Sheffield, Durham, Ireland and Cape of Good Hope.Bibliography1874, On Attraction and Repulsion Resulting from Radiation.1874, "Researches in the phenomenon of spiritualism", Society of Metaphysics; reprinted in facsimile, 1986.For many years he was also Proprietor and Editor of Chemical News.Further ReadingE.E.Fournier D'Albe, 1923, Life of Sir William Crookes. Who Was Who II, 1916–28, London: A. \& C. Black. T.I.Williams, 1969, A Biographical Dictionary of Scientists. See also Braun, Karl Ferdinand.KF / MG
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