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1 historical
adjective1) historisch; geschichtlich [Belege, Hintergrund]2) (belonging to the past) in früheren Zeiten üblich [Methode]* * *[-'sto-]1) (of or about history; of or about people or events from history: historical research; historical novels.) historisch2) (that actually happened or existed, not legendary or mythical: Was Shakespeare's character Macbeth a historical person?) historisch* * *his·tori·cal[hɪˈstɒrɪkəl, AM -ˈstɔ:r-]1. (concerning history) geschichtlich, historisch\historical accuracy Geschichtstreue f\historical documents historische Dokumentefamous \historical figures berühmte historische Figuren\historical novel historischer Roman2. FIN\historical cost historische Kosten pl\historical data + sing/pl vb Vergangenheitsdaten pl* * *[hIs'tɒrIkəl]adjhistorisch; studies, background, investigation, method also geschichtlich* * *A adj (adv historically)1. → academic.ru/35049/historic">historic 12. historisch:historical painter Historienmaler(in);b) mit Geschichte befasst, Geschichts…:historical geography historische Geografie;historical linguistics pl (als sg konstruiert) historische Sprachwissenschaft;historical science Geschichtswissenschaft fc) geschichtlich orientiert:historical geology historische Geologie;historical materialism historischer Materialismus;historical method historische Methode;historical school WIRTSCH historische Schuled) geschichtlich(en Inhalts):historical novel historischer Romanhistorical present historisches Präsens* * *adjective1) historisch; geschichtlich [Belege, Hintergrund]2) (belonging to the past) in früheren Zeiten üblich [Methode]* * *adj.geschichtlich adj.historisch adj. -
2 West, Benjamin
(1738-1820) Уэст, БенджаминХудожник, график. Один из первых американских художников, получивших известность в Европе. Выходец из семьи квакеров [ Quakers], начал заниматься живописью в Филадельфии с 18-летнего возраста. В 1760-63 работал в Риме в традициях европейского классицизма. С 1763 жил в Лондоне, где был приближен к королю Георгу III. Открыл там свою школу-студию, в которой обучались многие американские художники, в том числе Дж. Стюарт [ Stuart, Gilbert Charles], Дж. Трамбл [ Trumbull, John] и С. Морзе [ Morse, Samuel Finley Breese (F. B.)]. В 1768 участвовал в создании Королевской академии художеств в Англии, которую возглавил в 1792 после смерти Дж. Рейнолдса, с 1770 был придворным живописцем [Historical Painter to the King]. Писал портреты, картины на библейские темы, вошел в историю живописи как автор академических полотен, точно передающих обстановку и костюмы эпохи. Среди наиболее известных работ - "Смерть генерала Вулфа" ["The Death of General Wolfe"] (1771), "Договор Пенна с индейцами" ["Penn's Treaty with the Indians"] (1772)English-Russian dictionary of regional studies > West, Benjamin
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3 Morse, Samuel Finley Breeze
SUBJECT AREA: Telecommunications[br]b. 27 April 1791 Charlestown, Massachusetts, USAd. 2 April 1872 New York City, New York, USA[br]American portrait painter and inventor, b est known for his invention of the telegraph and so-called Morse code.[br]Following early education at Phillips Academy, Andover, at the age of 14 years Morse went to Yale College, where he developed interests in painting and electricity. Upon graduating in 1810 he became a clerk to a Washington publisher and a pupil of Washington Allston, a well-known American painter. The following year he travelled to Europe and entered the London studio of another American artist, Benjamin West, successfully exhibiting at the Royal Academy as well as winning a prize and medal for his sculpture. Returning to Boston and finding little success as a "historical-style" painter, he built up a thriving portrait business, moving in 1818 to Charleston, South Carolina, where three years later he established the (now defunct) South Carolina Academy of Fine Arts. In 1825 he was back in New York, but following the death of his wife and both of his parents that year, he embarked on an extended tour of European art galleries. In 1832, on the boat back to America, he met Charles T.Jackson, who told him of the discovery of the electromagnet and fired his interest in telegraphy to the extent that Morse immediately began to make suggestions for electrical communications and, apparently, devised a form of printing telegraph. Although he returned to his painting and in 1835 was appointed the first Professor of the Literature of Art and Design at the University of New York City, he began to spend more and more time experimenting in telegraphy. In 1836 he invented a relay as a means of extending the cable distance over which telegraph signals could be sent. At this time he became acquainted with Alfred Vail, and the following year, when the US government published the requirements for a national telegraph service, they set out to produce a workable system, with finance provided by Vail's father (who, usefully, owned an ironworks). A patent was filed on 6 October 1837 and a successful demonstration using the so-called Morse code was given on 6 January 1838; the work was, in fact, almost certainly largely that of Vail. As a result of the demonstration a Bill was put forward to Congress for $30,000 for an experimental line between Washington and Baltimore. This was eventually passed and the line was completed, and on 24 May 1844 the first message, "What hath God wrought", was sent between the two cities. In the meantime Morse also worked on the insulation of submarine cables by means of pitch tar and indiarubber.With success achieved, Morse offered his invention to the Government for $100,000, but this was declined, so the invention remained in private hands. To exploit it, Morse founded the Magnetic Telephone Company in 1845, amalgamating the following year with the telegraph company of a Henry O'Reilly to form Western Union. Having failed to obtain patents in Europe, he now found himself in litigation with others in the USA, but eventually, in 1854, the US Supreme Court decided in his favour and he soon became very wealthy. In 1857 a proposal was made for a telegraph service across the whole of the USA; this was completed in just over four months in 1861. Four years later work began on a link to Europe via Canada, Alaska, the Aleutian Islands and Russia, but it was abandoned with the completion of the transatlantic cable, a venture in which he also had some involvement. Showered with honours, Morse became a generous philanthropist in his later years. By 1883 the company he had created was worth $80 million and had a virtual monopoly in the USA.[br]Principal Honours and DistinctionsLLD, Yale 1846. Fellow of the Academy of Arts and Sciences 1849. Celebratory Banquet, New York, 1869. Statue in New York Central Park 1871. Austrian Gold Medal of Scientific Merit. Danish Knight of the Danneborg. French Légion d'honneur. Italian Knight of St Lazaro and Mauritio. Portuguese Knight of the Tower and Sword. Turkish Order of Glory.BibliographyE.L.Morse (ed.), 1975, Letters and Journals, New York: Da Capo Press (facsimile of a 1914 edition).Further ReadingJ.Munro, 1891, Heroes of the Telegraph (discusses his telegraphic work and its context).C.Mabee, 1943, The American Leonardo: A Life of Samuel Morse; reprinted 1969 (a detailed biography).KFBiographical history of technology > Morse, Samuel Finley Breeze
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4 subject
̘. ̈n.ˈsʌbdʒɪkt
1. сущ.
1) а) тема, предмет разговора;
сюжет;
муз. главная тема to address, deal with, discuss, take up, treat a subject ≈ затрагивать какую-л. тему to bring up a subject, to broach a subject ≈ начать обсуждение темы to tackle a subject ≈ энергично, оживленно обсуждать какую-л. тему dwell on a sore subject traverse a subject exhaust a subject delicate subject favorite subject thorny subject ticklish subject Syn: topic б) грам. подлежащее;
лог. субъект complex subject compound subject grammatical subject в) повод, причина( for - к чему-л.)
2) а) объект, предмет (of) б) дисциплина, предмет
3) а) субъект, человек;
мед. труп, подлежащий вскрытию (в частности, для анатомического театра) б) подданный, гражданин в) филос. субъект logical subject ≈ логический субъект ∙
2. прил.
1) а) зависимый, подвластный, подневольный, подчиненный Syn: dependent б) подверженный, склонный
2) подлежащий (произведению какой-л. обработки)
3. гл.
1) а) подчинять, покорять (to) The people were subjected to the conqueror's rule. ≈ Люди были подчинены законам завоевателей. б) подвергать( воздействию, влиянию и т. п.) (to) This metal should not be subjected to too high temperatures. ≈ Этот металл не следует подвергать воздействию высоких температур. Syn: expose
2) представлять, вносить (документ) предмет, тема (разговора и т. п.) - serious * серьезный вопрос - a * for discussion тема для дискуссии - to talk on serious *s говорить на серьезные темы - to change the * перевести разговор (на другую тему) - to return to one's * вернуться к прерванному разговору - to lead smb. on to the * of smth. навести кого-л. на разговор /на тему/ о чем-л. - enough on this * довольно об этом - the visit remains the * of animated discussion визит продолжает оживленно комментироваться сюжет, тема - tragic(al) * трагический сюжет - historical * историческая тема - the * of a play сюжет пьесы - a painter with a leaning to mythological *s художник со склонностью к мифологическим сюжетам предмет, дисциплина - compulsory *s обязательные предметы - * abstracting journal тематический реферативный журнал - * specialist отраслевой специалист - * label (полиграфия) отраслевая помета( в словаре и т. п.) объект, предмет - the * of an experiment объект опыта (медицина) труп (при вскрытии) повод, основание - a * for pity повод для сожаления - a * of press comment предмет комментариев в печати подданный - British * британский подданный субъект, человек - a good hypnotic * человек, легко поддающийся гипнозу /внушению/ - a hysterical * человек, страдающий истерией - a refractory * субъект, с которым нет сладу (грамматика) подлежащее - the logical * логическое подлежащее (философское) (юридическое) субъект - consious /thinking/ * мыслящий субъект - * of international law субъект международного права субстанция, реальность( музыкальное) тема - second * побочная тема (в сонатной форме) подчиненный, зависимый, подвластный - * nation * зависимое /несамостоятельное/ государство - to be held * находиться в зависимости /в подчинении/ - states * to foreign rule государства, находящиеся под иностранным владычеством - to be * to the laws of nature подчиняться законам природы (to) подверженный (чему-л.) ;
склонный (к чему-л.) - to be * to colds быть подверженным простуде - he is * to anger он вспыльчив - to be * to temptation легко поддаваться соблазну - Japan is exceedingly * to earthquakes Япония чрезвычайно подвержена землетрясениям (to) подлежащий (чему-л.) ;
зависящий( от чего-л.), обусловленный( чем-л.) - plan is * to modification в план могут быть внесены изменения - a treaty is * to ratification (любой) договор подлежит ратификации - to be * to a rule подпадать под правило - an article * to duty предмет, подлежащий обложению пошлиной - he has done things that are * to criticism некоторые его поступки нельзя не критиковать - the price is * to a discount of 5% цена подлежит скидке в 5: - to be * to call (коммерческое) подлежать возврату по первому требованию;
(военное) подлежать призыву - to be * to market fluctuations зависеть от колебаний рынка (информатика) предметный - * index предметный указатель;
индекс подчинять, покорять - to * a nation to smb.'s rule подчинить страну чьему-л. господству - to * tribes покорять племена - to * smb. to one's will подчинить кого-л. своей воле - he was unwilling to * himself to any inconvenience ему не хотелось мириться с какими бы то ни было неудобствами подвергать - to * smb. to cross-examination подвергнуть кого-л. перекрестному допросу - to * smb. to an operation сделать кому-л. операцию - to * oneself to ridicule стать предметом насмешек - he was *ed to severe criticism он подвергся суровой критике - the lecturer was *ed to very close questioning лектора забросали очень быстрыми вопросами - he refused to * himself to their judgement он отказался подчиниться их решению представлять - to * one's plans to smb.'s consideration представлять планы на чье-л. рассмотрение British ~ подданный Великобритании to change the ~ переменить тему разговора;
to traverse a subject обсудить вопрос core ~s основные учебные предметы (в учебном заведении) ;
основные вопросы( обсуждения) ~ тема;
предмет разговора;
сюжет;
to dwell on a sore subject останавливаться на больном вопросе ~ субъект, человек;
a hysterical subject истерический тип legal ~ субъект права main ~ основная дисциплина main ~ профилирующий предмет ~ предмет, дисциплина;
mathematics is my favourite subject математика - мой любимый предмет natural-born ~ подданный по рождению, урожденный подданный ~ труп (для вскрытия) ;
on the subject of касаясь (чего-л.) ;
while we are on the subject of money may I ask you... раз уж мы заговорили о деньгах, могу я узнать... optional ~ факультативный предмет subject вопрос ~ муз. главная тема ~ гражданин ~ дисциплина ~ объект, предмет (of) ~ объект ~ повод (for - к чему-л.) ;
a subject for pity повод для сожаления ~ подвергать (воздействию, влиянию и т. п.) ~ подвергать ~ вчт. подвергать ~ подверженный (to) ~ подданный ~ грам. подлежащее ~ подлежащий (to) ~ подчиненный, подвластный, зависимый ~ подчиненный, подвластный;
subject nations несамостоятельные государства ~ подчинять, покорять (to) ~ подчинять ~ предмет, дисциплина;
mathematics is my favourite subject математика - мой любимый предмет ~ предмет (договора, иска и т.п.) ~ предмет ~ представлять;
to subject a plan for consideration представить план на рассмотрение ~ проблема ~ филос. субъект ~ субъект, человек;
a hysterical subject истерический тип ~ субъект ~ тема;
предмет разговора;
сюжет;
to dwell on a sore subject останавливаться на больном вопросе ~ тема, вопрос, предмет ~ тема ~ труп (для вскрытия) ;
on the subject of касаясь (чего-л.) ;
while we are on the subject of money may I ask you... раз уж мы заговорили о деньгах, могу я узнать... ~ представлять;
to subject a plan for consideration представить план на рассмотрение ~ повод (for - к чему-л.) ;
a subject for pity повод для сожаления ~ подчиненный, подвластный;
subject nations несамостоятельные государства ~ of action предмет иска ~ of contention предмет спора ~ of controversy предмет спора ~ of sale товар ~ to в зависимости от ~ to зависящий от ~ to ограниченный ~ to подвергать ~ to подверженный ~ to подчиненный ~ to подчинять ~ to поскольку иное не предусматривается ~ to поскольку иное не содержится ~ to поскольку это допускается ~ to при соблюдении ~ to при условии, допуская, если ~ to при условии ~ to при условии соблюдения ~ to с сохранением в силе ~ to alteration в случае изменения ~ to approval в случае одобрения ~ to call подлежащий погашению по первому требованию ~ to change without notice при внесении изменений без уведомления ~ to collection в зависимости от поступления денежных средств ~ to collection при условии инкассации ~ to conditions на условиях ~ to confirmation подлежащий подтверждению ~ to contract при условии соблюдения договора ~ to duty при условии уплаты таможенной пошлины ~ to final payment при условии внесения последнего платежа ~ to final payment при условии окончательного расчета ~ to final payment при условии погашения долга ~ to goods unsold в зависимости от количества непроданных товаров ~ to necessary changes being made при условии внесения необходимых изменений ~ to notification в соответствии с уведомлением ~ to prior sale в зависимости от предыдущей продажи ~ to prosecution в соответствии с предъявленным иском ~ to proviso с оговоркой ~ to repurchase при условии обратной покупки ~ to revision подлежащицй пересмотру ~ to tax облагаемый налогом ~ to tax подлежит налогообложению ~ to uncertainty зависящий от неопределенности take ~ to принимать дело к рассмотрению to change the ~ переменить тему разговора;
to traverse a subject обсудить вопрос traverse: ~ (подробно) обсуждать;
to traverse a subject обсудить вопрос со всех сторон ~ труп (для вскрытия) ;
on the subject of касаясь (чего-л.) ;
while we are on the subject of money may I ask you... раз уж мы заговорили о деньгах, могу я узнать... -
5 subject
1. [ʹsʌbdʒıkt] n1. 1) предмет, тема (разговора и т. п.)serious [difficult, interesting, dull] subject - серьёзный [трудный, интересный, скучный] вопрос
a subject for discussion [for debate] - тема для дискуссии [для обсуждения]
to lead smb. on to the subject of smth. - навести кого-л. на разговор /на тему/ о чём-л.
the visit remains the subject of animated discussion - визит продолжает оживлённо комментироваться
2) сюжет, темаtragic(al) [touching] subject - трагический [трогательный] сюжет
historical [genre] subject - историческая [жанровая] тема
a painter with a leaning to mythological subjects - художник со склонностью к мифологическим сюжетам
2. предмет, дисциплинаcompulsory [optional] subjects - обязательные [факультативные] предметы
subject label - полигр. отраслевая помета (в словаре и т. п.)
3. 1) объект, предмет2) мед. труп ( при вскрытии)4. повод, основаниеa subject for pity [for ridicule, for congratulation] - повод для сожаления [для насмешки, для поздравления]
5. подданный6. субъект, человекa good hypnotic subject - человек, легко поддающийся гипнозу /внушению/
a hysterical [a gouty] subject - человек, страдающий истерией [подагрой]
a refractory subject - субъект, с которым нет сладу
7. грам. подлежащее8. филос., юр.1) субъектconscious /thinking/ subject - мыслящий субъект
2) субстанция, реальность9. муз. тема2. [ʹsʌbdʒıkt] a1. подчинённый, зависимый, подвластныйsubject nation - зависимое /несамостоятельное/ государство
to be held subject - находиться в зависимости /в подчинении/
states subject to foreign rule - государства, находящиеся под иностранным владычеством
2. (to) подверженный (чему-л.), склонный (к чему-л.)Japan is exceedingly subject to earthquakes - Япония чрезвычайно подвержена землетрясениям
3. (to) подлежащий (чему-л.); зависящий (от чего-л.), обусловленный (чем-л.)a treaty is subject to ratification - (любой) договор подлежит ратификации
an article subject to duty - предмет, подлежащий обложению пошлиной
he has done things that are subject to criticism - некоторые его поступки нельзя не критиковать
the price is subject to a discount of 5% - цена подлежит скидке в 5%
to be subject to call - а) ком. подлежать возврату по первому требованию; б) воен. подлежать призыву
4. информ. предметный3. [səbʹdʒekt] v (to)subject index - предметный указатель; индекс
1. подчинять, покорятьto subject a nation to smb.'s rule - подчинить страну чьему-л. господству
to subject smb. to one's will - подчинить кого-л. своей воле
he was unwilling to subject himself to any inconvenience - ему не хотелось мириться с какими бы то ни было неудобствами
2. подвергатьto subject smb. to cross-examination [to a test] - подвергнуть кого-л. перекрёстному допросу [испытанию]
to subject smb. to an operation - сделать кому-л. операцию
to subject oneself to ridicule [to insult] - стать предметом насмешек [оскорблений]
the lecturer was subjected to very close questioning - лектора забросали очень острыми вопросами
he refused to subject himself to their judgement - он отказался подчиниться их решению
3. представлятьto subject one's plans to smb.'s consideration - представить планы на чьё-л. рассмотрение
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6 art
noun1) Kunst, dieworks of art — Kunstwerke Pl.
arts and crafts — Kunsthandwerk, das; Kunstgewerbe, das
3) (cunning) List, die* * *1) (painting and sculpture: I'm studying art at school; Do you like modern art?; ( also adjective) an art gallery, an art college.) die Kunst2) (any of various creative forms of expression: painting, music, dancing, writing and the other arts.) die Kunst•- artful- artfully
- artfulness
- arts* * *[ɑ:t, AM ɑ:rt]I. n\arts and crafts Kunsthandwerk nt, Kunstgewerbe nt3. (creative activity collectively)▪ the \arts pl die Kunstthe \art of cooking die Kochkunst▪ the \arts Geisteswissenschaften pl* * *I [Aːt]1. n1) (= painting etc) Kunst fart for art's sake — Kunst um der Kunst willen, Kunst als Selbstzweck; (slogan) L'art pour l'art
See:→ workthere's an art to driving this car — es gehört ein gewisses Geschick dazu, mit diesem Auto zu fahren
the art of war/government — die Kriegs-/Staatskunst
the art of conversation/translation — die Kunst der Unterhaltung/Übersetzung
arts and crafts — Kunsthandwerk nt, Kunstgewerbe nt
3) (= human endeavour) Künstlichkeit f4)arts (Univ) — Geisteswissenschaften pl
arts minister — Kulturminister( in) m(f)
See:2. adj attrKunst-II (old) 2nd pers sing present See: of beart critic — Kunstkritiker( in) m(f)
* * *art1 [ɑː(r)t]A s1. ( besonders bildende) Kunst:the art of painting (die Kunst der) Malerei f;2. koll Kunstwerke pl, Kunst f3. Kunst(fertigkeit) f, Geschicklichkeit f:4. Kunst f (als praktische Anwendung von Wissen und Geschick):the art of cooking die hohe Schule des Kochens;art and part Entwurf und Ausführung;be art and part in sth planend und ausführend an etwas beteiligt sein;5. a) Wissenszweig mperson skilled in the art Fachmann m;6. pla) Geisteswissenschaften plbe an arts student Geisteswissenschaften studieren;faculty of arts, US arts department philosophische Fakultät; → bachelor 2, liberal arts, master A 127. meist pl Kunstgriff m, Kniff m, Trick m8. List f, Verschlagenheit f, Tücke f9. Künstlichkeit f, Unnatürlichkeit f, Affektiertheit fB adj1. Kunst…:art ballad Kunstballade f;art collection Kunstsammlung f;art critic Kunstkritiker(in);art dealer Kunsthändler(in);a) THEAT etc Bühnenmeister(in),b) Art-Director m (künstlerischer Leiter des Layouts in einer Werbeagentur);art form Kunstform f;art historian Kunsthistoriker(in);art-historical kunsthistorisch;art lover Kunstfreund(in), -liebhaber(in);art paper Kunstdruckpapier n;art song Kunstlied n;2. künstlerisch, dekorativ (Töpferware etc)art2 [ɑː(r)t] obs 2. sg präs von be:* * *noun1) Kunst, dieworks of art — Kunstwerke Pl.
arts and crafts — Kunsthandwerk, das; Kunstgewerbe, das
2) in pl. (branch of study) Geisteswissenschaften3) (cunning) List, die* * *n.Kunst ¨-e f.Kunstfertigkeit f. -
7 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. -
8 Smalley, John
SUBJECT AREA: Textiles[br]b. c. 1729 Englandd. 28 January 1782 Holywell, Wales.[br]English helped Arkwright to build and finance the waterframe.[br]John Smalley of Preston was the second son of John, a chapman of Blackburn. He was a distant relative of Richard Arkwright through marrying, in 1751, Elizabeth Baxter, whose mother Ellen was the widow of Arkwright's uncle, Richard. In the Preston Guild Rolls of 1762 he was described as a grocer and painter, and he was also Landlord of the Bull Inn. The following year he became a bailiff of Preston and in 1765 he became a Corporation steward. On 14 May 1768 Arkwright, Smalley and David Thornley became partners in a cotton-spinning venture in Nottingham. They agreed to apply for a patent for Arkwright's invention of spinning by rollers, and Smalley signed as a witness. It is said that Smalley provided much of the capital for this new venture as he sold his business at Preston for about £1,600, but this was soon found to be insufficient and the partnership had to be enlarged to include Samuel Need and Jedediah Strutt.Smalley may have helped to establish the spinning mill at Nottingham, but by 28 February 1771 he was back in Preston, for on that day he was chosen a "Councilman in the room of Mr. Thomas Jackson deceased" (Fitton 1989:38). He attended meetings for over a year, but either in 1772 or the following year he sold the Bull Inn, and certainly by August 1774 the Smalleys were living in Cromford, where he became Manager of the mill. He soon found himself at logger-heads with Arkwright; however, Strutt was able to smooth the dispute over for a while. Things came to a head in January 1777 when Arkwright was determined to get rid of Smalley, and the three remaining partners agreed to buy out Smalley's share for the sum of £10,751.Although he had agreed not to set up any textile machinery, Smalley moved to Holywell in North Wales, where in the spring of 1777 he built a cotton-spinning mill in the Greenfield valley. He prospered there and his son was later to build two more mills in the same valley. Smalley used to go to Wrexham to sell his yarn, and there met John Peers, a leather merchant, who was able to provide a better quality leather for covering the drawing rollers which came to be used in Lancashire. Smalley died in 1782, shortly before Arkwright could sue him for infringement of his patents.[br]Further ReadingR.S.Fitton, 1989, The Arkwrights, Spinners of Fortune, Manchester (draws together the fullest details of John Smalley).R.L.Hills, 1969, Power in the Industrial Revolution, Manchester (includes details of the agreement with Arkwright).A.H.Dodd, 1971, The Industrial Revolution in North Wales, Cardiff; E.J.Foulkes, 1964, "The cotton spinning factories of Flintshire, 1777–1866", Flintshire Historical SocietyJournal 21 (provide more information about his cotton mill at Holywell).RLH
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