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People | 23.08.2011
German humorist Loriot dies aged 87
One of Germany's most famous creators of comedy, Vicco von Bülow - who worked under the stage name Loriot - died in Ammerland am Starnberger See, Bavaria, on Monday, August 22. According to a spokesperson for his publisher, Diogenes Verlag, he "passed away peacefully" at home.
Born in 1923 into a noble Prussian family, Bernhard Victor Christoph Carl (or just Vicco) von Bülow started his career drawing cartoons with characters that had potato noses and depicted the funny side of human frailty and communication problems.
Loriot was both a cartoonist and a comedianVery soon, German television discovered not only his cartoons but his talent as a comedian and Loriot, as he started calling himself, was asked to present a series of sketches and cartoons that became an important part of Germany's cultural consciousness.
He and his amusing characters became such a success that he went on to produce a few full-length movies. None of them have been screened outside the German-speaking realm, but the BBC has run some of Loriot's sketches and cartoons and received a great response from an English audience.
As he got older, Loriot even had a humorous perspective on his own age. "You're barely born and you're already 80," is how he commented the feeling he had about entering his 80s.
In answer to the question of what had most influenced his work, Loriot answered in 2007: "I remember that, when I started studying, I was living between a madhouse, a prison and a cemetery. The location alone explains everything, I think."
Author: Eva Wutke (dpa, KNA)
Editor: Kate Bowen
(我知道他出國前 浦江清送兩首詩 葉公超送他包世臣書法 害得我趕緊去查此包公.....)
google 圖片 包世臣
包世臣思想，反對脫離民事，文章也大都關切時務政事。他反對傳統「重農抑商」政策，以「好言利」自許，提出「本末皆富」為「千古治法之宗」、「子孫 萬世之計」；他又提出「生齒日繁，地之所產，不敷口食」的「人多致貧」論。他堅持經世致用之學，對鴉片戰爭前後的社會和經濟問題，作了較為廣泛的探討，主 張具有進步意義的社會改革，在當時社會上有一定影響。
幾年以後，我買幾本舊月刊，讀了老師為某一「彩墨邀請展」，寫的推薦文章：「探幽 尋秘 創新的黃昭雄」（《藝術家》，1993年3月號，頁479。）然後，讀到林玉山先生為黃老師寫的八十歲畫展之序文：「黃鷗波八十回顧展畫集序」（《藝術家》轉載，1997年2月號，頁470-71；畫展期間為：1月21日~ 3月16日，省立美術館）。我以為，這篇可能是介紹黃老師的文章中之最，許多教育、創業等的歷程都交代，連師母的事蹟都說了，很不可多得，所以勉勵自己，將它一字一字”打”下來：（林先生比黃先生約長10歲，共同的照片請參考《黃鷗波：詩畫交融》等）
黃鷗波 : 詩畫交融
黃鷗波 : 詩畫交融
據我姑姑說 我一歲時是抓書的 不過那時候台灣尚未流行"全集"
Search in FindBook
陳 嘉翎 書名/作者 黃鷗波 : 詩畫交融 = Huang Ou-Po : poems and paintings / 陳嘉翎主訪.編撰 出版項 台北市 : 國立歷史博物館, 2004 總圖2F密集書庫 940.992 8015 v.2
其他書名 前輩書畫家系列 2
Huang Ou-Po : poems and paintings
詩畫交融 稽核項 191面 : 部份彩圖,像 ; 26公分 叢書名 口述歷史叢書; 2
前輩書畫家系列; 2 主要叢書 口述歷史叢書 2 附註 含參考書目 ISBN/價格 986-00-0013-1 平裝 標題 csh 黃 鷗波 訪談錄
csh 畫家 臺灣 訪談錄
他的文章 包括日記等等 都很容易去"問市"
近代四川合江縣物價與工資的變動趨勢 全漢昇 王業鍵
再說西京雜記 洪 業
甲骨文金文 及其相關問題 龍宇純
唐武后改字考 董作賓 王恆餘
Reduplicatives in the Book of Odes 周法高
殷商時代裝飾藝術研究之一 李 濟
胡適先生西文著作目錄 袁同禮 Eugene L. Delafield 編
莊喆老師見過數次面 沒上過他的課 沒跟他聊過 只看過他的畫......
今晚在某 used books 買到歷史博物館 的 《主題‧原象---莊喆 畫展》* (2005)
第2行 1963-73 執教於東海大學建築系
現存する作品のうち6点が国宝に 指定されており、日本の絵画史において別格の高い評価を受けているといえる。このため、花鳥図屏風など「伝雪舟筆」とされる作品は多く、真筆であるか否 か、専門家の間でも意見の分かれる作品も多い。代表作は、「四季山水図（山水長巻）」「秋冬山水図」「天橋立図」「破墨山水図」「慧可断臂図」など。弟子 に、秋月、宗淵、等春らがいる。
「……說明我的目的。……這幅的長與寬是直立的兩個正方體，所以用三竹寺分把山勢分成上中下。在三元空間表現距離正好又是遠、中、近三等分。山、樹、岩、岸、村舍、小舟就一次在這三等分中準確調配完成。簡與繁就這樣奇妙的融合在一起了。我想把這個解悟到的心得用不同的幅度來呈現。不同於原畫的水墨，我期望也把色彩的明暗度加進去，抽取出筆與染的純粹繪畫性，省略一切細節，既是「抽象」，又是「自然」。這完全也躲一再敗過去四十年想結合的，從古畫中看出現代，可能與可表現的究竟有多少？反覆推敲求證，在真實自然與已有的畫蹟中實際還埋藏無限生機。我相信這種雙限性的發展可以越過時空，無盡無限 ！」 (莊喆《主題‧原象---莊喆 畫展》頁11)
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〔編譯管淑平／綜合報導〕13世紀義大利威尼斯商人馬可波羅描述其中國和遠東之旅的「馬 可波羅遊記」，讓他名列史上最偉大探險家之一，但義大利考古學家經過考證後指出，馬可波羅其實從來沒到過中國，而是拾人牙慧，將他在黑海地區從波斯商人那 裡聽來的中國、日本和蒙古旅行經驗，東拼西湊當成自己的東方遊記，可能根本就是個騙子。
佩 特雷拉的質疑呼應了大英圖書館中文部主任吳芳思（Frances Wood）1995年著作「馬可波羅有沒有去過中國？」（Did Marco Polo Go to China?）一書論點。她說，馬可波羅的遊記沒提到當時中國婦女裹小腳、用筷子、喝茶等生活習俗，甚至隻字未提長城。
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- zh.wikipedia.org/wiki/路德維希·密斯·凡德羅 - 頁庫存檔路德维希·密斯·凡德罗（Ludwig Mies van der Rohe，1886年3月27日－1969年8月17日 ...
August 19, 1969OBITUARY
Mies van der Rohe Dies at 83; Leader of Modern Architecture
Special to The New York Times
CHICAGO, Aug. 18--Mies van der Rohe, one of the great figures of 20th-century architecture, died in Wesley Memorial Hospital here late last night. He was 83 years old.
Mr. van der Rohe had entered the hospital two weeks ago.
He is survived by two daughters, Mrs. Georgia van der Rohe and Mrs. Marianne Lohan; five grandchildren and six great-grandchildren.
Expressed Industrial SpiritBy ALDEN WHITMAN
Ludwig Mies van der Rohe, a man without any academic architectural training, was one of the great artist-architect-philosophers of his age, acclaimed as a genius for his uncompromisingly spare design, his fastidiousness and his innovations.
Along with Frank Lloyd Wright and Le Corbusier, the German-born master builder who was universally know as Mies (pronounced mees) fashioned scores of imposing structures expressing the spirit of the industrial 20th century.
"Architecture is the will of an epoch translated into space," he remarked in a talkative moment. Pressed to explain his own role as a model for others--a matter on which he was shy, as he was on most others--he said:
"I have tried to make an architecture for a technological society. I have wanted to keep everything reasonable and clear--to have an architecture that anybody can do."
A building, he was convinced, should be "a clear and true statement of its times"--cathedrals for an age of pathos, glass and metal cages for an age of advanced industrialism.
He thought the George Washington Bridge in New York an outstanding example of a structure expressing its period, and he used to go to admire it whenever he visited the city.
"It is the most modern building in the city," he remarked in 1963.
He was fond of the bridge because he considered it beautifully proportioned and because it did not conceal its structure. Mies liked to see the steel, the brick, the concrete of buildings show themselves rather than be concealed by ornamentation. A 20th-centrury industry building had to be pithy, he believed.
Influence on Colleagues
Mies's stature rested not only on his lean yet sensuous business and residential buildings, but also on the profound influence he exerted on his colleagues and on public taste. As the number of his structures multiplied in the years since World War II and as their stunning individuality became apparent, critical appreciation flowed to him in torrents, and his designs and models drew throngs to museums where they were exhibited. It became a status symbol to live in a Mies house, to work in a Mies building, or even to visit one.
The Mies name had already been established among architects long before he came to the United States in 1937. In 1919 and 1921 in Berlin he designed two steel skyscrapers sheathed in glass from street to roof. Although the buildings were never erected, the designs are now accepted as the originals of today's glass-and-metal skyscrapers.
In 1922 Mies introduced the concept of ribbon windows, uninterrupted bands of glass between the finished faces of concrete slabs, in a design for a German office building. That has since become the basis for many commercial structures.
Mies, in 1924, produced plans for a concrete villa that is now regarded as the forerunner of the California ranch house. He is also said to have foreshadowed the return of the inner patio of Roman times in an exhibition house built in 1931; to have started the idea of space dividers, the use of cabinets or screens instead of walls to break up interiors; and to have originated the glass house, with windows and glass sliding panels extending from floor to ceiling to permit outside greenery to form the visual boundaries of a room.
Apart from simplicity of form, what struck students of Mies's buildings was their painstaking craftsmanship, their attention to detail.
"God is in the details," Mies liked to say.
In this respect the buildings reflected the man, for Mies was fussy about himself. A large, lusty man with a massive head topping a 5-foot, 10-inch frame, he dressed in exquisitely hand-stitched suits of conservative hue, dined extravagantly well on haute cuisine, sipped the correct wines from the proper goblets, and chained-smoked hand-rolled cigars.
Gold Chain for Watch
For a man so modern in his conceptions, he had more than a touch of old-fashionedness. It showed up in such things as the gold chain across his waistcoat, to which was attached his pocket timepiece. Rather than live in a contemporary building or one of his own houses--he briefly contemplated moving to a Mies apartment but feared fellow tenants might badger him--he made his home in a high-ceilinged, five-room suite on the third floor of an old-fashioned apartment house on Chicago's North Side. The thick-walled rooms were large and they included, predictably, a full kitchen with an ancient gas range for his cook.
The apartment contained armless chairs and furniture of his own designs as well as sofas and wing chairs--in which he preferred to sit. The walls were stark white; but the apartment had a glowing warmth, given off by the Klees, Braques and Schwitterses that dotted its walls. Paul Klee was a close friend, and Mies's collection of Klees was among the finest in private hands.
Mies's chairs were almost as well known as his buildings, and they were just as spare. He designed his first chair, known as the MR chair in 1926. It had a caned seat and back and its frame was tubular steel. There followed the Barcelona chair, an elegant armless leather and steel design of which the legs formed an X; the Tugendhat chair, an armless affair of leather and steel that resembled a square S; and the Brno chair, with a steel frame and leather upholstery that looked like a curved S.
The bottoms of all these chairs were uniformly wide, a circumstance that puzzled furniture experts until one of them asked Mies for an explanation. It was simple, he said; he had designed them with his own comfort in mind.
Recognition After 50
Mies did not receive wide public recognition in the United States until he was over 50 years old. Up to 1937 he lived in Germany, where he was born, at Aachen, on March 27, 1886. Emigrating to Chicago, he had to wait for the postwar building boom before many of his designs were translated into actuality. At his death, examples of his work were in Chicago, Pittsburgh, Des Moines, Baltimore, Detroit, Newark, New York, Houston, Washington, Sao Paulo, Mexico City, Montreal, Toronto and Berlin. All his buildings were dissimilar, although the same basic principles were employed in each.
The principles centered in a gothic demand for order, logic and clarity.
"The long path through function to creative work has only a single goal," he said, "to create order out of the desperate confusion of our time."
One Mies structure, accounted among his outstanding ones, is the 38-story dark bronze and pinkish-gray glass Seagram Building on Park Avenue between 52d and 53d Streets. The building, which was designed in association with Philip C. Johnson, has been called by appreciative critics the city's most tranquil tower and "the most beautiful curtain-wall building in America." It emphasizes pure line, fine materials and exact detailing outside and in. Special attention was paid to the room numbers, doorknobs, elevator buttons, bathroom fixtures and mail chutes, as well as the furniture.
The building's grace is enhanced by its being set in a half-acre fountained plaza of pink granite. It was begun in 1956 and completed two years later at a cost of $35-million. It was, at the time, the city's most costly office building.
Not everyone who gazed upon it or watched its extruded bronze aging was convinced of its beauty. Acerbic nonarchitectural critics pointed out that the tower rises 520 feet without setbacks and that it is unornamented. It is too spare, they said. One likened it to an upended glass coffin.
The Seagram Building ranked third in Mies's offhand list of his six favorites, chosen to illustrate his most notable concept--"Less is more." (By this Delphic utterance he meant achieving the maximum effect with the minimum of means.)
First on the list was the Illinois Institute of Technology's Crown Hall. This is a single glass- walled room measuring 120 feet by 220 feet and spanned by four huge trusses. The structure appears to do no more than to enclose space, a feeling reinforced by its interior movable partitions. It was one of 20 buildings that Mies designed for the school's 100-acre campus on Chicago's South Side. Crown Hall is as good an example as any of Mies's "skin-and-bones architecture," a phrase that he once used to describe his point of view.
The Chicago Federal Center, Mies's largest complex of high- and low-rise buildings, was his second favorite. He considered its symmetry symbolic of his lifelong battle against disorder.
Another Chicago creation was fourth--two 26-story apartment house towers at 860 and 880 Lake Shore Drive that overlook Lake Michigan. The facades are all glass. Tenants had to accept the neutral gray curtains that were uniform throughout the buildings and that provided the only means of seeking privacy and excluding light. No other curtains or blinds were permitted lest they mar the external appearance. (He was also the architect of the Promontory Apartments in Chicago, in which he used brick and glass in an exposed concrete frame.)
Mies's fifth favorite was a project for a Chicago convention hall, a place for 50,000 people to gather in unobstructed space under a trussed roof 720 feet square. The project never materialized.
The final pet on the architect's list was the since-destroyed German Pavilion at the 1929 International Exposition at Barcelona. It was, one critic said, "a jewel-case structure employing the open planning first developed by Frank Lloyd Wright that combined the richness of bronze, chrome, steel and glass with free-standing walls."
In addition to the Seagram Building, the architect was represented in the New York area by the Pavilion and Colonnade Apartments, both in Colonnade Park, Newark. He also devised a master plan for a 21-acre development in New Haven.
Mies's most recent building, the National Gallery in Berlin, opened last September. It is a templelike glass box set on top of a larger semibasement, and serves as a museum.
Although many accolades were bestowed on Mies for these and other works, there were also brickbats. "Unsparing," "grim," the work of "barren intellectualism" and "brutal in its destruction of individual possessions and the individual" were some of the terms his detractors used.
"Less is less," they said, turning his aphorism against him.
Taught by Mason Father
Ludwig Mies, who added the "van der Rohe" from his mother's name because of its sonority, learned the elements of architecture from his father, a German master mason and stonecutter, and from studying the medieval churches in Aachen.
At times, friends recalled, he would describe with unrestrained enthusiasm the quality of brick and stone, its texture, pattern and color.
"Now a brick, that's really something," he once said. "That's really building, not paper architecture."
For him the material was always the beginning. He used to talk of primitive building methods, where he saw the "wisdom of whole generations" stored in every stroke of an ax, every bite of a chisel.
His students in the United States and Germany had to learn the fundamentals of building before they could start to consider questions of design. He taught them how to build, first with wood, then stone, then brick and finally with concrete and steel.
"New materials are not necessarily superior," he would say. "Each material is only what we make it."
At Aachen Mies attended trade school and became a draftsman's apprentice before setting off for Berlin at the age of 19 to become an apprentice to Bruno Paul, Germany's leading furniture designer. Two years later he built his first house, a wooden structure on a sloping site in suburban Berlin. Its style was 18th century.
In 1909 Mies apprenticed himself to Peter Behrens, then the foremost progressive architect in Germany, who had taught Le Corbusier, and Walter Gropius. Mies was put in charge of Behrens's German Embassy in St. Petersburg, Russia.
House Never Built
Going to the Netherlands in 1912, Mies designed a house for Mrs. H. E. L. J. Kroller, owner of the renowned Kroller Muller collection of modern paintings, near The Hague. He set up a full- scale canvas and wood mock-up on the site to assure perfection, but the house was never built.
Mies returned to Berlin in 1913 and opened his own office, but with the outbreak of the war in 1914 his life was dislocated for four years in the German Army, during which he built bridges and roads in the Balkans. After the war, with his own style coming into definition, he directed the architectural activities of the Novembergruppe, an organization formed to propagandize modern art, and became one of the few progressive architects of the time to employ brick.
Often he would go to the kilns to select one by one the bricks he wanted. He used them for the monument (now destroyed) to Karl Liebknecht and Rosa Luxemburg, the German Communist leaders; for suburban villas for wealthy businessmen; and for low-cost housing for the city of Berlin.
From 1926 to 1932 he was first vice president of the Deutscher Werkbund, formed to integrate art and industry in design. He directed the group's second exposition, the Weissenhof housing project erected in Stuttgart in 1927.
The peak achievements of Mies's European career were the German Barcelona pavilion and the Tugendhat house in 1930. A. James Speyer, a critic for Art News, extolled them both as "among the most important buildings of contemporary architecture and the most beautiful of our generation." The pavilion consisted of a rectangular slab roof supported by steel columns, beneath which free-standing planes of Roman travertine, marble, onyx and glass of various hues were placed to create the feeling of space beyond. The Tugendhat house permitted space to flow in a similar fashion.
In 1930 Mies took over direction of the Bauhaus, a laboratory of architecture and design in Dessau, Germany. It was closed three years later after the Nazis attacked the architect as "degenerate" and "un-German."
At the urging of a New York architect who was a close friend, Philip C. Johnson, Mies emigrated to the United States to head the School of Architecture at the Armour (now Illinois) Institute of Technology in Chicago. He retired from the post in 1958.
As a teacher Mies did not deliver formal lectures, but worked, seminar fashion, with groups of 10 or 12 students. His method of teaching, according to a former student, was "almost tacit." "He was never wildly physically active, and he did not do much talking," this student recalled, adding that Mies, sitting Buddha-like, would frequently puff through a whole cigar before commenting on a student sketch.
Abandoning the Beaux Arts system based on competition for prizes, Mies sternly told his students:
"First you have to learn something; then you can go out and do it."
He was not one to tolerate self-expression among his students. One of them once asked him about it. Silently he handed the student a pencil and paper. Then he told her to write her name. This done, he said:
"That's for self-expression. Now we get to work."
Another former student thought of Mies as "a great teacher because he subjects himself to an extraordinary discipline in thinking and in his way of working, and because what he is teaching is very clear to him."
Mies himself was quite confident of his influence.
"I don't know how many students we have had," he said a couple of years ago, "but you need only 10 to change the cultural climate if they are good."
Mies was well-to-do, but not wealthy. He received the usual architect's fee of 6 per cent of the gross cost of a building, but he was not a very careful manager of his income, according to his friends. He was considered generous with his office staff and on spending for designs that were unlikely to see the light of day.
The architect received three noteworthy honors--the Presidential Freedom Medal and the gold medals of the Royal Institute of British Architects and of the American Institute of Architects. He was a member of the National Institute of Arts and Letters.
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