triplets
list | passage
stringlengths 6
20.1k
| __index_level_0__
int64 0
834
|
|---|---|---|
[
"Edith Hoyt",
"student of",
"Charles Herbert Woodbury"
] |
Life and work
Edith Hoyt was born in West Point, New York in April 1894. She attended the Corcoran School of the Arts and Design, studying under painter Charles Herbert Woodbury. Starting in 1921, Hoyt spent summers in Canada, specifically in Jasper National Park and in Gaspé, Quebec. Her work was exhibited at the Corcoran, American Watercolor Society, Pennsylvania Academy and Brooklyn Museum. In 1963, she worked and exhibited in Cap-à-l'Aigle, Canada, in 1963. In 1932, Hoyt was invited to the Howard University Gallery event Presenting Works of Negro Artists to talk on her experiences in Jasper national park. One of her paintings was allegedly requested by the Little Rock Ark art association the prior week.
| 14
|
[
"Kungsholmens gymnasium",
"country",
"Sweden"
] |
Kungsholmens gymnasium is an upper secondary school (Swedish: gymnasium) located on the island of Kungsholmen in Stockholm, Sweden. The school is divided into a Swedish Section, an English-speaking International Section, and a Music Section which uses the name Stockholms Musikgymnasium. Kungsholmens Gymnasium is a popular school in Stockholm with high application rates and some of the highest minimum admission requirements within the Stockholm County.
| 0
|
[
"Kungsholmens gymnasium",
"located in the administrative territorial entity",
"Stockholm Municipality"
] |
Kungsholmens gymnasium is an upper secondary school (Swedish: gymnasium) located on the island of Kungsholmen in Stockholm, Sweden. The school is divided into a Swedish Section, an English-speaking International Section, and a Music Section which uses the name Stockholms Musikgymnasium. Kungsholmens Gymnasium is a popular school in Stockholm with high application rates and some of the highest minimum admission requirements within the Stockholm County.
| 1
|
[
"Kungsholmens gymnasium",
"instance of",
"gymnasieskola"
] |
Kungsholmens gymnasium is an upper secondary school (Swedish: gymnasium) located on the island of Kungsholmen in Stockholm, Sweden. The school is divided into a Swedish Section, an English-speaking International Section, and a Music Section which uses the name Stockholms Musikgymnasium. Kungsholmens Gymnasium is a popular school in Stockholm with high application rates and some of the highest minimum admission requirements within the Stockholm County.
| 5
|
[
"Kungsholmens gymnasium",
"instance of",
"gymnasium"
] |
Kungsholmens gymnasium is an upper secondary school (Swedish: gymnasium) located on the island of Kungsholmen in Stockholm, Sweden. The school is divided into a Swedish Section, an English-speaking International Section, and a Music Section which uses the name Stockholms Musikgymnasium. Kungsholmens Gymnasium is a popular school in Stockholm with high application rates and some of the highest minimum admission requirements within the Stockholm County.
| 6
|
[
"Wallinska skolan",
"country",
"Sweden"
] |
Wallinska skolan (Wallin School) or Wallinska flickskolan (Wallin Girls' School), was a girls' school in Stockholm, Sweden. Active from 1831 to 1939, it was one of the first five schools in Sweden to offer serious academic education and secondary education to female students. In 1870, it became the first gymnasium for females in Sweden, and in 1874, it became the first girls' school that was permitted to administer the Studentexamen to female students.History
Foundation
The Wallinska skolan was founded in 1831 by the historian Anders Fryxell upon suggestion by the bishop and writer Johan Olof Wallin. The school was founded out of intellectual discontent over the contemporary shallow education of females in the contemporary finishing schools, such as Bjurströmska pensionen . Wallin convinced Fryxell that girls should be educated "with higher ambitions than to learn to speak French and play the klavér", because also women had the right to serious studies, and that it would surely prove to be needed in the future, which is why they were in need of a school "similar to that of the state Gymnasium (school) for boys".
| 0
|
[
"Wallinska skolan",
"founded by",
"Anders Fryxell"
] |
History
Foundation
The Wallinska skolan was founded in 1831 by the historian Anders Fryxell upon suggestion by the bishop and writer Johan Olof Wallin. The school was founded out of intellectual discontent over the contemporary shallow education of females in the contemporary finishing schools, such as Bjurströmska pensionen . Wallin convinced Fryxell that girls should be educated "with higher ambitions than to learn to speak French and play the klavér", because also women had the right to serious studies, and that it would surely prove to be needed in the future, which is why they were in need of a school "similar to that of the state Gymnasium (school) for boys".
| 2
|
[
"Wallinska skolan",
"instance of",
"school"
] |
History
Foundation
The Wallinska skolan was founded in 1831 by the historian Anders Fryxell upon suggestion by the bishop and writer Johan Olof Wallin. The school was founded out of intellectual discontent over the contemporary shallow education of females in the contemporary finishing schools, such as Bjurströmska pensionen . Wallin convinced Fryxell that girls should be educated "with higher ambitions than to learn to speak French and play the klavér", because also women had the right to serious studies, and that it would surely prove to be needed in the future, which is why they were in need of a school "similar to that of the state Gymnasium (school) for boys".Pioneer institution
At the time of the introduction of compulsory elementary school for both genders in Sweden in 1842, it was one of only five schools in Sweden to provide serious academic secondary education to females, and it was the first of that kind in the capital: the others being Societetsskolan (1786), Fruntimmersföreningens flickskola (1815) and Kjellbergska flickskolan (1833) in Gothenburg, and Askersunds flickskola (1812) in Askersund. Of these five schools, Askersunds flickskola and Wallinska skolan were considered to offer the highest academic quality to their students, and the Wallinska skolan was the most progressive of them all. It was the fourth girls' school in Sweden and the first in the capital of Stockholm to give female students an almost equal education to that of boys, in accordance with a structured pedagogic method. It was not an uncontroversial project, but Anders Fryxell had, reportedly, "the, for a principal of a radical pioneer school, invaluable talent to be able to handle parents".Wallinska skolan was managed by two principals in parallel, one male and one female. Upon its foundation, the school had five teachers and a student number of 33: the subjects were Christianity, Swedish, German, natural science, French, history, handicrafts and drawing. It was partitioned in four classes with the two first divided in four home works groups and the two later classes in three. The course was expansive and scientifically developed for its time. The school year was long, with only a month's summer vacation and two weeks of Christmas vacation. The school gradually changed over the years by continuously adjusting itself to the contemporary progressive ideals of women's education, reforms which were generally controversial, but always introduced nonetheless.Wallinska skolan was to remain the only serious secondary education school for girls in the capital until the 1860s, when the Royal Seminary was founded and the other girls' schools in Stockholm, notably Åhlinska skolan which was founded by Karin Åhlin in 1847, started to reform into serious secondary schools.
| 4
|
[
"Hortense Haudebourt-Lescot",
"place of death",
"Paris"
] |
Antoinette-Cécile-Hortense Haudebourt-Lescot (14 December 1784 – 2 January 1845) was a French painter, mainly of genre scenes. A native of Paris, she began studies with Guillaume Guillon-Lethière, a popular history painter and family friend, at the age of seven; when he was appointed director of the French Academy in Rome in 1807, she followed him, arriving in 1808 and remaining there until 1816. There she depicted the customs and costumes of Italian peasants in great detail. Such foreign experience was rare for a woman artist, and influenced much of her work. She regularly exhibited her work at the Paris Salon, showing some 110 paintings there between 1811 and 1840. Her work attracted the Duchesse de Berry (to whom she was appointed as a painter).Haudebourt-Lescot married the architect Louis-Pierre Haudebourt in 1820, and died in Paris in 1845.
As a teacher, Haudebourt-Lescot's pupils included the painters Herminie Déhérain and Marie-Ernestine Serret.
| 3
|
[
"Hortense Haudebourt-Lescot",
"spouse",
"Louis Pierre Haudebourt"
] |
Antoinette-Cécile-Hortense Haudebourt-Lescot (14 December 1784 – 2 January 1845) was a French painter, mainly of genre scenes. A native of Paris, she began studies with Guillaume Guillon-Lethière, a popular history painter and family friend, at the age of seven; when he was appointed director of the French Academy in Rome in 1807, she followed him, arriving in 1808 and remaining there until 1816. There she depicted the customs and costumes of Italian peasants in great detail. Such foreign experience was rare for a woman artist, and influenced much of her work. She regularly exhibited her work at the Paris Salon, showing some 110 paintings there between 1811 and 1840. Her work attracted the Duchesse de Berry (to whom she was appointed as a painter).Haudebourt-Lescot married the architect Louis-Pierre Haudebourt in 1820, and died in Paris in 1845.
As a teacher, Haudebourt-Lescot's pupils included the painters Herminie Déhérain and Marie-Ernestine Serret.
| 46
|
[
"Hortense Haudebourt-Lescot",
"family name",
"Haudebourt"
] |
Antoinette-Cécile-Hortense Haudebourt-Lescot (14 December 1784 – 2 January 1845) was a French painter, mainly of genre scenes. A native of Paris, she began studies with Guillaume Guillon-Lethière, a popular history painter and family friend, at the age of seven; when he was appointed director of the French Academy in Rome in 1807, she followed him, arriving in 1808 and remaining there until 1816. There she depicted the customs and costumes of Italian peasants in great detail. Such foreign experience was rare for a woman artist, and influenced much of her work. She regularly exhibited her work at the Paris Salon, showing some 110 paintings there between 1811 and 1840. Her work attracted the Duchesse de Berry (to whom she was appointed as a painter).Haudebourt-Lescot married the architect Louis-Pierre Haudebourt in 1820, and died in Paris in 1845.
As a teacher, Haudebourt-Lescot's pupils included the painters Herminie Déhérain and Marie-Ernestine Serret.
| 60
|
[
"August Strindberg",
"instance of",
"human"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 0
|
[
"August Strindberg",
"country of citizenship",
"Sweden"
] |
Biography
Youth
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September.Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling.
| 2
|
[
"August Strindberg",
"residence",
"Stockholm"
] |
Biography
Youth
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September.Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling."The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life.
Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907).
| 3
|
[
"August Strindberg",
"writing language",
"Swedish"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 14
|
[
"August Strindberg",
"work location",
"Stockholm"
] |
"The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life.
Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907).
| 24
|
[
"August Strindberg",
"native language",
"Swedish"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 25
|
[
"August Strindberg",
"field of work",
"literature"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 36
|
[
"August Strindberg",
"movement",
"naturalism"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 39
|
[
"August Strindberg",
"notable work",
"The Red Room"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).Legacy
Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche".A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö.
Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science.
Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche.Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period.
His most famous and produced plays are Master Olof, Miss Julie, and The Father.
Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg.
The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam.
| 40
|
[
"August Strindberg",
"father",
"Carl Oscar Strindberg"
] |
Biography
Youth
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September.Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling.
| 54
|
[
"August Strindberg",
"mother",
"Eleonora Ulrika Strindberg"
] |
Biography
Youth
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September.Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling.
| 55
|
[
"August Strindberg",
"field of work",
"creative and professional writing"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 56
|
[
"August Strindberg",
"given name",
"August"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 62
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[
"August Strindberg",
"notable work",
"Inferno"
] |
Occult studies
Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life.
In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production.
| 65
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[
"August Strindberg",
"spouse",
"Frida Uhl"
] |
Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me."
Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work.
| 70
|
[
"August Strindberg",
"place of birth",
"Storkyrkoförsamlingen"
] |
Biography
Youth
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September.Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling.
| 74
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[
"August Strindberg",
"child",
"Karin Smirnov"
] |
Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans);
Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and
Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie).Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet.
He was related to Nils Strindberg (a son of one of August's cousins).
Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust.
Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum, known as the Strindberg Museum, which is open to visitors. It contains numerous of Strindberg's personal possessions including his piano.
Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house.
| 75
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[
"August Strindberg",
"spouse",
"Siri von Essen"
] |
Personal life
Strindberg was married three times, as follows:Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans);
Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and
Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie).Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet.
He was related to Nils Strindberg (a son of one of August's cousins).
Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust.
Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum, known as the Strindberg Museum, which is open to visitors. It contains numerous of Strindberg's personal possessions including his piano.
Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house.
| 76
|
[
"August Strindberg",
"notable work",
"Miss Julie"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).Legacy
Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche".A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö.
Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science.
Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche.Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period.
His most famous and produced plays are Master Olof, Miss Julie, and The Father.
Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg.
The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam.
| 80
|
[
"August Strindberg",
"notable work",
"The Father"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 82
|
[
"August Strindberg",
"notable work",
"A Dream Play"
] |
"The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life.
Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907).
| 83
|
[
"August Strindberg",
"spouse",
"Harriet Bosse"
] |
Personal life
Strindberg was married three times, as follows:Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans);
Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and
Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie).Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet.
He was related to Nils Strindberg (a son of one of August's cousins).
Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust.
Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum, known as the Strindberg Museum, which is open to visitors. It contains numerous of Strindberg's personal possessions including his piano.
Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house.
| 86
|
[
"August Strindberg",
"child",
"Anne-Marie Hagelin"
] |
Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans);
Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and
Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie).Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet.
He was related to Nils Strindberg (a son of one of August's cousins).
Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust.
Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum, known as the Strindberg Museum, which is open to visitors. It contains numerous of Strindberg's personal possessions including his piano.
Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house.
| 88
|
[
"August Strindberg",
"sex or gender",
"male"
] |
Johan August Strindberg (, Swedish: [ˈǒːɡɵst ˈstrɪ̂nːdbærj] (listen); 22 January 1849 – 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
| 93
|
[
"Esaias Tegnér Jr.",
"languages spoken, written or signed",
"Swedish"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 6
|
[
"Esaias Tegnér Jr.",
"country of citizenship",
"Sweden"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 7
|
[
"Esaias Tegnér Jr.",
"member of",
"Swedish Academy"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 8
|
[
"Esaias Tegnér Jr.",
"educated at",
"Lund University"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 10
|
[
"Esaias Tegnér Jr.",
"employer",
"Lund University"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 11
|
[
"Esaias Tegnér Jr.",
"member of",
"Royal Swedish Academy of Sciences"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 12
|
[
"Esaias Tegnér Jr.",
"sex or gender",
"male"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 14
|
[
"Esaias Tegnér Jr.",
"member of",
"Royal Swedish Academy of Letters, History and Antiquities"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 17
|
[
"Esaias Tegnér Jr.",
"place of death",
"Lund Cathedral parish"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 19
|
[
"Esaias Tegnér Jr.",
"place of burial",
"Östra kyrkogården cemetery"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 21
|
[
"Esaias Tegnér Jr.",
"father",
"Kristofer Tegnér"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 22
|
[
"Esaias Tegnér Jr.",
"mother",
"Emma Sofia Kinberg"
] |
Biography
Esaias Tegnér's parents were Kristofer Tegnér, a provost and vicar, and Emma Sofia Tegnér (née Kinberg). He began studying at Lund in 1859, graduated with a PhD in 1865, and became a Docent in Semitic languages the same year. In 1872 he became an adjunct professor in comparative linguistics. He further studied linguistics in Stockholm beginning 1873, and joined the Scientific Society of Uppsala in 1876.
In 1879 Tegnér married Märta Maria Katarina (née Ehrenborg) who was herself born in 1859 in Linde, Gotland County. The same year he joined the Royal Swedish Academy of Letters, History and Antiquities. He also became a member of the Royal Society of Sciences and Letters in Gothenburg in 1882, doctor of theology at Copenhagen in 1894, and a member of the Royal Swedish Academy of Sciences in 1896.
Tegnér is buried at Östra kyrkogården in Lund.
| 23
|
[
"Esaias Tegnér Jr.",
"given name",
"Esaias"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 24
|
[
"Esaias Tegnér Jr.",
"family name",
"Tegnér"
] |
Esaias (Henrik Wilhelm) Tegnér Jr. (Swedish: [tɛŋˈneːr]; 13 January 1843, Källstorp, Malmöhus County – 21 November 1928, Lund) was a Swedish linguist. He was professor of eastern languages at Lund University 1879-1908, lead editor of Svenska Akademiens ordbok 1913-1919, member of the Bible Commission (writing a new translation) 1884-1917, and member of the Swedish Academy from 1882 onward. Tegnér was the grandson of the well-known poet Esaias Tegnér, also his namesake, and was brother-in-law to the poet and composer Alice Tegnér.
| 26
|
[
"Anna Rönström",
"given name",
"Anna"
] |
Life
Anna Rönström was a student of the Högre lärarinneseminariet in Stockholm 1864–1867, and worked as a governess in Lund before she founded her own school for girls in 1871. The school was originally referred to as Rönström School (Rönströmska skolan) after its founder, and became the first school in Lund to provide secondary education to females in preparation for university studies.
In this, Rönström and her school was a typical representative of other female pioneers who opened the first secondary education schools for girls in different Swedish cities, comparable to other local pioneers such as Maria Henschen in Uppsala, Maria Stenkula in Malmö and Elsa Borg in Gävle.In theory, Rönström was a conservative anti-feminist and in fact had a conservative view of women's education. She stated that women should be educated at home for a life in the home; that a school for women should be more of a second home rather than a school, training their students as parents raise their children rather than educating them; and that the education of females should be guided by religion: this was in fact typical of the conservative view in the contemporary debate of women's education. In practice, however, the school she created was in fact radical and adjusted to the modern views of equal education of men and women: the school provided its students all the education necessary to prepare for university studies. Also, unlike many other girls' schools of the same kind, it also provided the same mathematics level as secondary school did for boys; furthermore, it did not teach the French language, as schools for females normally did, but rather the German language, which was the language preferred in boys' secondary schools at the time. She also introduced home economics, which was a radical innovation at the time (1892). Her school was successful, granted state support in 1879 and communal support in 1882.Rönström was also an influential participator in the flickskolmöte, the annual national girls' school conferences. She introduced a teacher exchange between Denmark and Sweden in 1898, which became popular and functioned for many years.
In 1905, she also founded a women's teachers' seminary with Anna Heurlin, which was incorporated in her school. She is described as a skillful mathematician and became a member of the International Congress of Mathematicians at the meeting held in Rome in 1908.The fate of her school was also typical: in 1933, it was united with its prime rival, the Lunds fullständiga läroverk för flickor from 1880, to form Lunds kommunala flickskola ('Lund Communal Girls' School'), which was in turn later made a co-educational school.She was awarded the Swedish royal medal Illis Quorum Meruere Labores (commonly known as Illis quorum) in 1913.
| 3
|
[
"Anna Rönström",
"occupation",
"School Founder"
] |
Anna Rönström (1847–1920) was a Swedish educator. She was a local pioneer of female education in Lund, and the founder of the secondary education school Högre Elementarskolan i Lund (Higher Elementary School in Lund) for girls, also customarily known as Rönströmska skolan (Rönström School).Life
Anna Rönström was a student of the Högre lärarinneseminariet in Stockholm 1864–1867, and worked as a governess in Lund before she founded her own school for girls in 1871. The school was originally referred to as Rönström School (Rönströmska skolan) after its founder, and became the first school in Lund to provide secondary education to females in preparation for university studies.
In this, Rönström and her school was a typical representative of other female pioneers who opened the first secondary education schools for girls in different Swedish cities, comparable to other local pioneers such as Maria Henschen in Uppsala, Maria Stenkula in Malmö and Elsa Borg in Gävle.In theory, Rönström was a conservative anti-feminist and in fact had a conservative view of women's education. She stated that women should be educated at home for a life in the home; that a school for women should be more of a second home rather than a school, training their students as parents raise their children rather than educating them; and that the education of females should be guided by religion: this was in fact typical of the conservative view in the contemporary debate of women's education. In practice, however, the school she created was in fact radical and adjusted to the modern views of equal education of men and women: the school provided its students all the education necessary to prepare for university studies. Also, unlike many other girls' schools of the same kind, it also provided the same mathematics level as secondary school did for boys; furthermore, it did not teach the French language, as schools for females normally did, but rather the German language, which was the language preferred in boys' secondary schools at the time. She also introduced home economics, which was a radical innovation at the time (1892). Her school was successful, granted state support in 1879 and communal support in 1882.Rönström was also an influential participator in the flickskolmöte, the annual national girls' school conferences. She introduced a teacher exchange between Denmark and Sweden in 1898, which became popular and functioned for many years.
In 1905, she also founded a women's teachers' seminary with Anna Heurlin, which was incorporated in her school. She is described as a skillful mathematician and became a member of the International Congress of Mathematicians at the meeting held in Rome in 1908.The fate of her school was also typical: in 1933, it was united with its prime rival, the Lunds fullständiga läroverk för flickor from 1880, to form Lunds kommunala flickskola ('Lund Communal Girls' School'), which was in turn later made a co-educational school.She was awarded the Swedish royal medal Illis Quorum Meruere Labores (commonly known as Illis quorum) in 1913.
| 9
|
[
"Hughie Lee-Smith",
"has works in the collection",
"Metropolitan Museum of Art"
] |
Mr. Lee-Smith's paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio de Chirico and Edward Hopper.
In 1967 Lee-Smith became an associate member of the National Academy of Design, then the second African-American to be elected to the Academy, after Henry Ossawa Tanner, and was made a full member four years later. In 1994 he was commissioned to paint the official portrait of David Dinkins, former Mayor of New York City, for the New York City Hall. Retrospectives of Lee-Smith's work were mounted by the New Jersey State Museum and the Studio Museum in Harlem in 1988, and Ogunquit Museum of American Art in 1997. Lee-Smith's works are included in the collections of the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Detroit Institute of Art, Howard University, the San Diego Museum of Art, and Schomburg Center for Research in Black Culture in Manhattan.Lee-Smith met Patricia Thomas-Ferry, a student at the Art Students League, in the spring of 1978. Late that year they rented an apartment near the League, and they married a few days before Christmas. This third marriage would be happy and lasting, and the couple would make their home in New Jersey in 1981.
In 1999 Lee-Smith died of cancer in Albuquerque, New Mexico. He was 83.
Work
In 1945, Lee-Smith had his first one-man exhibitions at the South Side Community Art Center and at Snowden Galleries in Chicago.
Paintings
| 3
|
[
"Hughie Lee-Smith",
"has works in the collection",
"Smithsonian American Art Museum"
] |
Mr. Lee-Smith's paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio de Chirico and Edward Hopper.
In 1967 Lee-Smith became an associate member of the National Academy of Design, then the second African-American to be elected to the Academy, after Henry Ossawa Tanner, and was made a full member four years later. In 1994 he was commissioned to paint the official portrait of David Dinkins, former Mayor of New York City, for the New York City Hall. Retrospectives of Lee-Smith's work were mounted by the New Jersey State Museum and the Studio Museum in Harlem in 1988, and Ogunquit Museum of American Art in 1997. Lee-Smith's works are included in the collections of the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Detroit Institute of Art, Howard University, the San Diego Museum of Art, and Schomburg Center for Research in Black Culture in Manhattan.Lee-Smith met Patricia Thomas-Ferry, a student at the Art Students League, in the spring of 1978. Late that year they rented an apartment near the League, and they married a few days before Christmas. This third marriage would be happy and lasting, and the couple would make their home in New Jersey in 1981.
In 1999 Lee-Smith died of cancer in Albuquerque, New Mexico. He was 83.
Work
In 1945, Lee-Smith had his first one-man exhibitions at the South Side Community Art Center and at Snowden Galleries in Chicago.
Paintings
| 7
|
[
"Hughie Lee-Smith",
"has works in the collection",
"Detroit Institute of Arts"
] |
Mr. Lee-Smith's paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio de Chirico and Edward Hopper.
In 1967 Lee-Smith became an associate member of the National Academy of Design, then the second African-American to be elected to the Academy, after Henry Ossawa Tanner, and was made a full member four years later. In 1994 he was commissioned to paint the official portrait of David Dinkins, former Mayor of New York City, for the New York City Hall. Retrospectives of Lee-Smith's work were mounted by the New Jersey State Museum and the Studio Museum in Harlem in 1988, and Ogunquit Museum of American Art in 1997. Lee-Smith's works are included in the collections of the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Detroit Institute of Art, Howard University, the San Diego Museum of Art, and Schomburg Center for Research in Black Culture in Manhattan.Lee-Smith met Patricia Thomas-Ferry, a student at the Art Students League, in the spring of 1978. Late that year they rented an apartment near the League, and they married a few days before Christmas. This third marriage would be happy and lasting, and the couple would make their home in New Jersey in 1981.
In 1999 Lee-Smith died of cancer in Albuquerque, New Mexico. He was 83.
Work
In 1945, Lee-Smith had his first one-man exhibitions at the South Side Community Art Center and at Snowden Galleries in Chicago.
Paintings
| 8
|
[
"Hughie Lee-Smith",
"place of birth",
"Eustis"
] |
Life and career
Lee-Smith was born in Eustis, Florida to Luther and Alice Williams Smith; in art school he altered his last name to sound more distinguished. Shortly after his birth, Lee's parents divorced and his mother moved to Cleveland to pursue a music career. As a child Lee-Smith moved to Atlanta to live with his grandmother. She was strict with Lee-Smith, and when carnivals came to town she would not allow him to attend, an event which he describes as an experience which "must have sunk into my unconscious and manifested itself years later in my paintings: the balloons, ribbons, pennants." At age 10 he moved to Cleveland with his mother and grandmother (once his mother established her music career), and attended classes at the Cleveland Museum of Art, and later the Cleveland Institute of Art and the John Huntington Polytechnic Institute, the Art School of the Detroit Society of Arts & Crafts (Center For Creative Studies, College of Art & Design)and Wayne State University (BA 1953.)
Lee-Smith attended East Technical High School (where he was president of the art club and ran track with Jesse Owens) during the tenure of Harold Hunsicker as head of its art department. As a youth, he was active at Karamu as a dancer, performer, studio enrollee, and teacher trainee.
In 1938, Lee-Smith graduated with honors from the Cleveland School of Art and worked for the Federal Arts Project of the Works Progress Administration (WPA). Like many WPA artists, Lee-Smith was concerned about the contribution art could make to the struggle for social justice and racial equality, and he created a series of lithographs on this theme. Lee-Smith's “The Artist’s Life No.1,” a 1939 lithograph, is one of his early masterpieces. It is currently featured in an exhibition called “Hardship to Hope: African American Art from the Karamu Workshop” at the Maltz Museum of Jewish Heritage, 2929 Richmond Road, Beachwood, Ohio.
Lee-Smith's first job as an art teacher was at Claflin College in Orangeburg, S.C., in 1940. Newly married to Mabel Louise Everett, they returned to Orangeburg. The pay was so poor for a man with a new bride that Lee-Smith gave up and moved to Detroit. He got a job as a core maker in one of Henry Ford's factories. He worked there for about three years before joining the Navy for a 19-month stint. Stationed at the Great Lakes Naval Training Center north of Chicago, Lee-Smith was one of three African-American artists commissioned to do “morale-building paintings” of Blacks in the Navy. While in the Navy he painted a mural entitled History of the Negro in the U.S. Navy. He also did portraits of the first Black naval officers.
Hughie Lee-Smith and Mabel Louise Everett divorced in 1953. Although his divorce was amiable, it had a “deathlike” impact on Lee-Smith.
After his long journey and hard work he received a Bachelor of Science, in Art Education (Graduated 1953) from Wayne State University in Detroit.
Many years after winning a top prize for painting from the Detroit Institute of Arts in 1953, he recalled
| 28
|
[
"Hughie Lee-Smith",
"occupation",
"painter"
] |
Hughie Lee-Smith (September 20, 1915 – February 23, 1999) was an American artist and teacher whose surreal paintings often featured distant figures under vast skies, and desolate urban settings.Life and career
Lee-Smith was born in Eustis, Florida to Luther and Alice Williams Smith; in art school he altered his last name to sound more distinguished. Shortly after his birth, Lee's parents divorced and his mother moved to Cleveland to pursue a music career. As a child Lee-Smith moved to Atlanta to live with his grandmother. She was strict with Lee-Smith, and when carnivals came to town she would not allow him to attend, an event which he describes as an experience which "must have sunk into my unconscious and manifested itself years later in my paintings: the balloons, ribbons, pennants." At age 10 he moved to Cleveland with his mother and grandmother (once his mother established her music career), and attended classes at the Cleveland Museum of Art, and later the Cleveland Institute of Art and the John Huntington Polytechnic Institute, the Art School of the Detroit Society of Arts & Crafts (Center For Creative Studies, College of Art & Design)and Wayne State University (BA 1953.)
Lee-Smith attended East Technical High School (where he was president of the art club and ran track with Jesse Owens) during the tenure of Harold Hunsicker as head of its art department. As a youth, he was active at Karamu as a dancer, performer, studio enrollee, and teacher trainee.
In 1938, Lee-Smith graduated with honors from the Cleveland School of Art and worked for the Federal Arts Project of the Works Progress Administration (WPA). Like many WPA artists, Lee-Smith was concerned about the contribution art could make to the struggle for social justice and racial equality, and he created a series of lithographs on this theme. Lee-Smith's “The Artist’s Life No.1,” a 1939 lithograph, is one of his early masterpieces. It is currently featured in an exhibition called “Hardship to Hope: African American Art from the Karamu Workshop” at the Maltz Museum of Jewish Heritage, 2929 Richmond Road, Beachwood, Ohio.
Lee-Smith's first job as an art teacher was at Claflin College in Orangeburg, S.C., in 1940. Newly married to Mabel Louise Everett, they returned to Orangeburg. The pay was so poor for a man with a new bride that Lee-Smith gave up and moved to Detroit. He got a job as a core maker in one of Henry Ford's factories. He worked there for about three years before joining the Navy for a 19-month stint. Stationed at the Great Lakes Naval Training Center north of Chicago, Lee-Smith was one of three African-American artists commissioned to do “morale-building paintings” of Blacks in the Navy. While in the Navy he painted a mural entitled History of the Negro in the U.S. Navy. He also did portraits of the first Black naval officers.
Hughie Lee-Smith and Mabel Louise Everett divorced in 1953. Although his divorce was amiable, it had a “deathlike” impact on Lee-Smith.
After his long journey and hard work he received a Bachelor of Science, in Art Education (Graduated 1953) from Wayne State University in Detroit.
Many years after winning a top prize for painting from the Detroit Institute of Arts in 1953, he recalled
| 29
|
[
"Hughie Lee-Smith",
"described by source",
"St. James Guide to Black Artists"
] |
Life and career
Lee-Smith was born in Eustis, Florida to Luther and Alice Williams Smith; in art school he altered his last name to sound more distinguished. Shortly after his birth, Lee's parents divorced and his mother moved to Cleveland to pursue a music career. As a child Lee-Smith moved to Atlanta to live with his grandmother. She was strict with Lee-Smith, and when carnivals came to town she would not allow him to attend, an event which he describes as an experience which "must have sunk into my unconscious and manifested itself years later in my paintings: the balloons, ribbons, pennants." At age 10 he moved to Cleveland with his mother and grandmother (once his mother established her music career), and attended classes at the Cleveland Museum of Art, and later the Cleveland Institute of Art and the John Huntington Polytechnic Institute, the Art School of the Detroit Society of Arts & Crafts (Center For Creative Studies, College of Art & Design)and Wayne State University (BA 1953.)
Lee-Smith attended East Technical High School (where he was president of the art club and ran track with Jesse Owens) during the tenure of Harold Hunsicker as head of its art department. As a youth, he was active at Karamu as a dancer, performer, studio enrollee, and teacher trainee.
In 1938, Lee-Smith graduated with honors from the Cleveland School of Art and worked for the Federal Arts Project of the Works Progress Administration (WPA). Like many WPA artists, Lee-Smith was concerned about the contribution art could make to the struggle for social justice and racial equality, and he created a series of lithographs on this theme. Lee-Smith's “The Artist’s Life No.1,” a 1939 lithograph, is one of his early masterpieces. It is currently featured in an exhibition called “Hardship to Hope: African American Art from the Karamu Workshop” at the Maltz Museum of Jewish Heritage, 2929 Richmond Road, Beachwood, Ohio.
Lee-Smith's first job as an art teacher was at Claflin College in Orangeburg, S.C., in 1940. Newly married to Mabel Louise Everett, they returned to Orangeburg. The pay was so poor for a man with a new bride that Lee-Smith gave up and moved to Detroit. He got a job as a core maker in one of Henry Ford's factories. He worked there for about three years before joining the Navy for a 19-month stint. Stationed at the Great Lakes Naval Training Center north of Chicago, Lee-Smith was one of three African-American artists commissioned to do “morale-building paintings” of Blacks in the Navy. While in the Navy he painted a mural entitled History of the Negro in the U.S. Navy. He also did portraits of the first Black naval officers.
Hughie Lee-Smith and Mabel Louise Everett divorced in 1953. Although his divorce was amiable, it had a “deathlike” impact on Lee-Smith.
After his long journey and hard work he received a Bachelor of Science, in Art Education (Graduated 1953) from Wayne State University in Detroit.
Many years after winning a top prize for painting from the Detroit Institute of Arts in 1953, he recalled
| 35
|
[
"Hughie Lee-Smith",
"family name",
"Lee"
] |
Life and career
Lee-Smith was born in Eustis, Florida to Luther and Alice Williams Smith; in art school he altered his last name to sound more distinguished. Shortly after his birth, Lee's parents divorced and his mother moved to Cleveland to pursue a music career. As a child Lee-Smith moved to Atlanta to live with his grandmother. She was strict with Lee-Smith, and when carnivals came to town she would not allow him to attend, an event which he describes as an experience which "must have sunk into my unconscious and manifested itself years later in my paintings: the balloons, ribbons, pennants." At age 10 he moved to Cleveland with his mother and grandmother (once his mother established her music career), and attended classes at the Cleveland Museum of Art, and later the Cleveland Institute of Art and the John Huntington Polytechnic Institute, the Art School of the Detroit Society of Arts & Crafts (Center For Creative Studies, College of Art & Design)and Wayne State University (BA 1953.)
Lee-Smith attended East Technical High School (where he was president of the art club and ran track with Jesse Owens) during the tenure of Harold Hunsicker as head of its art department. As a youth, he was active at Karamu as a dancer, performer, studio enrollee, and teacher trainee.
In 1938, Lee-Smith graduated with honors from the Cleveland School of Art and worked for the Federal Arts Project of the Works Progress Administration (WPA). Like many WPA artists, Lee-Smith was concerned about the contribution art could make to the struggle for social justice and racial equality, and he created a series of lithographs on this theme. Lee-Smith's “The Artist’s Life No.1,” a 1939 lithograph, is one of his early masterpieces. It is currently featured in an exhibition called “Hardship to Hope: African American Art from the Karamu Workshop” at the Maltz Museum of Jewish Heritage, 2929 Richmond Road, Beachwood, Ohio.
Lee-Smith's first job as an art teacher was at Claflin College in Orangeburg, S.C., in 1940. Newly married to Mabel Louise Everett, they returned to Orangeburg. The pay was so poor for a man with a new bride that Lee-Smith gave up and moved to Detroit. He got a job as a core maker in one of Henry Ford's factories. He worked there for about three years before joining the Navy for a 19-month stint. Stationed at the Great Lakes Naval Training Center north of Chicago, Lee-Smith was one of three African-American artists commissioned to do “morale-building paintings” of Blacks in the Navy. While in the Navy he painted a mural entitled History of the Negro in the U.S. Navy. He also did portraits of the first Black naval officers.
Hughie Lee-Smith and Mabel Louise Everett divorced in 1953. Although his divorce was amiable, it had a “deathlike” impact on Lee-Smith.
After his long journey and hard work he received a Bachelor of Science, in Art Education (Graduated 1953) from Wayne State University in Detroit.
Many years after winning a top prize for painting from the Detroit Institute of Arts in 1953, he recalled
| 36
|
[
"Hughie Lee-Smith",
"family name",
"Smith"
] |
Life and career
Lee-Smith was born in Eustis, Florida to Luther and Alice Williams Smith; in art school he altered his last name to sound more distinguished. Shortly after his birth, Lee's parents divorced and his mother moved to Cleveland to pursue a music career. As a child Lee-Smith moved to Atlanta to live with his grandmother. She was strict with Lee-Smith, and when carnivals came to town she would not allow him to attend, an event which he describes as an experience which "must have sunk into my unconscious and manifested itself years later in my paintings: the balloons, ribbons, pennants." At age 10 he moved to Cleveland with his mother and grandmother (once his mother established her music career), and attended classes at the Cleveland Museum of Art, and later the Cleveland Institute of Art and the John Huntington Polytechnic Institute, the Art School of the Detroit Society of Arts & Crafts (Center For Creative Studies, College of Art & Design)and Wayne State University (BA 1953.)
Lee-Smith attended East Technical High School (where he was president of the art club and ran track with Jesse Owens) during the tenure of Harold Hunsicker as head of its art department. As a youth, he was active at Karamu as a dancer, performer, studio enrollee, and teacher trainee.
In 1938, Lee-Smith graduated with honors from the Cleveland School of Art and worked for the Federal Arts Project of the Works Progress Administration (WPA). Like many WPA artists, Lee-Smith was concerned about the contribution art could make to the struggle for social justice and racial equality, and he created a series of lithographs on this theme. Lee-Smith's “The Artist’s Life No.1,” a 1939 lithograph, is one of his early masterpieces. It is currently featured in an exhibition called “Hardship to Hope: African American Art from the Karamu Workshop” at the Maltz Museum of Jewish Heritage, 2929 Richmond Road, Beachwood, Ohio.
Lee-Smith's first job as an art teacher was at Claflin College in Orangeburg, S.C., in 1940. Newly married to Mabel Louise Everett, they returned to Orangeburg. The pay was so poor for a man with a new bride that Lee-Smith gave up and moved to Detroit. He got a job as a core maker in one of Henry Ford's factories. He worked there for about three years before joining the Navy for a 19-month stint. Stationed at the Great Lakes Naval Training Center north of Chicago, Lee-Smith was one of three African-American artists commissioned to do “morale-building paintings” of Blacks in the Navy. While in the Navy he painted a mural entitled History of the Negro in the U.S. Navy. He also did portraits of the first Black naval officers.
Hughie Lee-Smith and Mabel Louise Everett divorced in 1953. Although his divorce was amiable, it had a “deathlike” impact on Lee-Smith.
After his long journey and hard work he received a Bachelor of Science, in Art Education (Graduated 1953) from Wayne State University in Detroit.
Many years after winning a top prize for painting from the Detroit Institute of Arts in 1953, he recalled
| 37
|
[
"Guerrilla Girls",
"has works in the collection",
"Tate"
] |
Selling out
Upon their 1985 debut, the Guerrilla Girls were "lauded by the very establishment they sought to undermine". They have since exhibited at Tate Modern, Venice Biennale, Centre Pompidou, and MoMA, which additionally grants them a broader audience for their concerns. Since then, this relationship has only intensified, as the Guerrilla Girls presented their exhibitions in museums and even allowed their works to be collected by hegemonic institutions. Although some have questioned the efficacy, if not hypocrisy, of the group's working within the system that they originally denigrated, few would challenge their decision to let the Getty Research Institute house their archives.
| 3
|
[
"Guerrilla Girls",
"place of birth",
"New York City"
] |
Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985, born out of a picket against the Museum of Modern Art the previous year. The core of the group's work is bringing gender and racial inequality into focus within the greater arts community and society at large. The Guerrilla Girls employ culture jamming in the form of posters, books, billboards, lectures, interviews, public appearances and internet interventions to expose disparities, discrimination, and corruption (the latter includes conflicts of interest within museums). They also often use humor in their work to make their serious messages engaging. The Guerrilla Girls are known for their "guerrilla" tactics, hence their name, such as hanging up posters or staging surprise exhibitions. To remain anonymous, members don gorilla masks. To permit individual identities in interviews, they use pseudonyms that refer to deceased female artists such as Frida Kahlo, Käthe Kollwitz, and Alice Neel, as well as writers and activists, such as Gertrude Stein and Harriet Tubman. According to GG1, identities are concealed because issues matter more than individual identities, "Mainly, we wanted the focus to be on the issues, not on our personalities or our own work."
| 10
|
[
"Guerrilla Girls",
"archives at",
"Getty Research Institute"
] |
External links
Official website
An interview with Guerrilla Girls using the names Frida Kahlo and Kathe Kollwitz conducted January 19 and March 9, 2008, by Judith Olch Richards, for the Archives of American Art
Guerilla Girls records, Getty Research Institute, Los Angeles. Accession No. 2008.M.14
Guerrilla Girls, Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art
Guerrilla Girls: "You have to question what you see" Archived October 19, 2018, at the Wayback Machine, video interview by Tate
The Feminist Future: Guerrilla Girls a video from a talk presented at the Museum of Modern Art
| 16
|
[
"Guerrilla Girls",
"instance of",
"collective pseudonym"
] |
Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985, born out of a picket against the Museum of Modern Art the previous year. The core of the group's work is bringing gender and racial inequality into focus within the greater arts community and society at large. The Guerrilla Girls employ culture jamming in the form of posters, books, billboards, lectures, interviews, public appearances and internet interventions to expose disparities, discrimination, and corruption (the latter includes conflicts of interest within museums). They also often use humor in their work to make their serious messages engaging. The Guerrilla Girls are known for their "guerrilla" tactics, hence their name, such as hanging up posters or staging surprise exhibitions. To remain anonymous, members don gorilla masks. To permit individual identities in interviews, they use pseudonyms that refer to deceased female artists such as Frida Kahlo, Käthe Kollwitz, and Alice Neel, as well as writers and activists, such as Gertrude Stein and Harriet Tubman. According to GG1, identities are concealed because issues matter more than individual identities, "Mainly, we wanted the focus to be on the issues, not on our personalities or our own work."Members and names
Membership in the New York City group is exclusive, by invitation only, based on relationships with current and past members, and one's involvement in the contemporary art world. A mentoring program was formed within the group, pairing a new member with an experienced Guerrilla Girl to bring them into the fold. Due to the lack of formality, the group is comfortable with individuals outside of their base claiming to be Guerrilla Girls; Guerrilla Girl 1 stated in a 2007 interview: "It can only enhance us by having people of power who have been given credit for being a Girl, even if they were never a Girl." Men are not allowed to become Guerrilla Girls but may support the group by assisting in promotional activities.Guerrilla Girls' names are pseudonyms generally based on dead female artists. Members go by names such as Käthe Kollwitz, Alma Thomas, Rosalba Carriera, Frida Kahlo, Alice Neel, Julia de Burgos, and Hannah Höch. Guerrilla Girls' "Carriera" is credited with the idea of using pseudonyms as a way to not forget female artists. Having read about Rosalba Carriera in a footnote of Letters on Cézanne by Rainer Maria Rilke, she decided to pay tribute to the little-known female artist with her name. This also helped to solve the problem of media interviews; the group was often interviewed by phone and would not give names, causing problems and confusion amongst the group and the media. Guerrilla Girl 1 joined in the late 1980s, taking on her name as a way to memorialize women in the art community who have fallen under the radar and did not make as notable as an impact as the names takes on by other members. For some members like "Zora Neale Hurston", or Emma Amos, identities have only been made public posthumously.
| 17
|
[
"Avignon TGV station",
"located in the administrative territorial entity",
"Avignon"
] |
Avignon TGV (IATA: XZN) is a railway station located in Avignon, France. It was opened on 10 June 2001 and is located on the LGV Méditerranée high-speed line and Avignon-Centre–Avignon TGV railway. The train services are operated by the SNCF. The station is located 6 km south of the city centre.
| 2
|
[
"Avignon TGV station",
"owned by",
"SNCF"
] |
Avignon TGV (IATA: XZN) is a railway station located in Avignon, France. It was opened on 10 June 2001 and is located on the LGV Méditerranée high-speed line and Avignon-Centre–Avignon TGV railway. The train services are operated by the SNCF. The station is located 6 km south of the city centre.
| 3
|
[
"Avignon TGV station",
"operator",
"SNCF"
] |
Avignon TGV (IATA: XZN) is a railway station located in Avignon, France. It was opened on 10 June 2001 and is located on the LGV Méditerranée high-speed line and Avignon-Centre–Avignon TGV railway. The train services are operated by the SNCF. The station is located 6 km south of the city centre.
| 4
|
[
"Avignon TGV station",
"instance of",
"railway station"
] |
Avignon TGV (IATA: XZN) is a railway station located in Avignon, France. It was opened on 10 June 2001 and is located on the LGV Méditerranée high-speed line and Avignon-Centre–Avignon TGV railway. The train services are operated by the SNCF. The station is located 6 km south of the city centre.
| 6
|
[
"Avignon TGV station",
"architect",
"Jean-Marie Duthilleul"
] |
Overview
This station has two platforms for trains calling at the station, with two through lines. This allows trains not stopping at Avignon to pass through at full speed, but away from passenger platforms.
This station, inaugurated in 2001, was designed by the cabinet of architecture of the SNCF under the direction of Jean-Marie Duthilleul and Jean-François Blassel. It has a 340 m (1,115 ft)-long glazed roof that has been compared to that of a cathedral.
On 15 December 2013 a link line between Avignon's city station and Avignon's high speed station opened, with a regular shuttle service operating between the two.
| 14
|
[
"Avignon TGV station",
"connecting service",
"TER Provence-Alpes-Côte-d'Azur"
] |
High-speed services (TGV) Paris - Avignon - Marseille
High-speed services (TGV) Paris - Avignon - Cannes - Nice
High-speed services (TGV Ouigo) Marne-la-Vallée - Lyon Saint-Exupéry - Avignon - Marseille
High-speed services (TGV) Lille - Aeroport CDG - Lyon - Avignon - Marseille
High-speed services (TGV) Brussels - Lille - Aeroport CDG - Lyon - Avignon - Marseille
High-speed services (TGV/ICE) Frankfurt - Strasbourg - Mulhouse - Belfort - Lyon - Avignon - Marseille
High-speed services (TGV) Strasbourg - Mulhouse - Belfort - Lyon - Avignon - Marseille
High-speed services (TGV) Nancy - Strasbourg - Besançon - Dijon - Lyon - Avignon - Marseille - Cannes - Nice
High-speed services (TGV) Nantes - Angers - Tours - Lyon - Avignon - Marseille
High-speed services (TGV) Rennes - Le Mans - Lyon - Avignon - Marseille
High-speed services (TGV) Le Havre - Rouen - Lyon - Valence - Avignon - Marseille
High-speed services (TGV) Geneva - Lyon - Avignon - Marseille
High-speed services (AVE) Madrid - Barcelona - Perpignan - Montpellier - Avignon - Marseille
High-speed services (Thalys) Amsterdam - Rotterdam - Antwerp - Brussels - Avignon - Aix-en-Provence - Marseille (Summer Saturdays)
Shuttle services (TER PACA) Avignon - Avignon TGV
Local services (TER PACA) Marseille - Miramas - Cavaillon - Avignon - Avignon TGV
Local services (TER PACA) Carpentras - Avignon - Avignon TGVAdditionally in the summer months Thalys provide services between Amsterdam and Brussels.
| 15
|
[
"Avignon TGV station",
"different from",
"Gare d'Avignon-Centre"
] |
High-speed services (TGV) Paris - Avignon - Marseille
High-speed services (TGV) Paris - Avignon - Cannes - Nice
High-speed services (TGV Ouigo) Marne-la-Vallée - Lyon Saint-Exupéry - Avignon - Marseille
High-speed services (TGV) Lille - Aeroport CDG - Lyon - Avignon - Marseille
High-speed services (TGV) Brussels - Lille - Aeroport CDG - Lyon - Avignon - Marseille
High-speed services (TGV/ICE) Frankfurt - Strasbourg - Mulhouse - Belfort - Lyon - Avignon - Marseille
High-speed services (TGV) Strasbourg - Mulhouse - Belfort - Lyon - Avignon - Marseille
High-speed services (TGV) Nancy - Strasbourg - Besançon - Dijon - Lyon - Avignon - Marseille - Cannes - Nice
High-speed services (TGV) Nantes - Angers - Tours - Lyon - Avignon - Marseille
High-speed services (TGV) Rennes - Le Mans - Lyon - Avignon - Marseille
High-speed services (TGV) Le Havre - Rouen - Lyon - Valence - Avignon - Marseille
High-speed services (TGV) Geneva - Lyon - Avignon - Marseille
High-speed services (AVE) Madrid - Barcelona - Perpignan - Montpellier - Avignon - Marseille
High-speed services (Thalys) Amsterdam - Rotterdam - Antwerp - Brussels - Avignon - Aix-en-Provence - Marseille (Summer Saturdays)
Shuttle services (TER PACA) Avignon - Avignon TGV
Local services (TER PACA) Marseille - Miramas - Cavaillon - Avignon - Avignon TGV
Local services (TER PACA) Carpentras - Avignon - Avignon TGVAdditionally in the summer months Thalys provide services between Amsterdam and Brussels.
| 22
|
[
"Brion—Montréal-la-Cluse station",
"owned by",
"SNCF"
] |
Brion—Montréal-la-Cluse station (French: Gare de Brion—Montréal-la-Cluse) is a French railway station located in commune of Brion, Ain department in the Auvergne-Rhône-Alpes region. The station is also within close proximity of the commune of Montréal-la-Cluse, for which it is jointly named after. It is located at kilometric point (KP) 35.618 on the Ligne du Haut-Bugey (Bourg-en-Bresse–Bellegarde railway).
Opened in 1996 by the SNCF, the station replaced the now closed La Cluse station. Its layout was further modified during the closure of the Haut-Bugey railway between 2005 and 2010.
As of 2022, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 2
|
[
"Brion—Montréal-la-Cluse station",
"operator",
"SNCF"
] |
Brion—Montréal-la-Cluse station (French: Gare de Brion—Montréal-la-Cluse) is a French railway station located in commune of Brion, Ain department in the Auvergne-Rhône-Alpes region. The station is also within close proximity of the commune of Montréal-la-Cluse, for which it is jointly named after. It is located at kilometric point (KP) 35.618 on the Ligne du Haut-Bugey (Bourg-en-Bresse–Bellegarde railway).
Opened in 1996 by the SNCF, the station replaced the now closed La Cluse station. Its layout was further modified during the closure of the Haut-Bugey railway between 2005 and 2010.
As of 2022, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 3
|
[
"Brion—Montréal-la-Cluse station",
"instance of",
"railway station"
] |
Brion—Montréal-la-Cluse station (French: Gare de Brion—Montréal-la-Cluse) is a French railway station located in commune of Brion, Ain department in the Auvergne-Rhône-Alpes region. The station is also within close proximity of the commune of Montréal-la-Cluse, for which it is jointly named after. It is located at kilometric point (KP) 35.618 on the Ligne du Haut-Bugey (Bourg-en-Bresse–Bellegarde railway).
Opened in 1996 by the SNCF, the station replaced the now closed La Cluse station. Its layout was further modified during the closure of the Haut-Bugey railway between 2005 and 2010.
As of 2022, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 5
|
[
"Brion—Montréal-la-Cluse station",
"located in the administrative territorial entity",
"Brion"
] |
Brion—Montréal-la-Cluse station (French: Gare de Brion—Montréal-la-Cluse) is a French railway station located in commune of Brion, Ain department in the Auvergne-Rhône-Alpes region. The station is also within close proximity of the commune of Montréal-la-Cluse, for which it is jointly named after. It is located at kilometric point (KP) 35.618 on the Ligne du Haut-Bugey (Bourg-en-Bresse–Bellegarde railway).
Opened in 1996 by the SNCF, the station replaced the now closed La Cluse station. Its layout was further modified during the closure of the Haut-Bugey railway between 2005 and 2010.
As of 2022, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 9
|
[
"Meximieux—Pérouges station",
"owned by",
"SNCF"
] |
Meximieux—Pérouges station (French: Gare de Meximieux—Pérouges) is a railway station located in the commune of Meximieux, Ain department in the Auvergne-Rhône-Alpes region of France. As its name suggests the station is located within proximity of, and serves the nearby medieval era commune of Pérouges. It is located at kilometric point (KP) 38.393 on the Lyon–Geneva railway, between the stations of La Valbonne and Ambérieu-en-Bugey.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
The section of the Lyon—Geneva railway between Lyon and Ambérieu via Miribel was opened on 23 June 1856.In 2019, the SNCF estimated that 719,403 passengers traveled through the station.Services
Passenger services
Owned and operated by the SNCF, the station is equipped with automatic ticket dispensing machines.See also
List of SNCF stations in Auvergne-Rhône-Alpes
| 2
|
[
"Meximieux—Pérouges station",
"operator",
"SNCF"
] |
Meximieux—Pérouges station (French: Gare de Meximieux—Pérouges) is a railway station located in the commune of Meximieux, Ain department in the Auvergne-Rhône-Alpes region of France. As its name suggests the station is located within proximity of, and serves the nearby medieval era commune of Pérouges. It is located at kilometric point (KP) 38.393 on the Lyon–Geneva railway, between the stations of La Valbonne and Ambérieu-en-Bugey.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.Services
Passenger services
Owned and operated by the SNCF, the station is equipped with automatic ticket dispensing machines.See also
List of SNCF stations in Auvergne-Rhône-Alpes
| 3
|
[
"Meximieux—Pérouges station",
"instance of",
"railway station"
] |
Meximieux—Pérouges station (French: Gare de Meximieux—Pérouges) is a railway station located in the commune of Meximieux, Ain department in the Auvergne-Rhône-Alpes region of France. As its name suggests the station is located within proximity of, and serves the nearby medieval era commune of Pérouges. It is located at kilometric point (KP) 38.393 on the Lyon–Geneva railway, between the stations of La Valbonne and Ambérieu-en-Bugey.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 7
|
[
"Ceyzériat station",
"owned by",
"SNCF"
] |
Ceyzériat station (French: Gare de Ceyzériat) is a French railway station located in commune of Ceyzériat, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 9.864 on the Bourg-en-Bresse—Bellegarde railway.
Originally opened in 1876, the station was closed in 2005 for renovations along the Haut-Bugey railway as well as reconstruction of the station, prior to re-opening in 2010.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
The station was opened by the Compagnie des Dombes et des chemins de fer Sud-Est on 10 March 1876 along with a section of railway from Bourg-en-Bresse to Simandre-sur-Suran.
The station was closed for reconstruction in 2005, along with the remainder of the line, before re-opening on 12 December 2010. The old passenger building was torn down in June 2010, along with those of Villereversure and Cize-Bolozon.
In 2019, the SNCF estimated that 6,762 passengers traveled through the station.
| 2
|
[
"Ceyzériat station",
"operator",
"SNCF"
] |
Ceyzériat station (French: Gare de Ceyzériat) is a French railway station located in commune of Ceyzériat, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 9.864 on the Bourg-en-Bresse—Bellegarde railway.
Originally opened in 1876, the station was closed in 2005 for renovations along the Haut-Bugey railway as well as reconstruction of the station, prior to re-opening in 2010.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
The station was opened by the Compagnie des Dombes et des chemins de fer Sud-Est on 10 March 1876 along with a section of railway from Bourg-en-Bresse to Simandre-sur-Suran.
The station was closed for reconstruction in 2005, along with the remainder of the line, before re-opening on 12 December 2010. The old passenger building was torn down in June 2010, along with those of Villereversure and Cize-Bolozon.
In 2019, the SNCF estimated that 6,762 passengers traveled through the station.
| 3
|
[
"Ceyzériat station",
"located in the administrative territorial entity",
"Ceyzériat"
] |
Ceyzériat station (French: Gare de Ceyzériat) is a French railway station located in commune of Ceyzériat, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 9.864 on the Bourg-en-Bresse—Bellegarde railway.
Originally opened in 1876, the station was closed in 2005 for renovations along the Haut-Bugey railway as well as reconstruction of the station, prior to re-opening in 2010.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
The station was opened by the Compagnie des Dombes et des chemins de fer Sud-Est on 10 March 1876 along with a section of railway from Bourg-en-Bresse to Simandre-sur-Suran.
The station was closed for reconstruction in 2005, along with the remainder of the line, before re-opening on 12 December 2010. The old passenger building was torn down in June 2010, along with those of Villereversure and Cize-Bolozon.
In 2019, the SNCF estimated that 6,762 passengers traveled through the station.
| 8
|
[
"Saint-Rambert-en-Bugey station",
"owned by",
"SNCF"
] |
Saint-Rambert-en-Bugey station (French: Gare de Saint-Rambert-en-Bugey) is a railway station serving the town of Saint-Rambert-en-Bugey, in the Ain department in eastern France. It is situated on the Lyon–Geneva railway and served by TER Auvergne-Rhône-Alpes trains.The station is located at the kilometric point (KP) 62.677 of the Lyon–Geneva railway, between Ambérieu and Tenay - Hauteville stations. It was brought into operation by the Compagnie du chemin de fer de Lyon à Genève on 7 May 1857. It is now owned by the SNCF.
The station has a bicycle parking area and a car park.See also
List of SNCF stations in Auvergne-Rhône-Alpes
| 2
|
[
"Saint-Rambert-en-Bugey station",
"operator",
"SNCF"
] |
Saint-Rambert-en-Bugey station (French: Gare de Saint-Rambert-en-Bugey) is a railway station serving the town of Saint-Rambert-en-Bugey, in the Ain department in eastern France. It is situated on the Lyon–Geneva railway and served by TER Auvergne-Rhône-Alpes trains.The station is located at the kilometric point (KP) 62.677 of the Lyon–Geneva railway, between Ambérieu and Tenay - Hauteville stations. It was brought into operation by the Compagnie du chemin de fer de Lyon à Genève on 7 May 1857. It is now owned by the SNCF.
The station has a bicycle parking area and a car park.See also
List of SNCF stations in Auvergne-Rhône-Alpes
| 3
|
[
"Bellignat station",
"owned by",
"SNCF"
] |
Bellignat station (French: Gare de Bellignat) is a French railway station located in the commune of Bellignat, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 106.818 on the Andelot-en-Montagne—La Cluse railway.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
On 14 August 1892, the municipal council of Bellignat voted to ask for the existing railway halt in the commune to opened to cargo merchants.In 2019, the SNCF estimated that 5,373 passengers traveled through the station.
| 2
|
[
"Bellignat station",
"operator",
"SNCF"
] |
Bellignat station (French: Gare de Bellignat) is a French railway station located in the commune of Bellignat, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 106.818 on the Andelot-en-Montagne—La Cluse railway.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.History
On 14 August 1892, the municipal council of Bellignat voted to ask for the existing railway halt in the commune to opened to cargo merchants.In 2019, the SNCF estimated that 5,373 passengers traveled through the station.Services
Passenger services
Classified as a PANG (point d'accès non géré), the station is unstaffed without any passenger services.
| 3
|
[
"Mézériat station",
"country",
"France"
] |
Mézériat station (French: Gare de Mézériat) is a railway station located in the commune of Mézériat, Ain department in the Auvergne-Rhône-Alpes region of France. It is located at kilometric point (KP) 21.476 on the Mâcon—Ambérieu railway, between the stations of Vonnas and Polliat.As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 0
|
[
"Mézériat station",
"connecting service",
"TER Rhône-Alpes"
] |
References
| 1
|
[
"Mézériat station",
"instance of",
"railway station"
] |
History
Mézériat station was put into service on 6 June 1857 by the Compagnie du chemin de fer de Lyon à la Méditerranée (LM), along with the opening of 34 km of railway from Bourg-en-Bresse along the left bank of the Saône river. Due to delays in the construction of a viaduct to cross the river, a boat service was organized to transport passengers across the water, with an additional journey time of 30 minutes. The completion of the viaduct, permitted the continuation of the line after 20 July 1857.In 1911, Mézériat station became part of the railway network operated by the Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée (PLM). The station was originally equipped to receive and expedite private dispatches, but was soon opened to complete freight services, with the exclusion of horses in stable wagons and automobiles.During the course of 2012, the station underwent renovations as part of a region-wide program to improve the quality of railway stations.
In 2019, the SNCF estimated that 41,775 passengers traveled through the station.
| 8
|
[
"Miramas station",
"country",
"France"
] |
Gare de Miramas is a railway station serving the town Miramas, Bouches-du-Rhône department, southeastern France. It is situated on the Paris–Marseille railway, and on branch lines towards Martigues and Salon-de-Provence. It is served by trains between Marseille, Avignon and Arles.
| 4
|
[
"Miramas station",
"instance of",
"railway station"
] |
Gare de Miramas is a railway station serving the town Miramas, Bouches-du-Rhône department, southeastern France. It is situated on the Paris–Marseille railway, and on branch lines towards Martigues and Salon-de-Provence. It is served by trains between Marseille, Avignon and Arles.
| 12
|
[
"Miramas station",
"located in the administrative territorial entity",
"Miramas"
] |
Gare de Miramas is a railway station serving the town Miramas, Bouches-du-Rhône department, southeastern France. It is situated on the Paris–Marseille railway, and on branch lines towards Martigues and Salon-de-Provence. It is served by trains between Marseille, Avignon and Arles.== References ==
| 14
|
[
"Gare de Crest",
"country",
"France"
] |
Crest station (French: Gare de Crest) is a railway station located in Crest, Drôme, south-eastern France. The station was opened in 1871 and is located on the Livron to Aspres-sur-Buëch line. Train services are operated by SNCF.History
Crest station was opened 25 September 1871 by the Paris to Lyon and the Mediterranean Railway Company (French: Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée (PLM)) when it opened the Livron to Crest section of its line from Livron to Aspres-sur-Buëch. The line was extended to Die on 1 September 1885, and to Aspres-sur-Buëch on 1 April 1894.
| 0
|
[
"Gare de Crest",
"operator",
"SNCF"
] |
Crest station (French: Gare de Crest) is a railway station located in Crest, Drôme, south-eastern France. The station was opened in 1871 and is located on the Livron to Aspres-sur-Buëch line. Train services are operated by SNCF.
| 3
|
[
"Gare de Crest",
"instance of",
"railway station"
] |
History
Crest station was opened 25 September 1871 by the Paris to Lyon and the Mediterranean Railway Company (French: Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée (PLM)) when it opened the Livron to Crest section of its line from Livron to Aspres-sur-Buëch. The line was extended to Die on 1 September 1885, and to Aspres-sur-Buëch on 1 April 1894.
| 5
|
[
"Aime-La Plagne station",
"connecting service",
"TER Rhône-Alpes"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 1
|
[
"Aime-La Plagne station",
"owned by",
"SNCF"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 2
|
[
"Aime-La Plagne station",
"operator",
"SNCF"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 3
|
[
"Aime-La Plagne station",
"instance of",
"railway station"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 5
|
[
"Aime-La Plagne station",
"located in the administrative territorial entity",
"Aime"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 10
|
[
"Aime-La Plagne station",
"connecting service",
"Thalys"
] |
Gare d'Aime-La Plagne is a railway station located in Aime, Savoie, south-eastern France in the European Union. The station is located on the Saint-Pierre-d'Albigny - Bourg-Saint-Maurice railway. The train services are operated by SNCF. It serves the village of Aime and the neighbouring ski resort, La Plagne. The station is served by TGV and Thalys high speed services, as well as local TER Auvergne-Rhône-Alpes services. Eurostar services set down at the station but do not pick up passengers.
| 11
|
[
"Vonnas station",
"operator",
"SNCF"
] |
Vonnas station (French: Gare de Vonnas) is a French railway station serving the commune of Vonnas, Ain department in the Auvergne-Rhône-Alpes region. It is located at kilometric point (KP) 16.950 on the Mâcon-Ambérieu railway.Put into service by the Compagnie du chemin de fer de Lyon à la Méditerranée (LM) in 1857, the station would later become part of the Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée's (PLM) network.
As of 2020, the station is owned and operated by the SNCF and served by TER Auvergne-Rhône-Alpes trains.
| 3
|
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