title: Orlando Castro Llanes

texts:
<mask> (October 30, 1925 - February 25, 2014) was a Venezuelan businessman whose financial empire of banks and insurance agencies collapsed in 1994 and was subsequently convicted and imprisoned in the United States. From Communist to capitalist
He was born in Havana, Cuba, in 1925, and became active in politics. He was head of a wing of Cuba’s Communist Party until after the 1959 Cuban Revolution, when he allegedly quarrelled with <mask> and left the country. He moved to Venezuela, where he became an insurance salesman. He was successful at this, and rose to control a conglomerate of insurance companies, banks, real estate, radio stations and newspapers. He was reputed to be one of the wealthiest men in Venezuela. His Grupo Empresas Latinoamericanas included the Banco Progreso in Venezuela, the Banco Progreso Internacional de Puerto Rico, and the Banco Latinoamericana in the Dominican Republic.The fight over Banco de Venezuela
In 1990, he bought a large block of shares in the prestigious Banco de Venezuela (BdV), a bastion of Caracas's old-money elite, and tried to get on its board of directors. However, according to <mask>, he was never accepted in exclusive political and economic circles and was considered unfit by the Venezuelan elite to lead the country’s most important banking institution. At a stockholders' meeting, when <mask> wanted a seat on the board, BdV's chairman suspended the meeting and muffled <mask>'s protest by shutting off his microphone. <mask> now attempted a hostile takeover of BdV, which was bitterly contested by BdV's management. He worked through his subsidiary Grupo Progreso Latinoamericana, supported by Banco Consolidado of José Alvarez Stelling, and  Grupo Banco Unión. A small group of shareholders, all members of the Caracas Country Club, joined with the Banco Provincial, the powerful industrial group Grupo Polar, and Finalven to oppose the takeover. BdV hired Thor Halvorssen Hellum, Special Commissioner for International Narcotic Affairs in the administration of President Carlos Andrés Pérez, to investigate rumors of money laundering by <mask>.Halvorssen concluded that <mask> was laundering drug money and was involved in other financial irregularities. He gave his information to friendly members of the Venezuelan Congress, who had parliamentary immunity. <mask>’s allies started a media campaign to discredit Halvorssen. Money laundering accusations
In March 1991, after the allegations of money laundering were made public, the US Customs Service froze Banco Progreso accounts at Bank of America International in New York City. <mask> employed his business associate Charles Intriago to counter the allegations. Intriago was <mask>’s principal legal advisors on matters related to the United States. <mask> had provided US$80,000 in start-up capital for Intriago’s newsletter Money Laundering Alert.Intriago eventually got US Customs to release the accounts. Intriago used his government connections to purge law enforcement files of information linking <mask>ago found that some US$4 billion had passed through a Castro account in New York. He gave this information to US Customs agents and was fired by Intriago. New York District Attorney Robert Morgenthau linked Castro to 3,500 offshore corporations in Aruba, Curaçao, and elsewhere.The US$4 billion was never tied definitively to drug trafficking. On the instigation of Intriago – who was a Democratic National Committee trustee – <mask> contributed US$50,000 to the Democratic Party. He attended the January 1993 inauguration of US President Clinton and received red carpet treatment from the Clinton Administration. The donation was reimbursed by one of <mask>'s Venezuelan companies, making the contributions illegal under US law. US conviction and imprisonment
In 1994, the Venezuelan banking system collapsed – after the breakdown of President Perez’s regime in 1993 and the failure of Banco Latino, the second largest bank in the country. <mask>'s enterprises also failed. <mask> fled to the US and settled in Miami.Venezuelan banking regulators seized Banco Progreso in December 1994. <mask> was later charged in absentia by the Venezuelan government with bank fraud, embezzlement, and conspiracy. Banco Progreso losses neared US$2.2 billion and dragged down three more banks controlled by <mask>. On April 4, 1996, <mask>  was indicted in New York by District Attorney Morgenthau, along with his son, <mask> <mask>, and grandson <mask> Barredo, on charges of a scheme to defraud in the first degree. The three <mask>s were convicted on grand larceny charges on February 19, 1997. In April of that year he was sentenced to a term of one to three years in prison. The larceny was defrauding depositors of Banco Progreso International de Puerto Rico of as much as US$55 million.His crime also cost the government of Venezuela more than US$8 million. <mask> served 25 months in prison, then voluntarily returned to Venezuela. In 2007, <mask> convicted of criminal libel against Miguel Henrique Otero, the director of newspaper El Nacional He was sentenced to two months imprisonment. However, by Venezuelan laws, he was granted parole for being older than 65 years. References

External links
 Index of articles, <mask> <mask>, Ashenoff and Associates, Inc. The New York criminal case of <mask> Llanos,  Ashenoff and Associates, Inc.

1925 births
2014 deaths
Venezuelan businesspeople
Cuban emigrants to Venezuela
Venezuelan people imprisoned abroad
Prisoners and detainees of New York (state)
Corruption in Venezuela
People from Havana
Communist Party of Cuba politicians

masks:
Orlando Castro Llanes
Fidel Castro
Castro
Castro
Castro
Castro
Castro
Castro
Castro
Castro
Castro
Castro Llanes
Castro Llanetri
Castro
Castro
Castro
Castro
Castro
Castro
Castro
Orlando Castro
Castro
Jorge Castro
Castro
Castro Llanes
Castro
Orlando Castro
Llanes
Orlando Castro


title: Ormer Locklear

type: original

texts:
<mask> "Lock" <mask> (October 28, 1891 – August 2, 1920) was an American daredevil stunt pilot and film actor. His popular flying circus caught the attention of Hollywood, and he starred in The Great Air Robbery (1919), a screenplay about the mid-air piracy of a US airmail plane. In his next film, The Skywayman, the plane crashed during a climactic dive, when the lighting team supposedly failed to douse the lights on cue, so Locklear was dazzled and flew blindly into the ground, dying instantly with his co-pilot Milton "Skeets" Elliott. The scene remained on the film. Early life
Born in Greenville, Texas, Locklear was raised in Fort Worth. In 1911, Locklear met Calbraith Perry Rodgers, who landed his plane in Fort Worth to unclog a fuel line. After meeting Rodgers, Locklear became fascinated with aviation and airplanes.Shortly thereafter, Locklear and his brother constructed their own glider. Upon completing his education, Locklear went to work as a carpenter. Flying career
In October 1917, Locklear joined the U.S. Army Air Service. He trained in Austin, at Camp Dick and Barron Field, becoming a flying instructor. Locklear was an exponent of wing walking to make aircraft repairs in flight. A second lieutenant at the end of the World War I, Locklear had been assigned to military recruitment when he saw a barnstorming show and realized his own usual flying exploits were far more impressive. After briefly reenlisting, Locklear left the Army in 1919, along with two military colleagues, Milton "Skeets" Elliott and Shirley Short.With manager and promoter William Pickens, they soon obtained aircraft and formed the "Locklear Flying Circus". Pickens had a great deal of experience promoting barnstormers, with Locklear being his greatest success. Both men became wealthy and lived in high style. His trademark stunt of jumping from one aircraft to another led Locklear to perfect a transfer from a car, and then the "Dance of Death," in which two pilots in two aircraft, would switch places in midair. On April 7, 1920, Locklear was flying in the city of Los Angeles, California, where he was issued the first aviation law violation for reckless aerial driving. He was fined $25.00 ($ in ). Film career

The Locklear Flying Circus performed throughout the United States.When they came to the attention of Hollywood, Pickens arranged for Locklear to appear as a stunt man in film work. This opened the way to a movie career in California for Locklear, now considered the foremost "aviation stunt man in the world". Carl Laemmle, head of Universal Pictures, agreed to purchase all of Locklear's future air show dates in July 1919 in order to have him on contract for a proposed two-film series. Locklear was signed to star in The Great Air Robbery, a film depicting pilots flying air mail. Principal photography for The Great Air Robbery began in July 1919 at DeMille Field 1, Los Angeles, California, owned by producer Cecil B. DeMille. Besides being used as a base for flying, Locklear's Curtiss JN-4 "Jenny" aircraft was also mounted on a raised wooden platform at the airfield in order to film closeups. The Great Air Robbery was primarily an opportunity to showcase the aerial stunts that had made Locklear famous.The studio promotion was extensive, with Laemmle declaring the film was "... the most amazing and unbelievable photodrama of all time." The promotional campaign included a premiere at the Superba Theatre in Los Angeles, and a two-month personal appearance tour with Locklear. Reviews were generally favourable, as The Great Air Robbery was the first of a cycle of postwar films dealing with the exploits of stunt pilots. The New York Times review focused on the exciting elements of the film. "Lieutenant Locklear swings from one airplane to another and crawls out on the tail of a flying machine several thousand feet, presumably, above the earth. The melodrama's use of airplanes for midnight mail deliveries, highway, or rather highair, robberies, and battles between the forces of law and lawlessness adds excitement." Although The Great Air Robbery was a commercial success, Laemmle did not take up the option for a second film starring Locklear, prompting his $25,000 lawsuit against Universal.Unwilling to go back to the air show circuit, Locklear wanted to continue his Hollywood career, and in April 1920, he was signed to star in The Skywayman (1920). Principal photography on The Skywayman began on June 11, 1920, with DeMille Field 2 as the main base of operations. Despite Locklear's public claim that new stunts "more daring ever filmed" would be involved, the production would rely heavily on models and less on actual stunt flying. Two stunts, a church steeple being toppled by Locklear's aircraft and an aircraft-to-train transfer were both problematic and nearly ended in disaster. Personal life

Locklear married Ruby Graves in 1915. The marriage was largely unhappy as Graves and Locklear had vastly different personalities. They  separated in 1919 after Locklear moved to Los Angeles to pursue a film career.Despite the marriage being an unhappy one, Graves refused to grant Locklear a divorce. They remained legally married until Locklear's death. While separated from Graves, Locklear met widowed silent film actress
Viola Dana. They began a relationship and were engaged at the time of Locklear's death. Dana witnessed the plane crash that killed Locklear. She was so traumatized by the event that she refused to fly for the next 25 years. In 1980, Dana recalled her relationship with Locklear and also spoke about his fatal crash in the documentary Hollywood.Death
The last stunt scheduled for filming for The Skywayman was a nighttime spin, initially to take place in daylight with cameras fitted with red filters to simulate darkness. Locklear, under a lot of pressure, with not only his family life being in upheaval but also learning that studio head William Fox was not going to extend his contract beyond one film, demanded that he be allowed to fly at night. The studio relented, and on August 2, 1920, publicity surrounding the stunt led to a large crowd gathering to witness the filming of the unusual stunt. Large studio arc lights were set up on DeMille Field 2 to illuminate the Curtiss "Jenny", to be doused as the aircraft entered its final spin. The dive towards some oil derricks was to make it appear that the airplane crashed beside the oil well. As arranged, Locklear had forewarned the lighting crew to douse their lights when he got near the derricks so that he could see to pull out of the dive, saying that "When you take the lights off, I'll know where I am and I can come out of it." After completing a series of aerial maneuvers, Locklear signaled that he would descend.In front of spectators and film crew, Locklear and his long-time flying partner "Skeets" Elliot crashed heavily into the sludge pool of an oil well, never pulling out of the incipient spin. The crash resulted in a massive explosion and fire, with Locklear and Elliot dying instantly. After the accident, speculation revolved around the five arc lights that had remained fully on, possibly blinding the flight crew. With the entire film already completed except for the night scene, Fox made the decision to capitalize on the fatal crash by rushing The Skywayman into post-production and release. With notices proclaiming "Every Inch Of Film Showing Locklear's Spectacular (And Fatal) Last Flight. His Death-Defying Feats And A Close Up Of His Spectacular Crash To Earth," the film premiered in Los Angeles on September 5, 1920. The advertising campaign that accompanied the film was very similar to that of Locklear's first feature film, focusing on his earlier exploits and combining model displays and exhibition flights across North America to coincide with the film's release.Upon the film's release, Fox Film Corporation publicly announced that 10% of the profits would go to the families of Locklear and Elliot. Locklear is buried at Greenwood Cemetery in Fort Worth, Texas. Legacy

Locklear was reputed to be the prototype for the character of Waldo Pepper, played by Robert Redford in The Great Waldo Pepper (1975). Viola Dana was an honored guest at the premiere of the film. Notes

References

Bibliography

 Farmer, James H. Celluloid Wings: The Impact of Movies on Aviation. Blue Ridge Summit, Pennsylvania: Tab Books Inc., 1984. .
 Golden, Eve. Golden Images: 41 Essays on Silent Film Stars.McFarland, 2000. .
 Hatfield, D. D. Los Angeles Aeronautics 1920-29. Inglewood, California: Northrop University Press, 1973. ASIN B0006CB8ZI
 Nichols, Michael. Lost Fort Worth. The History Press, 2014. .
 Paris, Michael. From the Wright Brothers to Top Gun: Aviation, Nationalism, and Popular Cinema. Manchester, UK: Manchester University Press, 1995. .
 Pendo, Stephen.Aviation in the Cinema. Lanham, Maryland: Scarecrow Press, 1985. .
 Ronnie, Art. Locklear: The Man Who Walked on Wings. Cranbury, New Jersey: A.S. Barnes and Company, 1973. Wynne, H. Hugh. The Motion Picture Stunt Pilots and Hollywood's Classic Aviation Movies. Missoula, Montana: Pictorial Histories Publishing Co., 1987. .External links

 Still of Ormer Locklear, promotional tour for The Great Air Robbery, University of North Texas

1891 births
1920 deaths
20th-century American male actors
Accidental deaths in California
American male film actors
American male silent film actors
United States Army Air Service pilots of World War I
American stunt performers
Aviators from Texas
Aviators killed in aviation accidents or incidents in the United States
Barnstormers
Burials in Texas
Filmed deaths of entertainers
Male actors from Fort Worth, Texas
People from Greenville, Texas
Stunt pilots
United States Army officers
Victims of aviation accidents or incidents in 1920
Military personnel from Texas

masks:
Ormer Leslie
Locklear


title: Siegfried Flügge

texts:
<mask> (16 March 1912, in Dresden – 15 December 1997, in Hinterzarten) was a German theoretical physicist who made contributions to nuclear physics and the theoretical basis for nuclear weapons. He worked on the German nuclear energy project. From 1941 onward he was a lecturer at several German universities, and from 1956 to 1984, editor of the 54-volume, prestigious Handbuch der Physik. Education

From 1929 to 1933, Flügge studied physics at the Technische Hochschule Dresden (after 1961, the Dresden University of Technology) and the Georg-August University of Göttingen. He received his doctorate at the latter, under Max Born, in 1933. Career

From 1933 to 1935, he was a teaching assistant at the Johann Wolfgang Goethe University Frankfurt am Main. From 1936 to 1937, he was a teaching assistant to Werner Heisenberg at the University of Leipzig.From 1937 to 1942, as successor to Max Delbrück, Flügge was an assistant to Otto Hahn at the Kaiser-Wilhelm Institut für Chemie (KWIC, after World War II reorganized and renamed the Max Planck Institute for Chemistry), in Berlin-Dahlem. In 1938, Flügge completed his Habilitation at the Technische Hochschule München (today, the Technical University of Munich). In December 1938, the German chemists Otto Hahn and Fritz Strassmann sent a manuscript to Naturwissenschaften reporting they had detected the element barium after bombarding uranium with neutrons; simultaneously, they communicated these results to Lise Meitner, who had in July of that year fled to The Netherlands and then went to Sweden. Meitner, and her nephew Otto Robert Frisch, correctly interpreted these results as being nuclear fission. Frisch confirmed this experimentally on 13 January 1939. Flügge and Gottfried von Droste, an assistant to Meitner, independently also predicted a large energy release from nuclear fission. Also in 1939, Flügge published two influential articles on the exploitation of nuclear energy.From then he worked on the German nuclear energy project; collaborators on aspects of this project were for a time known collectively as the Uranverein (Uranium Club). Some with whom he collaborated were Carl Friedrich von Weizsäcker and Fritz Houtermans on the theoretical basis of the Uranmaschine (literally uranium machine, i.e., nuclear reactor). Flügge also extended  Niels Bohr’s and J. A. Wheeler’s theory of nuclear fission published in 1939. The papers by Flügge on the exploitation of nuclear energy were an impetus for action. For example, the Auergesellschaft had a substantial amount of “waste” uranium from which it had extracted radium. After reading Flügge’s paper in Die Naturwissenschaften on the technical use of nuclear energy from uranium, Nikolaus Riehl, the scientific director at Auergesellschaft, recognized a business opportunity for the company.In July 1939, he went to the Heereswaffenamt (HWA, Army Ordnance Office) to discuss the production of uranium. The HWA was interested. In 1940, on the initiative of Rudolf Tomaschek, despite Wilhelm Müller’s objection, Flügge lectured at the Technische Hochschule München on theoretical physics during the winter semester. From 1941, he was a lecturer at the Friedrich-Wilhelms-Universität (today, the Humboldt University of Berlin). In 1944, Flügge was an ordinarius professor at the University of Königsberg. From 1945 to 1947, he took a position at his alma mater, the University of Göttingen. From 1947 to 1949, he had a position at the Philipps-Universität Marburg.From 1949 to 1950, he was a visiting professor at the University of Wisconsin–Madison and in 1953 at the Carnegie Institute of Technology (now Carnegie Mellon University). Later, he was at the Albert-Ludwigs-Universität Freiburg. From 1956 to 1984, Flügge was editor of the 54-volume, prestigious Handbuch der Physik (Encyclopedia of Physics) published by Springer-Verlag. Internal report

The following reports were published in Kernphysikalische Forschungsberichte (Research Reports in Nuclear Physics), an internal publication of the German Uranverein. The reports were classified Top Secret, they had very limited distribution, and the authors were not allowed to keep copies. The reports were confiscated under the Allied Operation Alsos and sent to the United States Atomic Energy Commission for evaluation. In 1971, the reports were declassified and returned to Germany.The reports are available at the Karlsruhe Nuclear Research Center and the American Institute of Physics. <mask> Flügge Zur spontanene Spaltung von Uran und seinen nachbarelementen G-140 (27 January 1942)
Kurt Sauerwein and <mask> Flügge Untersuchungen I und II über den Resonanzeinfang von Neutronen beim Uran G-185 (28 January 1942)

Family
He was the younger brother of Wilhelm Flügge. Selected publications

Articles
<mask> Flügge Kann der Energieinhalt der Atomkerne technisch nutzbar gemacht werden?, Die Naturwissenschaften Volume 27, Issues 23/24, 402–410 (9 June 1939). <mask> Flügge Die Ausnutzung der Atomenergie. Vom Laboratoriumsversuch zur Uranmaschine – Forschungsergebnisse in Dahlem, Deutsche Allgemeine Zeitung No. 387, Supplement (15 August 1939). English translation: Document #74 <mask> Flügge: Exploiting Atomic Energy.From the Laboratory Experiment to the Uranium Machine – Research Results in Dahlem [August 15, 1939] in Hentschel, Klaus (Editor) and Ann M. Hentschel (Editorial Assistant and Translator) Physics and National Socialism: An Anthology of Primary Sources (Birkhäuser, 1996) pp 197–206. [This article is Flügge's popularized version of the June 1939 article in Die Naturwissenschaften.] <mask> Flügge and Gottfried von Droste Energetische Betrachtungen zu der Entstehung von Barium bei der Neutronenbestrahlung von Uran, Zeitschrift für Physikalische Chemie B Volume 4, 274–280 (1939). Received on 22 January 1939. Books

Erwin Madelung, Karl Böhle, and <mask> Flügge Mathematischen Hilfsmittel des Physikers (Mathematical Tools for the Physicist), Dritte vermehrte und verbesserte Auflage) (Dover, 1943)
Walther Bothe and <mask> Flügge. Nuclear Physics and Cosmic Rays: FIAT Review of German Science 1939-1946. 2 volumes.230; 198 pages. (Office of Military Government for Germany, 1948)
<mask> Flügge Theoretische Optik. Die Entwicklung einer physikalischen Theorie (Wolfenbüttler Verlagsanstalt, 1948)
Siegfried Flügge Bücher der Mathematik und Naturwissenschaften (Wolfenbutteler-Verlags-Anstalt, 1948)
<mask> Flügge and Hans Marschall Rechenmethoden Der Quantentheorie (Springer Verlag, 1952)
<mask> Flügge and Hans Marschall Rechenmethoden der Quantentheorie. Dargestellt in Aufgaben und Lösungen. Erster Teil: Elementare Quantenmechanik. (Springer-Verlag, 1952)
<mask> Flügge Handbuch der Physik. Bd.7. 1. Kristallphysik 1 (Springer Verlag, 1955)
<mask> Flügge Handbuch der Physik. Bd. 1. Mathematische Methoden 1 (Springer Verlag, 1956)
<mask> Flügge Lehrbuch der Theoretischen Physik (in 5 Bänden). Band 1: Einführung - Elementare Mechanik und Kontinuumsphysik.(Springer, 1961)
<mask> Flügge Lehrbuch der Theoretischen Physik. Bd. III: Klassische Physik II. Das Maxwellsche Feld. Bln. (Springer, 1961)
<mask> Flügge Lehrbuch der Theoretischen Physik (in 5 Bänden). Band 4: Quantentheorie I.(Springer, 1964)
Siegfried Flügge Rechenmethoden der Quantentheorie;Elementare Quantenmechanik - Dargestellt in Aufgaben und Lösungen (Springer Verlag, 1965)
Siegfried Flügge Lehrbuch der Theoretischen Physik Band II - Klassische Physik I Mechanik Der Geordneten und Ungeordneten Bewegungen (Springer, 1967)
Siegfried Flügge Wege und Ziele der modernen Physik. (Schulz Freiburg, 1969)
Siegfried Flügge Practical Quantum Mechanics - Volume 1 and Volume 2 (Springer, 1971)
Siegfried Flügge Wege und Ziele der Physik (Springer-Verlag, 1974)
Siegfried Flügge Practical Quantum Mechanics (Springer, 1998)

Notes

References
Bernstein, Jeremy Hitler’s Uranium Club: The Secret Recording’s at Farm Hall (Copernicus, 2001)
Hentschel, Klaus (Editor) and Ann M. Hentschel (Editorial Assistant and Translator) Physics and National Socialism: An Anthology of Primary Sources (Birkhäuser, 1996)
Riehl, Nikolaus and Frederick Seitz Stalin’s Captive: Nikolaus Riehl and the Soviet Race for the Bomb (American Chemical Society and the Chemical Heritage Foundations, 1996) . Walker, Mark German National Socialism and the Quest for Nuclear Power 1939–1949 (Cambridge, 1993)

External links
The Atomkeller-Museum at Haigerloch – Waymarking.com

1912 births
1997 deaths
20th-century German physicists
Scientists from Dresden
University of Göttingen alumni
University of Göttingen faculty
Humboldt University of Berlin faculty
Technical University of Munich faculty
University of Königsberg faculty
University of Marburg faculty
University of Freiburg faculty
Nuclear program of Nazi Germany

masks:
Siegfried Flügge
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried
Siegfried


title: Henri Cartier-Bresson

texts:
<mask>-Bresson (; 22 August 1908 – 3 August 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. Cartier-Bresson was one of the founding members of Magnum Photos in 1947. In the 1970s he took up drawing—he had studied painting in the 1920s. Early life
<mask>-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother's family were cotton merchants and landowners from Normandy, where <mask> spent part of his childhood.His mother was descended from Charlotte Corday. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. His parents supported him financially so <mask> could pursue photography more freely than his contemporaries. <mask> also sketched. Young <mask> took holiday snapshots with a Box Brownie; he later experimented with a 3×4 inch view camera. He was raised in traditional French bourgeois fashion, and was required to address his parents with formal vous rather than tu. His father assumed that his son would take up the family business, but <mask> was strong-willed and also feared this prospect.Cartier-Bresson attended École Fénelon, a Catholic school that prepared students for the Lycée Condorcet. A governess called "Miss Kitty" who came from across the Channel, instilled in him the love of - and competence in - the English language. The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him, "Let's have no disorder in your studies!". Cartier-Bresson said, "He used the informal 'tu', which usually meant you were about to get a good thrashing. But he went on, 'You're going to read in my office.' Well, that wasn't an offer he had to repeat." Painting
After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter.But the painting lessons were cut short when uncle Louis was killed in World War I. In 1927 Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor André Lhote. Lhote's ambition was to integrate the Cubists' approach to reality with classical artistic forms; he wanted to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche. During this period, he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarmé, Freud, Proust, Joyce, Hegel, Engels and Marx. Lhote took his pupils to the Louvre to study classical artists and to Paris galleries to study contemporary art. Cartier-Bresson's interest in modern art was combined with an admiration for the works of the Renaissance masters: Jan van Eyck, Paolo Uccello, Masaccio, Piero della Francesca.Cartier-Bresson regarded Lhote as his teacher of "photography without a camera." Surrealists photography influence
Although Cartier-Bresson became frustrated with Lhote's "rule-laden" approach to art, the rigorous theoretical training later helped him identify and resolve problems of artistic form and composition in photography. In the 1920s, schools of photographic realism were popping up throughout Europe but each had a different view on the direction photography should take. The Surrealist movement, founded in 1924, was a catalyst for this paradigm shift. Cartier-Bresson began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. He met a number of the movement's leading protagonists, and was drawn to the Surrealist movement's technique of using the subconscious and the immediate to influence their work. The historian Peter Galassi explains:

Cartier-Bresson matured artistically in this stormy cultural and political atmosphere.But, although he knew the concepts, he couldn't express them; dissatisfied with his experiments, he destroyed most of his early paintings. Cambridge and army
From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge, where he became bilingual. In 1930 he was conscripted into the French Army and stationed at Le Bourget near Paris, a time about which he later remarked: "And I had quite a hard time of it, too, because I was toting Joyce under my arm and a Lebel rifle on my shoulder." Receives first camera

In 1929, Cartier-Bresson's air squadron commandant placed him under house arrest for hunting without a licence. Cartier-Bresson met American expatriate Harry Crosby at Le Bourget, who persuaded the commandant to release Cartier-Bresson into his custody for a few days. The two men both had an interest in photography, and Harry presented <mask> with his first camera. They spent their time together taking and printing pictures at Crosby's home, Le Moulin du Soleil (The Sun Mill), near Paris in Ermenonville, France.Crosby later said Cartier-Bresson "looked like a fledgling, shy and frail, and mild as whey." Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931. Escape to Africa
Two years after Harry Crosby died by suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken-hearted. During conscription he read Conrad's Heart of Darkness. This gave him the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa. He survived by shooting game and selling it to local villagers. From hunting, he learned methods which he later used in photography.On the Côte d'Ivoire, he contracted blackwater fever, which nearly killed him. While still feverish, he sent instructions to his grandfather for his own funeral, asking to be buried in Normandy, at the edge of the Eawy Forest while Debussy's String Quartet was played. Although Cartier-Bresson took a portable camera (smaller than a Brownie Box) to Côte d'Ivoire, only seven photographs survived the tropics. Photography

Returning to France, Cartier-Bresson recuperated in Marseille in late 1931 and deepened his relationship with the Surrealists. He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika, this captured the freedom, grace and spontaneity of their movement and their joy at being alive. That photograph inspired him to stop painting and to take up photography seriously.He explained, "I suddenly understood that a photograph could fix eternity in an instant." He acquired the Leica camera with 50 mm lens in Marseilles that would accompany him for many years. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed. He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography—the ability to capture the world in its actual state of movement and transformation. Restless, he photographed in Berlin, Brussels, Warsaw, Prague, Budapest and Madrid. His photographs were first exhibited at the Julien Levy Gallery in New York in 1933, and subsequently at the Ateneo Club in Madrid.In 1934 in Mexico, he shared an exhibition with Manuel Álvarez Bravo. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively. In 1934, Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called "Chim" because his name was difficult to pronounce. Szymin later changed his name to David Seymour. The two had much in common culturally. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa.United States exhibits

Cartier-Bresson traveled to the United States in 1935 with an invitation to exhibit his work at New York's Julien Levy Gallery. He shared display space with fellow photographers Walker Evans and Manuel Álvarez Bravo. Carmel Snow of Harper's Bazaar gave him a fashion assignment, but he fared poorly since he had no idea how to direct or interact with the models. Nevertheless, Snow was the first American editor to publish Cartier-Bresson's photographs in a magazine. While in New York, he met photographer Paul Strand, who did camerawork for the Depression-era documentary The Plow That Broke the Plains. Filmmaking

When he returned to France, Cartier-Bresson applied for a job with renowned French film director Jean Renoir. He acted in Renoir's 1936 film Partie de campagne and in the 1939 La Règle du jeu, for which he played a butler and served as second assistant.Renoir made Cartier-Bresson act so he could understand how it felt to be on the other side of the camera. Cartier-Bresson also helped Renoir make a film for the Communist party on the 200 families, including his own, who ran France. During the Spanish civil war, Cartier-Bresson co-directed an anti-fascist film with Herbert Kline, to promote the Republican medical services. Photojournalism start
Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI and Queen Elizabeth, for the French weekly Regards. He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. His photo credit read "Cartier", as he was hesitant to use his full family name. Marriage
In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini.They lived in a fourth-floor servants' flat in Paris at 19, rue Neuve-des-Petits-Champs (now rue Danielle Casanova), a large studio with a small bedroom, kitchen, and bathroom where Cartier-Bresson developed film. Between 1937 and 1939, Cartier-Bresson worked as a photographer for the French Communists' evening paper, Ce soir. With Chim and Capa, Cartier-Bresson was a leftist, but he did not join the French Communist party. In 1967, he was divorced from Ratna "Elie". In 1970 Cartier-Bresson married Magnum photographer Martine Franck [25] and in May 1972, the couple had a daughter, Mélanie. World War II service
When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the Film and Photo unit. During the Battle of France, in June 1940 at St. Dié in the Vosges Mountains, he was captured by German soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the Nazis.He twice tried and failed to escape from the prison camp, and was punished by solitary confinement. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France. In France, he worked for the underground, aiding other escapees and working secretly with other photographers to cover the Occupation and then the Liberation of France. In 1943, he dug up his beloved Leica camera, which he had buried in farmland near Vosges. At the end of the war he was asked by the American Office of War Information to make a documentary, Le Retour (The Return) about returning French prisoners and displaced persons. Toward the end of the War,

masks:
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title: Henri Cartier-Bresson

texts:
 rumors had reached America that Cartier-Bresson had been killed. His film on returning war refugees (released in the United States in 1947) spurred a retrospective of his work at the Museum of Modern Art (MoMA) instead of the posthumous show that MoMA had been preparing.The show debuted in 1947 together with the publication of his first book, The Photographs of <mask>-Bresson. Lincoln Kirstein and Beaumont Newhall wrote the book's text. Magnum Photos
In early 1947, Cartier-Bresson, with Robert Capa, David Seymour, William Vandivert and George Rodger founded Magnum Photos. Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Rodger, who had quit Life in London after covering World War II, would cover Africa and the Middle East. Chim, who spoke a variety of European languages, would work in Europe.Cartier-Bresson would be assigned to India and China. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment. Maria Eisner managed the Paris office and Rita Vandivert, Vandivert's wife, managed the New York office and became Magnum's first president. Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last stage of the Chinese Civil War in 1949. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was being liberated by the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay.From China, he went on to Dutch East Indies (Indonesia), where he documented the gaining of independence from the Dutch. In 1950, Cartier-Bresson had traveled to the South India. He had visited Tiruvannamalai, a town in the Indian State of Tamil Nadu and photographed the last moments of Ramana Maharishi, Sri Ramana Ashram and its surroundings. A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry. Magnum's mission was to "feel the pulse" of the times and some of its first projects were People Live Everywhere, Youth of the World, Women of the World and The Child Generation. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images. The Decisive Moment

In 1952, Cartier-Bresson published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment, although the French language title actually translates as "images on the sly" or "hastily taken images", Images à la sauvette included a portfolio of 126 of his photos from the East and the West.The book's cover was drawn by <mask>. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz, "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression."). Both titles came from Tériade, the Greek-born French publisher whom Cartier-Bresson admired. He gave the book its French title, Images à la Sauvette, loosely translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment.Margot Shore, Magnum's Paris bureau chief, translated Cartier-Bresson's French preface into English. "Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. "Oop! The Moment!Once you miss it, it is gone forever." The photo Rue Mouffetard, Paris, taken in 1954, has since become a classic example of Cartier-Bresson’s ability to capture a decisive moment. He held his first exhibition in France at the Pavillon de Marsan in 1955. Later career
Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union. He became the first Western photographer to photograph "freely" in the post-war Soviet Union. In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani (hosted by his friend Costantino Nivola), San Leonardo di Siete Fuentes, and Cagliari.Cartier-Bresson withdrew as a principal of Magnum (which still distributes his photographs) in 1966 to concentrate on portraiture and landscapes. In 1967, he was divorced from his first wife of 30 years, Ratna (known as "Elie"). In 1968, he began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970. The couple had a daughter, Mélanie, in May 1972. Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out.He returned to drawing, mainly using pencil, pen and ink, and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in 1975. Death and legacy
Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin and was survived by his wife, Martine Franck, and daughter, Mélanie. Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish Civil War, the liberation of Paris in 1944, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May 1968 events in Paris, the Berlin Wall.And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare Saint-Lazare, are of seemingly unimportant moments of ordinary daily life. Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed. In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous. Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own.He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again. In 2003, he created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy. In 2018, the foundation relocated from the Montparnasse district to Le Marais. Cinéma vérité
Cartier-Bresson's photographs were also influential in the development of cinéma vérité film. In particular, he is credited as the inspiration for the National Film Board of Canada's early work in this genre with its 1958 Candid Eye series. Technique
Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous.With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye." He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand." He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints be left uncropped so as to include a few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture. Cartier-Bresson worked exclusively in black and white, other than a few experiments in color.He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw:

He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens. Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed.He denied that the term "art" applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon. Publications
 1947: The Photographs of <mask>-Bresson. Text by Lincoln Kirstein. New York: Museum of Modern Art. 1952: The Decisive Moment. Texts and photographs by Cartier-Bresson.Cover by <mask>. New York: Simon & Schuster. French edition
2014: Göttingen: Steidl. . Facsimile edition. First edition, 2014. Third edition, 2018. Includes booklet with an essay by Clément Chéroux, "A Bible for Photographers". 1954: Les Danses à Bali.Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Paris: Delpire. German edition. 1955: The Europeans. Text and photographs by Cartier-Bresson. Cover by Joan Miró. New York: Simon & Schuster. French edition.1955: People of Moscow. London: Thames & Hudson. French, German and Italian editions. 1956: China in Transition. London: Thames & Hudson. French, German and Italian editions. 1958: <mask>-Bresson: Fotografie.Prague and Bratislava: Statni nakladatelstvi krasné. Text by Anna Farova. 1963: Photographs by <mask>-Bresson. New York: Grossman Publisher. French, English, Japanese and Swiss editions. 1964: China. Photographs and notes on fifteen months spent in China.Text by Barbara Miller. New York: Bantam. French edition. 1966:

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title: Henri Cartier-Bresson

texts:
 <mask>-Bresson and the Artless Art. Text by Jean-Pierre Montier. Translated from the French L'Art sans art d'Henri Cartier-Bresson by Ruth Taylor. New York: Bulfinch Press.1968: The World of HCB. New York: Viking Press. French, German and Swiss editions. 1969: Man and Machine. Commissioned by IBM. French, German, Italian and Spanish editions. 1970: France.Text by François Nourissier. London: Thames & Hudson. French and German editions. 1972: The Face of Asia. Introduction by Robert Shaplen. New York and Tokyo: John Weatherhill; Hong Kong: Orientations. French edition.1973: About Russia. London: Thames & Hudson. French, German and Swiss editions. 1976: <mask>-Bresson. Texts by Cartier-Bresson. History of Photography Series. History of Photography Series.French, German, Italian, Japanese and Italian editions. 1979: <mask> Photographer. Text by Yves Bonnefoy. New York: Bulfinch. French, English, German, Japanese and Italian editions. 1983: <mask>. Ritratti = <mask>.Portraits. Texts by André Pieyre de Mandiargues and Ferdinando Scianna, "I Grandi Fotografi". Milan: Gruppo Editoriale Fabbri. English and Spanish editions. 1985:
 <mask>-Bresson en Inde. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson. Text by Yves Véquaud.Paris: Centre national de la photographie. English edition. Photoportraits. Texts by André Pieyre de Mandiargues. London: Thames & Hudson. French and German editions. 1987:
 <mask>tier-Bresson.The Early Work. Texts by Peter Galassi. New York: Museum of Modern Art. French edition. <mask>-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson, texts by Yves Véquaud. London: Thames & Hudson.French edition. 1989:
 L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Paris: Centre National de la Photographie. Line by Line. <mask>-Bresson’s drawings.Introduction by Jean Clair and John Russell. London: Thames & Hudson. French and German editions. 1991:
 America in Passing. Introduction by Gilles Mora. New York: Bulfinch. French, English, German, Italian, Portuguese and Danish editions.Alberto Giacometti photographié par <mask>-Bresson. Texts by Cartier-Bresson and Louis Clayeux. Milan: Franco Sciardelli. 1994:
 A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. London: Thames & Hudson. French, German and Japanese editions.Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens: Le Nyctalope. French and English editions. Mexican Notebooks 1934–1964. Text by Carlos Fuentes.London: Thames & Hudson. French, Italian, and German editions. L'Art sans art. Text de Jean-Pierre Montier. Paris: Editions Flammarion. English, German and Italian editions. 1996: L'Imaginaire d'après nature.Text by Cartier-Bresson. Paris: Fata Morgana. German and English editions'
 1997: Europeans. Texts by Jean Clair. London: Thames & Hudson. French, German, Italian and Portuguese editions. 1998: Tête à tête.Texts by Ernst H. Gombrich. London: Thames & Hudson. French, German, Italian and Portuguese editions. 1999: The Mind's Eye. Text by Cartier-Bresson. New York: Aperture. French and German editions.1999: <mask>-Bresson: A Biography. Text by Pierre Assouline, translated by David Wilson. London: Thames and Hudson. 2001: Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. London: Thames & Hudson. French, German and Italian editions.2003: The Man, the Image and the World. Texts by Philippe Arbaizar, Jean Clair, Claude Cookman, Robert Delpire, Jean Leymarie, Jean-Noel Jeanneney and Serge Toubiana. London: Thames & Hudson, 2003. German, French, Korean, Italian and Spanish editions. 2005:
<mask>-Bresson: The Mind's Eye: Writings on Photography and Photographers, Aperture; 1st edition. <mask>-Bresson: Masters of Photography Series, Aperture; Third edition. 2006: An Inner SIlence: The portraits of <mask>-Bresson, New York: Thames & Hudson.Texts by Agnès Sire and Jean-Luc Nancy. 2010: <mask>-Bresson: The Modern Century, The Museum of Modern Art, New York; Reprint edition. 2015: <mask>-Bresson: The Decisive Moment, Steidl; Pck Slp Ha edition. 2017: <mask>-Bresson Fotógrafo. Delpire. Filmography

Films directed by Cartier-Bresson
Cartier-Bresson was second assistant director to Jean Renoir in 1936 for La vie est à nous and Une partie de campagne, and in 1939 for La Règle du Jeu. 1937: Victoire de la vie.Documentary on the hospitals of Republican Spain: Running time: 49 minutes. Black and white. 1938:  L’Espagne Vivra. Documentary on the Spanish Civil War and the post-war period. Running time: 43 minutes and 32 seconds. Black and white. 1938 Avec la brigade Abraham Lincoln en Espagne, <mask>on ja Herbert Kline.Running time 21 minutes. Black and white. 1944–45: Le Retour. Documentary on prisoners of war and detainees. Running time: 32 minutes and 37 seconds. Black and white. 1969–70: Impressions of California.Running time: 23 minutes and 20 seconds. Color. 1969–70: Southern Exposures. Running time: 22 minutes and 25 seconds. Color. Films compiled from photographs by Cartier-Bresson

  1956: A Travers le Monde avec <mask>-Bresson. Directed by Jean-Marie Drot and <mask>-Bresson.Running time: 21 minutes. Black and white. 1963: Midlands at Play and at Work. Produced by ABC Television, London. Running time : 19 minutes. Black and white. 1963–65: Five fifteen-minute films on Germany for the Süddeutscher Rundfunk, Munich.1967: Flagrants délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire production, Paris. Running time: 22 minutes. Black and white. 1969: Québec vu par Cartier-Bresson / Le Québec as seen by Cartier-Bresson.Directed by Wolff Kœnig. Produced by the Canadian Film Board. Running time: 10 minutes. Black and white. 1970: Images de France. 1991: Contre l'oubli : Lettre à Mamadou Bâ, Mauritanie. Short film directed by Martine Franck for Amnesty International.Editing : Roger Ikhlef. Running time: 3 minutes. Black and white. 1992: <mask>-Bresson dessins et photos. Director: Annick Alexandre. Short film produced by FR3 Dijon, commentary by the artist. Running time: 2 minutes and 33 seconds.Color. 1997: Série "100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color. Films about Cartier-Bresson
 "<mask>, point d'interrogation" by Sarah Moon, screened at Rencontres d'Arles festival in 1994
 <mask>-Bresson: L'amour Tout Court (70 mins, 2001. Interviews with Cartier-Bresson.)<mask>-Bresson: The Impassioned Eye (72 mins, 2006. Late interviews with Cartier-Bresson.) Exhibitions

 1933 Cercle Ateneo, Madrid
 1933 Julien Levy Gallery, New York
 1934 Palacio de Bellas Artes, Mexico City (with Manuel Alvarez Bravo)
 1947 Museum of Modern Art, New York, Martin-Gropius-Bau, Berlin, Germany; Museum of Modern Art, Rome, Italy; Dean Gallery, Edinburgh; Museum of Modern Art, New York City; Museo Nacional de Bellas Artes, Santiago, Chile
 1952 Institute of Contemporary Arts, London
 1955 Retrospektive – Musée des Arts décoratifs, Paris
 1956   Photokina, Cologne, Germany
 1963 Photokina, Cologne, Germany
 1964 The Phillips Collection, Washington
 1965–1967 2nd retrospective, Tokyo, Musée des Arts Décoratifs, Paris, New York, London, Amsterdam, Rome, Zurich, Cologne and other cities. 1970 En France – Grand Palais, Paris. Later in the US, USSR, Australia and Japan
 1971 Les Rencontres d'Arles festival. Movies screened at Théatre Antique. 1972 Les Rencontres d'Arles festival."Flagrant Délit " (Production Delpire) screened at Théatre Antique. 1989 Chapelle de l'École des Beaux-Arts, Paris
 1989   Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)
 1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)
 1989 Printemps Ginza, Tokyo, Japan
 1990 Galerie Arnold Herstand, New York
 1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)
 1992 Centro de Exposiciones, Saragossa and Logrono, Spain
 1992 Hommage à <mask>tier-Bresson – International Center of Photography, New York
 1992 L'Amérique – FNAC, Paris
 1992 Musée de Noyers-sur-Serein, France
 1992 Palazzo San Vitale, Parma, Italy
 1993 Photo Dessin – Dessin Photo, Arles, France
 1994  "<mask>-Bresson, point d'interrogation" by Sarah Moon screened at Rencontres d'Arles festival, France. 2015   Palacio de Bellas Artes, Mexico City
 2015   Ateneum, Helsinki
 2017 Leica Gallery, San Francisco. 2017 Museo Botero/Banco de la Republica, Bogota Colombia
 2018 International Center of Photography, New York

Collections
Cartier-Bresson's work is held in the following public collections:
 Bibliothèque Nationale de France, Paris, France
 De Menil Collection, Houston, Texas, US
 Foundation Henri Cartier-Bresson, Paris, France
 University of Fine Arts, Osaka, Japan
 Victoria and Albert Museum, London, United Kingdom
 Maison Européenne de la Photographie, Paris, France
 Musée Carnavalet, Paris, France
 Museum of Modern Art, New York City
 The Art Institute of Chicago, Illinois, US
 Jeu de Paume, Paris, France
 J. Paul Getty Museum, Los Angeles
 Institute for Contemporary Photography, New York City
 The Philadelphia Art Institute, Philadelphia, Pennsylvania, US
 The Museum of Fine Arts, Houston, US
 Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan
 Museum of Modern Art, Tel Aviv, Israel
 Moderna Museet, Stockholm, Sweden
 International Photography Hall of Fame, St.Louis, Missouri

Awards
 1948: Overseas Press Club of America Award
 1953: The A.S.M.P. Award
 1954: Overseas Press Club of America Award
 1959: The Prix de la Société française de photographie
 1960: Overseas Press Club of America Award
 1964: Honorary Fellowship of the Royal Photographic Society
 1964: Overseas Press Club of America Award
 1967: The Cultural Award from the German Society for Photography (DGPh), with Edwin H. Land
 1981: Grand Prix National de la Photographie
 1982: Hasselblad Award
 2003: Lifetime Achievement Award from the Lucie Awards
 2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook

References

Sources
 Assouline, P. (2005). Henri Cartier-Bresson: A Biography. London: Thames & Hudson.Galassi, Peter (2010). <mask>-Bresson: the Modern Century. London: Thames & Hudson. Montier, J. (1996). Portrait: First Sketch. <mask>-Bresson and the Artless Art (p. 12).New York: Bulfinch Press. Warren, J (2005), Encyclopedia of Twentieth-Century Photography. Routledge

External links

 Fondation <mask>tier-Bresson
 Cartier-Bresson's portfolio at Magnum Photos
 Magnum Photos
 Special Report: <mask>-Bresson (1908–2004) – by Eamonn McCabe in The Guardian

 Tête à Tête: Portraits by <mask>-Bresson at the National Portrait Gallery, Washington DC
 <mask>-Bresson at the Metropolitan Museum of Art, NY
 <mask>-Bresson (1908 – 2004): When photography becomes art
 "John Berger pays tribute to his good friend", in The Observer. <mask>-Bresson's Cats

1908 births
2004 deaths
20th-century French artists
20th-century photographers
French photographers
French photojournalists
Fine art photographers
Street photographers
Magnum photographers
Lycée Condorcet alumni
French Resistance members
French Army personnel of World War II
French escapees
French prisoners of war in World War II
Escapees from German detention
World War II prisoners of war held by Germany
People from Seine-et-Marne
Photography in China
Photography in India
Photography in Indonesia
Photography in Russia
Photography in the Soviet Union
Humanist photographers
French expatriates in

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title: NaVorro Bowman

texts:
<mask> (born May 28, 1988) is a former American football linebacker who played eight seasons in the National Football League (NFL). He played college football at Penn State, and was drafted by the San Francisco 49ers in the third round of the 2010 NFL Draft. He has also played a season for the Oakland Raiders. Early years
<mask> was born in District Heights, Maryland on May 28, 1988. He started sports at a young age and was a member of District Heights boys and girls club, where he played both basketball and football and was invited to many All-star Events. <mask> was a standout player at Suitland High School in Suitland, Maryland. He missed most of his senior season with a shoulder injury, but he had a very impressive junior campaign in which he recorded 165 tackles, 9 sacks, and 3 fumble recoveries as a linebacker and ran for 1,200 yards and 22 touchdowns as a running back.He was named the Maryland Defensive Player-of-the-Year, first-team All-State, Washington Post first-team All-Met and first-team All-Conference. He was recruited to Penn State by Larry Johnson, Sr.

College career
<mask> played for the Penn State Nittany Lions football team while attending Pennsylvania State University from 2006 to 2009. After redshirting the 2006 season, <mask> played in nine games in 2007. He missed two games due to a sprained ankle suffered in a game against Illinois. He recorded 16 tackles, with a sack, a forced fumble, a fumble recovery, a blocked kick, and a pass breakup that season. <mask> saw increased playing time in 2008, largely due to the graduation of All-American linebacker Dan Connor and injury to presumptive starter Sean Lee. Despite the attrition, however, <mask> kept the Nittany Lions ranked in the top ten among three primary defensive categories.Individually, <mask> led the Nittany Lions in total tackles (106), solos (61), and assisted tackles (45), was second in tackles for loss (16.5) and tied for third in sacks (4.0). He also forced two fumbles, recovered a fumble, grabbed an interception and had five pass breakups. His first start came in week four versus Temple. He recorded 11 tackles, including five tackles for loss and three sacks, a forced fumble and an interception in the 45-3 win and was named Big Ten Co-Defensive Player of the Week. He finished the season with a heavy heart and an outstanding performance. <mask> played against Southern California in the 2009 Rose Bowl one day after his high school coach, Nick Lynch, was killed in an automobile accident in Maryland. <mask> responded by breaking the school's bowl record with five tackles for loss (minus-21 yards), and tying the Rose Bowl record set by Ohio State's Andy Katzenmoyer in the 1997 game.He also recorded his fourth sack of the season among his eight tackles (seven solo) against the Trojans. For his superb efforts against USC, <mask> was selected to ESPN.com's 2008-09 All-Bowl team, one of two Big Ten players named to the squad. At season's end, he was named a first-team All-Big Ten selection. Awards and honors
 Maryland Defensive PoY (2005)
 Maryland All-State (2005)
 Washington Post All-Met (2005)
 Big Ten Defensive PoW (September 20, 2008), (November 14, 2009)
 All-Big Ten (2008)

Professional career
On January 4, 2010, <mask>'s mother announced his decision to forgo his final year of NCAA eligibility and enter the 2010 NFL Draft. San Francisco 49ers

2010 season: Rookie year
On the second day of the 2010 NFL Draft, <mask> was selected in the third round with the 91st overall pick by the San Francisco 49ers. <mask> played in all 16 games in 2010, starting one in place of Patrick Willis, who was ruled out for Week 17 after undergoing a second surgery on his broken right hand. <mask> finished his rookie year with 46 tackles.2011 season
In his second NFL season, <mask> became the starter at inside linebacker with the departure of Takeo Spikes to free agency. Starting all 16 games and playing alongside All-Pro linebacker Patrick Willis, <mask> made huge strides and finished the year with 143 tackles, two sacks, eight pass deflections, and three fumble recoveries. In addition, he was also the team leader in tackles, while finishing second in the NFL in solo tackles. With the emergence in <mask>'s play, he helped a top-ranked 49ers defense set an NFL single-season record of not allowing a rushing touchdown for 14 games. The previous record was held by the 1920 Decatur Staleys, who did not allow a rushing touchdown in a 13-game season. The 49ers finished with a 13–3 record for an NFC West pennant but lost to the eventual Super Bowl champ New York Giants 17–20 in the NFC Championship Game in overtime. Although he was not voted to the Pro Bowl for his stellar season, he was named to the First-Team All-Pro by the Associated Press.He was also voted No. 85 on NFL Network's Top 100 Players of 2012, which recognizes performance from the previous season. 2012 season
In the season opener against the Packers, <mask> recorded his first career interception off Aaron Rodgers. his third season, <mask> and the 49ers appeared in Super Bowl XLVII. In the game, he had nine combined tackles as the 49ers fell to the Baltimore Ravens by a score of 31–34. 2013 season
For the third time, <mask> earned First-Team All-Pro honors and was fifth in the league in tackles with 145. On December 23, 2013, live on Monday Night Football, <mask> scored the last touchdown ever at Candlestick Park, intercepting a Matt Ryan pass and returning it 89 yards for a touchdown, sending the 49ers to the playoffs for the third consecutive season.For the 2013 season, <mask> made 16 starts with 145 tackles, five sacks, two interceptions, nine passes defended, six forced fumbles, and two fumble recoveries. <mask> and the 49ers finished the 2013 season with a 12–4 record. The 49ers defeated the Green Bay Packers 23–20 in the Wild Card round of the playoffs in which <mask> had 10 tackles, and a forced fumble. In the divisional round of the playoffs, they defeated the Carolina Panthers 23–10 behind a strong performance by <mask>, who recorded 11 tackles and 1 sack. San Francisco played the Seattle Seahawks in the NFC Championship Game, with the winner gaining the right to represent the conference in Super Bowl XLVIII. In the fourth quarter of that game, <mask> suffered a serious injury, tearing the ACL and MCL in his left knee. The 49ers went on to lose the game 23-17.2014 season
<mask>'s injury caused him to miss the entire 2014 season. 2015 season
In 2015, <mask> returned from his knee injury that had kept him out for the previous season. There was significant concern about his health going into 2015, but he started all 16 games for the 49ers. He finished the season with a career-high and league-leading 154 tackles, making his third Pro Bowl appearance and his fourth First-Team All-Pro appearance. He also accounted for 2.5 sacks and two passes defensed. He was ranked 61st on the NFL Top 100 Players of 2016. 2016 season
During a Week 4 game against the Dallas Cowboys, <mask> fell down, gripping the lower back end of his left foot.MRI tests later revealed that <mask> had a torn achilles tendon, causing him to miss the rest of the 2016 season. 2017 season
In Week 5 of the 2017 season, <mask> was benched for a few series, and later voiced his displeasure with the decision from the 23–26 overtime loss to the Indianapolis Colts. On October 13, 2017, <mask> was released from the 49ers at his request after the team was unable to trade him. Oakland Raiders
On October 16, 2017, <mask> signed a one-year, $3 million contract with the Oakland Raiders. During Week 12 against the Denver Broncos, <mask> intercepted a pass from quarterback Paxton Lynch in the end zone, giving the Raiders their first interception of the year after not having one in their first 11 weeks under defensive coordinator Ken Norton Jr. The Raiders eventually won the game by a score of 21-14. Retirement
On June 4, 2019, <mask> announced his retirement from the NFL and retired symbolically with the 49ers.NFL career statistics

Regular season

Postseason

"NaVorro Bowman Rule"
On the play which he suffered his season-ending injury, <mask> stripped Seahawks' wide receiver Jermaine Kearse of the ball near the goal line, and appeared to take over possession. However, the officials ruled the ball to be in possession of the Seahawks. Under the instant replay conditions at the time, the officials were not permitted to take a second look. On March 26, 2014, team owners approved a change that would allow the referees to review the recovery of a loose ball. A similar proposal to allow coaches to question any recovery using one of their challenges was voted down. Personal life
<mask> graduated with a degree in crime, law, and justice. <mask> speaks frequently by phone with former Nittany Lion linebacker LaVar Arrington.The two first met during Arrington's stint with the Washington Redskins, when <mask> was playing at nearby Suitland High School. This friendship, along with their similarity in playing styles, has earned <mask> the nickname "LaVorro". References

External links

San Francisco 49ers bio
Penn State Nittany Lions bio

1988 births
Living people
African-American players of American football
American football linebackers
National Conference Pro Bowl players
Oakland Raiders players
Penn State Nittany Lions football players
People from District Heights, Maryland
Players of American football from Maryland
Players of American football from Washington, D.C.
San Francisco 49ers players
Sportspeople from the Washington metropolitan area
Unconferenced Pro Bowl players
21st-century African-American sportspeople
20th-century African-American people

masks:
NaVorro Roderick Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
Bowman
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Bowman
Bowman
Bowman
Bowman
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Bowman
Bowman
Bowman
Bowman
Bowman
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Bowman
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Bowman


title: Felix Salten

texts:
<mask> (; 6 September 1869 – 8 October 1945) was an Austro-Hungarian author and literary critic in Vienna. Life and death
<mask> was born Siegmund Salzmann on 6 September 1869 in Pest, Austria-Hungary. His father was Fülöp Salzmann, the telegraph office's clerk in Pest; his mother was Maria Singer. He was the grandson of an Orthodox rabbi. When he was four weeks old, his family relocated to Vienna, Austria, as many Jews did after the Imperial government had granted full citizenship rights to Jews in 1867. When his father went bankrupt, the sixteen-year-old <mask> quit school and began working for an insurance agency. He also began submitting poems and book reviews to journals.He became part of the "Young Vienna" movement (Jung-Wien) and soon received work as a full-time art and theater critic for Vienna's press (Wiener Allgemeine Zeitung, Zeit). In 1900, he published his first collection of short stories. In 1901, he initiated Vienna's first, short-lived literary cabaret Jung-Wiener Theater Zum lieben Augustin. He was soon publishing, on an average, one book a year, of plays, short stories, novels, travel books, and essay collections. He also wrote for nearly all the major newspapers of Vienna. In 1906, <mask> went to Ullstein as an editor in chief of the B.Z. am Mittag and the Berliner Morgenpost, but relocated to Vienna some months later.He wrote also film scripts and librettos for operettas. In 1927 he became president of the Austrian P.E.N. club as successor of Arthur Schnitzler. His best remembered work is Bambi (1923). It was intended by Salten as a parable of the dangers and persecution faced by Jews in Europe. A translation in English was published by Simon & Schuster in 1928, and became a Book-of-the-Month Club success. In 1933, he sold the film rights to the American director Sidney Franklin for only $1,000, and Franklin later transferred the rights to the Walt Disney studios, which formed the basis of the animated film, Bambi (1942).Life in Austria became perilous for Jews during the 1930s. In Germany, Adolf Hitler had <mask>'s books banned in 1936. Two years later, after Germany's annexation of Austria, <mask> moved to Zurich, Switzerland, with his wife, and spent his final years there. <mask> died on 8 October 1945, at the age of 76. He is buried at Israelitischer Friedhof Unterer Friesenberg. <mask> married actress Ottilie Metzl (1868–1942) in 1902, and had two children: Paul (1903–1937) and Anna Katharina (1904–1977), who married Swiss actor Hans Rehmann. He composed another book based on the character Bambi, titled Bambi’s Children: The Story of a Forest Family (1939).His stories Perri and The Hound of Florence inspired the Disney films Perri (1957) and The Shaggy Dog (1959), respectively. <mask> was himself an avid hunter. <mask> is now considered the probable author of a successful erotic novel, Josephine Mutzenbacher: The Life Story of a Viennese Whore, as Told by Herself published anonymously in 1906, filled with social criticism. Selected works

 1899 – Der Gemeine
 1906 – Josephine Mutzenbacher, authorship assumed – in German: Josefine Mutzenbacher oder Die Geschichte einer Wienerischen Dirne von ihr selbst erzählt (Vienna: Privatdruck [Fritz Freund], 1906)
 1907 – Herr Wenzel auf Rehberg und sein Knecht Kaspar Dinckel
 1910 – Olga Frohgemuth
 1911 – Der Wurstelprater
 1922 – Das Burgtheater
 1923 – Der Hund von Florenz; English translation by Huntley Paterson, illustrated by Kurt Wiese, The Hound of Florence (Simon & Schuster, 1930),
 1923 – Bambi: Eine Lebensgeschichte aus dem Walde; English transl. Whittaker Chambers, illus. Kurt Wiese, foreword John Galsworthy, as Bambi, a Life in the Woods (US: Simon & Schuster, 1928, ; UK: Jonathan Cape, June/July 1928, ); re-illustrated by Barbara Cooney (S&S, 1970),
 1925 – Neue Menschen auf alter Erde: Eine Palästinafahrt
 1927 – Martin Overbeck: Der Roman eines reichen jungen Mannes
 1929 – Fünfzehn Hasen: Schicksale in Wald und Feld; English transl. Whittaker Chambers, as Fifteen Rabbits (US: Simon & Schuster, 1930, ); revised and enlarged (New York : Grosset & Dunlap, 1942, illus.Kurt Wiese), )
1931 – Freunde aus aller Welt: Roman eines zoologischen Gartens; English transl. Whittaker Chambers, illus. Kurt Wiese, as The City Jungle (US: Simon & Schuster, 1932, )
 1931 – Fünf Minuten Amerika
 1933 – Florian: Das Pferd des Kaisers; transl. Erich Posselt and Michel Kraike, Florian: The Emperor’s Stallion (Bobbs-Merrill, 1934),
 1938 – Perri; German, Die Jugend des Eichhörnchens Perri
 1939 – Bambi's Children, English translation (Bobbs-Merrill); German original, Bambis Kinder: Eine Familie im Walde (1940)
 1940 – Renni the Rescuer
 1942 – A Forest World
 1945 – Djibi, the Kitten, illus. Walter Linsenmaier; U.S. transl., Jibby the Cat (Messner, 1948)

Selected filmography
 Doctor Schotte (1918)
 Modern Marriages (1924)
 Comedians (1925)
 Storm in a Water Glass (1931)
 Poor as a Church Mouse (1931)
 Scampolo (1932)
 The Empress and I (1933)
 The Only Girl (1933)
 Florian (1940)
 Bambi (1942)
 Perri (1957)
 The Shaggy Dog (1959)

See also
Exilliteratur
Fable
Salzmann

References

Sources
 Eddy, Beverley Driver: <mask>: Man of Many Faces. Riverside (Ca.): Ariadne Press, 2010. .
 Seibert, Ernst & Blumesberger, Susanne (eds. ): <mask> – der unbekannte Bekannte. Wien 2006. . External links

 <mask>: A Preliminary Bibliography of His Works in Translation. 1869 births
1945 deaths
20th-century Austrian novelists
20th-century German dramatists and playwrights
20th-century German male writers
Austrian children's writers
20th-century Austrian dramatists and playwrights
Austrian literary critics
Austrian male dramatists and playwrights
Austrian Zionists
Austro-Hungarian Jews
Austro-Hungarian writers
Exilliteratur writers
German male dramatists and playwrights
German male novelists
Hungarian refugees
Jewish novelists
Jewish emigrants from Austria after the Anschluss
Swiss people of Austrian descent
Writers from Budapest
Young Vienna
20th-century Austrian male writers
Austrian male novelists
20th-century Austrian screenwriters
20th-century pseudonymous writers

masks:
Felix Salten
Salten
Salten
Salten
Salten
Salten
Felix Salten
Salten
Salten
Salten
Felix Salten
Felix Salten
Felix Salten


title: Sharada Srinivasan

texts:
<mask> (born 16 January 1966) is an archaeologist specializing in the scientific study of art, archaeology, archaemetallurgy and culture. She is associated with the National Institute of Advanced Studies, Bangalore, India, and an Honorary University Fellow at the University of Exeter, UK. Srinivasan is also an exponent of classical Bharata Natyam dance. She was awarded India's fourth highest civilian award the Padma Shri in 2019. Early life and education
The younger of two siblings, <mask> was born on 16 January 1966 in Bangalore to M. R<mask> and <mask>. Her father is an Indian nuclear scientist and mechanical engineer and her mother is nature conservationist and a wild life activist. <mask> received her Higher Secondary Certificate from Jai Hind College, Mumbai in 1983 and obtained her BTech from the Indian Institute of Technology, Bombay in 1987.In 1986, <mask> along with four IIT batchmates codirected, acted in and choreographed for the English feature film, Nuclear Winter which won the Cannes Award in the Special Category for 1988. The movie was produced by Homi Sethna and directed by Zul Vellani. The starcast included Vijay Crishna and Mishu Vellani. The movie was shot in the IIT Powai campus and marked the launch of a successful dance career for Sharda. After completing her master's degree at the University of London in 1989, she continued to research South Indian bronze sculptures during her PhD at University College London, which she completed in 1996. Career
<mask> <mask> is a Professor in the Programme of Heritage and Society in the School of Humanities at the National Institute of Advanced Studies (NIAS), Bangalore, India since 2012. Srinivasan started her journey as NIAS as a Fellow (2004-2006), became Assistant Professor in 2006 and served in the role till 2012.She is first author of the book 'India's Legendary Wootz Steel: An advanced material of the ancient world'. Prof. <mask> <mask> is a Fellow of the Royal Asiatic Society of Great Britain and World Academy of Art and Science. <mask> was awarded a Homi Bhabha Fellowship, during which time she visited the UK and USA as a visiting scholar at the Smithsonian, the Conservation Analytical Laboratory, Museum of Applied Sciences Centre for Archaeology (MASCA), University of Pennsylvania, Conservation Analytical Laboratory, Smithsonian & Conservation Department, Freer & Sackler Galleries, Smithsonian, and presented papers at a Conference on Indus Archaeology, University of Wisconsin Madison and The Cost Committee Meeting on Ion Beam analysis in Art and Archaeology at Oxford organised by European Commission. She was co-recipient (with Exeter University) of a British Council funded UKEIRI research awards (2009-2011), of a Royal Society-DST award, as well as an ongoing UKIERI-II Award related to developing joint PhD. Programmes in intangible histories including archaeology and performance studies. In 2009, <mask> co-chaired the seventh Beginning of the Use of Metals and Alloys (BUMA) international conference in Bangalore. The proceedings were published in 2015 in the volume Metals and Civilizations, of which <mask> was co-editor.Srinivasan was co-investigator on a 2010 UK India Education and Research Initiative (UKIERI) funded project with Professor S. Ranganathan and the University of Exeter's Dr Gill Juleff. The project was titled Pioneering Metallurgy: Origins of Steel Making in the Southern Indian Subcontinent. She undertook further research on technical evidence for high carbon steel by ancient crucible processes and ancient high-tin Bronzes and the surviving groups in Kerala for manufacture of high-tin bronze vessels and mirrors and lost wax casting. <mask> was recently featured in this site Trowel blazers of University College London on women archaeologists. Dance
In the International Year of Astronomy photo-montage exhibition 'Danse e-Toile: Nataraja et le Cosmos' curated by <mask> <mask>, scientist-dancer is featured at Alliance Française Bangalore Atrium. It explores cosmic sensibilities and the art, metallurgy and science of the Nataraja bronze and from the evocative lens of both the Bharata Natyam and French contemporary dance forms. It will be at Cité De L'Espace, Toulouse for the Festival La Novela as a prelude to an internet-streamed dance event between <mask> <mask> and K.Danse, France.She is also a performing artist specialising in the South Indian classical dance of Bharatanatyam. She has performed and lectured at the Royal Asiatic Society, the Royal Academy of Arts, for the Chola exhibition, the International Academy of Astronautics, the International Centre for Theoretical Physics, Trieste, INTACH-Belgium, Nehru Centre, London, China Conservatory of Music, National History of Science Seminar, Hyderabad, University of Toyoma, Japan and others. She had a photo-exhibition in June 2008 at Alliance Française Bangalore entitled 'Cosmic Dance of Shiva' on art-science-dance perspectives related to South Indian bronzes and the Nataraja. Danse e-Toile: Nata-raja et le Cosmos (Dance of stars: Nataraja and the Cosmos) was the first ever live, internet-streamed interactive dance and music programme between India and Europe. The event was held in Bangalore on 17 October 2009 as part of the celebration of the International Year of Astronomy 2009. What made it more noteworthy were the creative choreography and the amazing synthesis of art, science and advanced technology. <mask> Srinivasan was conferred with the Dr. Kalpana Chawla State Award for Women Scientists 2011 instituted by the Government of Karnataka.Honors
 Dr. Kalpana Chawla State Award for Women Scientists 2011. Chairperson, Regional Sessions, Indian subcontinent, World of Iron Conference, London; 16–20 February 2009. 'Les pierre chantantes' 28 Feb 2009, a classical south Indian dance performance and talk on the theme of the stone 'musical' pillars in some south Indian temples such as Hampi and the scientific and artistic aspects by <mask> <mask> in Haber Poche, France. Materials Research Society of India Medal 2006
 Malti B. Nagar Ethnoarchaeology Award
 Indian representative for project for UNESCO Chair in History of Science
 Member, International Committee, Conference of Beginning of the Use of Metals and Alloys
 Junior Research Fellow, Ministry of Culture (1999–2000)
 Forbes Fellowship 1999
 Post-Doctoral Smithsonian Fellowship ( April 1999– September 1999)
 Materials Research Society Graduate Student Award 1996
 Homi Bhabha Fellowship (1996–98)
 Petrie Award (1989)
 JN Tata Endowment(1988)

Publications
 Complete listing of publications

Quotes
 ...Talking about cosmic dance she said: "It is a metaphor of movement. There is also a personal metaphor – creation emerging out of destruction. I use the dance of the cosmos or the dance of science to discover aspects of ancient art that art historians have not been able to find .. ...There are fascinating interfaces between art and science.I returned to dance because of science. Dance injects an element of normalcy where I can enjoy contact with human emotions while science has an alienating quality. Bharatanatya is liberating and constricting at the same time because of its set forms and structure. I would have found it very limiting had it not been for science. Now I see the dance form as an element of movement of art forms..
 ...Capra was certainly not the first in portraying the Nataraja as a universal metaphor for the interface between science,spirituality, dance and art. But he definitely helped the idea to catch on. ...There is also something a bit Jungian in the Nataraja imagery that it somehow holds out a positive message of hope for coming to terms with loss through artistic endeavours or through acts of dedication.References

External links
 Kalpana Chawla State Award for Women Scientists 2011, Government of Karnataka
 Video : Danse e-toile: Nataraja et le cosmos' between <mask> <mask> and K.Danse, France
 Breaking art-science divide – The Hindu Article
 Doing the Cosmic Tango – Interview
 NIAS Faculty Home page
 Leonardo Electronic Directory
 <mask> Srinivasan's article The Sacred and the Sensuous
 Feature article on <mask> Srinivasan in the leading english news paper The Hindu
 Rhythm Divine – Sharada on Nataraja and Metaphysics – The Week, April1, 2007
 <mask> Srinivasan performs Bharatanatyam At international conference on Southeast Asian Archaeology 1 September 2008 Leiden, Holland
 Heritage: The Nataraja catapulted onto the global stage form sacred environs
 "Wootz steel: an advanced material of the ancient world", in Iron & Steel Heritage of India
 Heritage: Kerala's mirror gets patent protection. The Week Sept 12, 66–8
 "Metallurgical Heritage of India" in Golden Jubilee Souvenir, Indian Institute of Science, pp. 29–36. Bangalore

 Textures of wootz: technocultural insights on steel, cast iron and ferrous metals from south Indian antiquity
 Cosmic Ball- The Week, 8 Nov 2009
 A photo-montage and a multimedia exhibition is currently on display at the Alliance Francaise – Deccan Herald Report
 YouTube video on Casting Nataraja and Metal Images at Swamimalai, Tanjavur district, Southern India, narrated by <mask> Srinivasan and shot by Peter Vemming, Middelaldercentret, Denmark
 Video of Bharata Natyam dance performance by <mask> Srinivasan of Mahadeva Shiva Shambho, at the event and exhibition 'Cosmic Dance of Siva' at Alliance Francaise, Bangalore, June 2008, video by Rakesh and Digvijay Mallah
 Video Danse et percussions. Sharada Srinivasan et Sébastien Sauvage ont réalisés une performance musicale et danse baratha natyam
 Pierres Chantantes Video
 Interview with Sharada on Nataraja bronze Video

Indian women archaeologists
Indian art historians
Living people
IIT Bombay alumni
Indian women historians
20th-century Indian archaeologists
20th-century Indian women scientists
20th-century Indian women writers
20th-century Indian writers
Indian women science writers
Indian social sciences writers
21st-century Indian archaeologists
21st-century Indian women scientists
21st-century Indian women writers
21st-century Indian writers
Recipients of the Padma Shri in other fields
1966 births

masks:
Sharada Srinivasan
Srinivasan
. Srinivasan
Geetha Srinivasan
Sharada
Sharada
Sharada
Srinivasan
Sharada
Srinivasan
Srinivasan
Srinivasan
Srinivasan
Sharada
Sharada
Srinivasan
Sharada
Srinivasan
Sharada
Sharada
Srinivasan
Sharada
Srinivasan
Sharada
Sharada
Sharada
Sharada
Sharada


title: Stella McCartney

texts:
<mask>  (born 13 September 1971) is an English fashion designer. She is a daughter of English singer-songwriter Sir <mask> and the late <mask>, an American photographer and animals rights activist. Like her parents, <mask> is a firm supporter of animal rights, environmentalism and is particularly known for her use of vegetarian and animal-free alternatives in her work. Early life
<mask> was born on 13 September 1971 by Caesarean section at King's College Hospital in Camberwell, London. She is named after her maternal great-grandmothers (both of Linda's grandmothers were named <mask>). Her mother was Jewish. As a girl, <mask> travelled the globe with her parents and their group Wings, along with her siblings: older half-sister Heather (who was legally adopted by ex-Beatle Paul), older sister Mary, and younger brother James.According to her father, the name of Wings was inspired by <mask>'s difficult delivery. As his daughter was being born by emergency caesarean section, Paul sat outside the operating room and prayed that she be born 'on the wings of an angel'. Despite their fame, the <mask>s wanted their children to lead as normal a life as possible, so <mask> and her siblings attended local state schools in East Sussex, one of them being Bexhill College. <mask> has said that while attending state school, she was a victim of bullying yet had been a bully herself. Career

Beginning
<mask> became interested in designing clothes as a youth. At the age of 13, she designed her first jacket. Three years later, she interned for Christian Lacroix, working on her first haute couture collection, honing her skills working for Edward Sexton (her father's Savile Row tailor) for a number of years.<mask> studied her foundation at Ravensbourne College of Design and Communication, followed by Fashion Design at Central Saint Martins in the early 1990s, graduating in 1995. Her graduation collection was modelled for free by friends and supermodels Naomi Campbell, Yasmin Le Bon and Kate Moss, at the graduation runway show, presented to a song especially written by her father, "Stella May Day". A lifelong vegetarian, <mask> uses no leather or fur in her designs. The Guardian described her in 2015 as a 'consistent and vocal' supporter of animal rights. Some of <mask>'s designs have text that elaborates on her 'no animal' policy; one of her Adidas jackets carries a sleeve that says 'suitable for sporty vegetarians'. A pair of her vinyl and ultrasuede boots were marketed specifically as vegan-friendly, though her use of oil-based synthetics still raised ecological concerns. Rise to prominence
In 1997, <mask> was named as the creative director of Chloé, a position she held until 2001.In 2001, <mask> launched a fashion house under her name, in a joint venture with Gucci Group (now Kering), and presented her first collection in Paris. She now operates 51 freestanding stores in Manhattan's Soho, London's Mayfair, LA's West Hollywood, Paris's Palais Royal, Barcelona's Passeig de Gracia, Milan, Rome, Miami and Houston, among other locations. In 2003, <mask> launched her first perfume, <mask>. In January 2007, she launched a 100% organic skincare line, CARE, which includes seven products, from a cleansing milk made with lemon balm and apricot, to green tea and linden blossom floral water. In 2008, <mask> launched a new lingerie line. In November 2010, the Stella McCartney Kids collection was launched for newborns and children up to age 12. In June 2012, <mask> invited the Soul Rebels Brass Band to perform at her 2013 spring fashion presentation at the New York Marble Cemetery in New York City.Other guests invited to the party included Anne Hathaway, Jim Carrey, Anna Wintour, Annie Leibovitz, Lauren Hutton, Amy Poehler, Solange Knowles, P'Trique, Greta Gerwig and André Leon Talley. Also in 2012, <mask> was part of The Sustainable Fashion Handbook. In November 2016, <mask> launched her first menswear collection, made up of many athleisure, pyjama-like casual outfits. She said her father and comedian Jethro inspired the collection. In April 2018, after 17 years of partnership with Kering, <mask> purchased its stake in her company and took full control of her global fashion empire. The following year, she signed a strategic partnership with LVMH. She designed the wedding reception dress worn by Meghan Markle, and later created 46 replicas of it (23 in lily white and 23 in onyx black) for her "Made With Love" capsule collection, each priced at £3,500.On 15 October 2018, <mask> announced the launch of the Stella McCartney Cares Foundation, a charity dedicated to breast cancer. (She lost her mother to the disease in 1998.) The charity will donate 1,000 of the brand's Louis Listening post-operative mastectomy compression bras to women undergoing breast cancer treatment. On 21 November 2021, McCarney, launched "The Beatles: Get Back" a collection inspired by the legendary Beatles band

Collaborations

<mask> launched a joint-venture line with Adidas, establishing a long-term partnership with the corporation in September 2004. This was a sports performance collection for women. In January 2010, <mask> announced she would be collaborating with Disney to create a jewellery collection inspired by Alice in Wonderland. In July of the same year, together with People for the Ethical Treatment of Animals (PETA) and eco-designer Atom Cianfarani, <mask> worked to petition the British Ministry of Defence to cease the use of Canadian Black Bears as the fur for their guards' hats; the military is yet to make the change.In July 2011, <mask> participated at the catwalk of The Brandery fashion show in Barcelona. In December 2018, <mask> announced the launch of a new fashion industry charter for climate action, in collaboration with the United Nations, to help fashion companies welcome sustainable business practices. In August 2019, American singer-songwriter Taylor Swift teamed up with <mask> to release a fashion line inspired by Swift's seventh studio album Lover, the project carrying the title "Stella X Taylor Swift". Team GB
In September 2010, <mask> was appointed Team GB's Creative Director for the 2012 Olympics by Adidas — the first time in the games' history that a leading fashion designer designed the apparel for a country's team across all competitions for both the Olympic and the Paralympic Games. In March 2012, the Team GB kit was publicly displayed. <mask> continued in this role for the 2016 Summer Olympics. Awards and media
<mask> received the VH1/Vogue Designer of the Year award in 2000 in New York.Her father Paul presented the award to her; she thanked him in her acceptance speech and dedicated the award to her late mother Linda. This was followed by the Woman of Courage Award for work against cancer at the prestigious Unforgettable Evening event (2003, Los Angeles), the Glamour Award for Best Designer of the Year (2004, London), the Star Honoree at the Fashion Group International Night of the Stars (2004, New York), the Organic Style Woman of the Year Award (2005, New York), the Elle Style Award for Best Designer of the Year Award (2007, London), Best Designer of the Year at the British Style Awards (2007, London), Best Designer of The Year at the Spanish Elle Awards (2008, Barcelona), and the Green Designer of the Year at the ACE Awards (2008, New York). In 2009, she was honoured by the NRDC, featured in the Time 100 and recognised as Glamour Woman of the Year. In November 2011, she was presented with the Red Carpet Award by the British Fashion Council; and in the 2013 New Year Honours, she was appointed Officer of the Order of the British Empire (OBE) for services to fashion. In 2012, <mask> was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his artwork – the album cover for The Beatles' Sgt. Pepper's Lonely Hearts Club Band – to celebrate the British cultural figures of his life that he most admires. In February 2013 she was assessed as one of the 100 most powerful women in the United Kingdom by Woman's Hour on BBC Radio 4.In June 2017, <mask> was the guest for BBC Radio 4's Desert Island Discs. Her choices included "Road to Nowhere" by Talking Heads and "Blackbird" by the Beatles. Her favourite was "God Only Knows" by the Beach Boys. She would later receive the Special Recognition Award for Innovation at the 2017 Fashion Awards

Personal life
<mask> married British publisher Alasdhair Willis on 30 August 2003 at Mount Stuart House on the Isle of Bute. Her wedding dress was an updated version of her mother's wedding dress from 1969. Willis works as creative director of shoewear brand Hunter Boot Ltd. In 2015, he was named one of GQs 50 best-dressed British men.<mask> and Willis have four children: sons Miller Alasdhair James Willis (born 2005) and Beckett Robert Lee Willis (born 2008) and daughters Bailey Linda Olwyn Willis (born 2006) and Reiley Dilys <mask> (born 2010). <mask> has a younger half-sister, Beatrice Milly <mask>, born on 28 October 2003 to her father and his second wife, Heather Mills. In 2018, <mask> said: "When my mum died, Dad, my brother and I went to see the Maharishi... I had quite a reaction that I didn't feel in control of. I possibly suppressed my emotions and I started having panic attacks, physical reactions to that loss." She said that transcendental meditation made an almost instantaneous difference in her ability to cope. "It really did help me at a time when I really needed some help...I didn't want to part with money for it. But, you know, it's probably the best investment I ever made." See also
 List of animal rights advocates

References

External links

1971 births
Living people
21st-century English businesspeople
21st-century English businesswomen
Adidas people
Alumni of Central Saint Martins
Alumni of Ravensbourne University London
British women fashion designers
Daughters of knights
English animal rights activists
English businesspeople in fashion
English fashion designers
English people of American descent
English people of German-Jewish descent
English people of Irish descent
English people of Russian-Jewish descent
English women activists
High fashion brands
Jewish fashion designers
Stella
Officers of the Order of the British Empire
People from Camberwell
People from Lambeth

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