Carol Popp de Szathmary
Carol Popp de Szathmary ((November 1, 1812, Cluj - July 3, 1887, Bucharest), was a Romanian painter, graphic artist, lithographer, topographer and photographer, the first art photographer in the Kingdom of Romania and the author of world's first war reportage (Russian-Turkish Crimean War, 1853-1856).
Carol Popp de Szathmary was born in Cluj in 1812, in a family of Romanian boyars (noblemen) from Satu-Mare. He did studies school in Cluj, at the Reformed College. After obtaining the baccalaureate, he tried to enter the Imperial Academy of Fine Arts in Vienna, the capital of the Austrian Empire, but he failed and returned in his hometown, where studied law at the University of Cluj. After several years working as a clerk in the Transylvanian administration, Carol Popp gets hired at the imperial chancellery in Vienna. Passion for painting pushed it to make several trips through Austria, Switzerland, Germany, Italy. Going back in Transylvania, he painted a series of portraits of dignitaries of Transyvania's Dieta (parliament).
At the invitation of Prince George Bibescu - future ruler of Principality of Wallachia, he reaches Bucharest, where he made his the first daguerreotypes and published the volume "Transylvania in images", made with this technique. In 1847 he was the travel companion of great piano player Franz Liszt in his tournament by the Principality of Moldavia, Bukovina and Russia.
In 1853 made the first war photographs, in the Crimean War, in which he participated as war correspondent. His works, paintings and photos were collected in a new album which was presented at the International Exhibition of Paris of 1855 - then offered personally to the French emperor Napoleon III and Queen Victoria of England. In 1864 he participated to the official delegation of the United Romanian Principalities to Constantinople, where the High Gate recognized Alexandru Ioan Cuza as ruler. He is also created of the United Principalities logo.
He accompanied the new prince of the Romanians, Prince Carol of Hohenzollern, in his travel through the Kingdom of Romania, becoming the painter of the royal court in Bucharest. Besides photo-stamps representing Bucharest those times, and made an album, "Costumes of Romania", a paper that gives personally to the Kings of Belgium and the Netherlands. In a trip to the East (Turkey, Afghanistan, China), Chinese emperor offered him the job of photographer of the imperial court, but he declined the offer, then returned home.
He made a series of art exhibitions in Bucharest, Vienna, Cluj, Târgu-Mureş, and in some towns in Austria. Carol Popp de Szathmary participated in the Rusian-Turkish war, known as the War of Independence as a photographer and war correspondent. He organized meanwhile, a photographic workshop in Cluj, in Biasini Hotel building, located on Avram Iancu street. In 1881, he organized the ceremony of coronation of the first king of Romania, King Carol I and Queen Elizabeth. He died July 3, 1887, and was buried in the Evangelical-Lutheran cemetery in Bucharest.
Carol Popp de Szathmary was born in Cluj in 1812, in a family of Romanian boyars (noblemen) from Satu-Mare. He did studies school in Cluj, at the Reformed College. After obtaining the baccalaureate, he tried to enter the Imperial Academy of Fine Arts in Vienna, the capital of the Austrian Empire, but he failed and returned in his hometown, where studied law at the University of Cluj. After several years working as a clerk in the Transylvanian administration, Carol Popp gets hired at the imperial chancellery in Vienna. Passion for painting pushed it to make several trips through Austria, Switzerland, Germany, Italy. Going back in Transylvania, he painted a series of portraits of dignitaries of Transyvania's Dieta (parliament).
At the invitation of Prince George Bibescu - future ruler of Principality of Wallachia, he reaches Bucharest, where he made his the first daguerreotypes and published the volume "Transylvania in images", made with this technique. In 1847 he was the travel companion of great piano player Franz Liszt in his tournament by the Principality of Moldavia, Bukovina and Russia.
In 1853 made the first war photographs, in the Crimean War, in which he participated as war correspondent. His works, paintings and photos were collected in a new album which was presented at the International Exhibition of Paris of 1855 - then offered personally to the French emperor Napoleon III and Queen Victoria of England. In 1864 he participated to the official delegation of the United Romanian Principalities to Constantinople, where the High Gate recognized Alexandru Ioan Cuza as ruler. He is also created of the United Principalities logo.
He accompanied the new prince of the Romanians, Prince Carol of Hohenzollern, in his travel through the Kingdom of Romania, becoming the painter of the royal court in Bucharest. Besides photo-stamps representing Bucharest those times, and made an album, "Costumes of Romania", a paper that gives personally to the Kings of Belgium and the Netherlands. In a trip to the East (Turkey, Afghanistan, China), Chinese emperor offered him the job of photographer of the imperial court, but he declined the offer, then returned home.
He made a series of art exhibitions in Bucharest, Vienna, Cluj, Târgu-Mureş, and in some towns in Austria. Carol Popp de Szathmary participated in the Rusian-Turkish war, known as the War of Independence as a photographer and war correspondent. He organized meanwhile, a photographic workshop in Cluj, in Biasini Hotel building, located on Avram Iancu street. In 1881, he organized the ceremony of coronation of the first king of Romania, King Carol I and Queen Elizabeth. He died July 3, 1887, and was buried in the Evangelical-Lutheran cemetery in Bucharest.
Lola Bobescu
Lola Violeta Ana-Maria Bobescu (August 9, 1919, Craiova, Romania - September 4, 2003, Sart-les-Spa, Belgium) was a great Romanian violinist. Yehudi Menuhin considered her the greatest violinist of the world.
She was born in Craiova, Romania, and began her career as a child prodigy, giving her first recital at the age of 6 together with her father, Aurel Bobescu. In 1928, it entered the École Normale de Musique in Paris, then graduated the Conservatoire National de Musique in the capital of France, receiving "Prix d'Excellence". Privately, she worked with two masters of international stature, George Enescu and Jacques Thibaud.
Young Lola was worldwide remarked at 17, when interpreted in Paris the "Concerto Roumain" by Stan Golestan with the Colonne Orchestra conducted by Paul Paray. Followed 60 years of soloist career or in concert with major orchestras of the world, such as Colonne, Pasdeloup, Lamoureux (France), Berlin and London philharmonics, "Concertgebouw" in Amsterdam, "La Suisse Romande" in Geneva, "Accademia Santa Cecilia" of Rome or in recitals of chamber music, often accompanied by pianist Jacques Genty. She came frequently in her native country, where she played with the Radio Philharmonic Orchestra in Bucharest and the philharmonics in Craiova, Iaşi, Timişoara and Sibiu. She recorded a vast repertoire at Electrecord, Philips, Decca, Columbia, Nippon Program, Arcophon.
Lola Bobescu - Bach, Concerto BWV 1041
Lola Bobescu was established in Belgium before the end of the Second World War, having an outstanding teaching career at the Conservatory of Liège and the Royal Conservatory in Brussels. She founded and led "Solistes de Bruxelles", now "L'Orchestra Walon" of Liège, and the String Quartet "L'Arte del Suono" in Brussels. She was a member of the jury of international violin competitions "Reine Elisabeth de Belgique".
She was born in Craiova, Romania, and began her career as a child prodigy, giving her first recital at the age of 6 together with her father, Aurel Bobescu. In 1928, it entered the École Normale de Musique in Paris, then graduated the Conservatoire National de Musique in the capital of France, receiving "Prix d'Excellence". Privately, she worked with two masters of international stature, George Enescu and Jacques Thibaud.
Young Lola was worldwide remarked at 17, when interpreted in Paris the "Concerto Roumain" by Stan Golestan with the Colonne Orchestra conducted by Paul Paray. Followed 60 years of soloist career or in concert with major orchestras of the world, such as Colonne, Pasdeloup, Lamoureux (France), Berlin and London philharmonics, "Concertgebouw" in Amsterdam, "La Suisse Romande" in Geneva, "Accademia Santa Cecilia" of Rome or in recitals of chamber music, often accompanied by pianist Jacques Genty. She came frequently in her native country, where she played with the Radio Philharmonic Orchestra in Bucharest and the philharmonics in Craiova, Iaşi, Timişoara and Sibiu. She recorded a vast repertoire at Electrecord, Philips, Decca, Columbia, Nippon Program, Arcophon.
Lola Bobescu - Bach, Concerto BWV 1041
Lola Bobescu was established in Belgium before the end of the Second World War, having an outstanding teaching career at the Conservatory of Liège and the Royal Conservatory in Brussels. She founded and led "Solistes de Bruxelles", now "L'Orchestra Walon" of Liège, and the String Quartet "L'Arte del Suono" in Brussels. She was a member of the jury of international violin competitions "Reine Elisabeth de Belgique".
Suceava Fortress
Suceava is the capital city of the Suceava County, Bukovina, Northeastern Romania. It is situated on a commercial high-way that linked the Baltic with the Black Sea. The town of Suceava gained its importance from the presence of the main royal palace which Petru I Muşat (1375-1391) built here at the end of the 14th century. Close to the royal court and the citadel stood the Mirăuţi Church, the first Metropolitan Church of Moldavia, which once housed the relics of Saint John the New, one of Moldavia's patron saints.
Suceava fortress was built by Petru I Muşat who moved here his residence from Siret and it had a rectangular shape, with a 36-meter long southern side and 40-meter long eastern side and defensive square towers at each end and in the middle of each side as well. It was first mentioned in 1388, but it was later transformed into a residence castle by Alexander the Good (1400-1432) and Stephen the Great (1457-1504) when Suceava became the capital of Moldavia. At the initial walls (10 m high and 2 m width) there were added new ones and a deeper water ditch was dig to surround the castle. The inside rooms belonged to soldiers, the prince and his family; there was also a chapel and a warehouse for food and ammunition. After 1476 Stephen doubled the exterior walls by adding new layers which were fixed to the existing walls, so that they varied in thickness from 2m to 4m. The walls were also made circular so that they stood more chance of surviving bombardment. This is the explanation why Suceava fortress couldn't be conquered despite the fact it was under siege several times by Turks and Polish armies - in 1467, 1485, 1497 and 1509. Only treason was the key for making possible its occupation by enemies (September 18th, 1538).
Under Alexandru Lăpuşneanu's second reign (1564-1568), the Turks ordered the fortress to be set on fire and the royal residence was moved to Iaşi. The last flourishing period of the fortress took place during Vasile Lupu's reign (1634-1653); the prince restored a good deal of it. In 1657, the Turks ordered ruling prince Dumitraşcu Cantacuzino (1673-1674 and 1684-1685) to destroy it. Nowadays, this fortress is a part of Suceava city so one can reach it easily.
From the point of view of the economic life it is worth mentioning that for the first half of the 15th century, the archaeological excavations revealed at Suceava metal processing (iron and bronze, proven by the iron and bronze slag bits, as well as metal dies). They uncovered numerous craft tools, such as: hammers, anvils, tongs, chisels, household artifacts (knives, locks, keys, etc.) or arms and harness parts. At the same time, they found many agricultural tools, such as shares, plough iron parts, sickles, hacks, etc. Besides these crafts it is worth mentioning those for ceramics processing, especially the enameled one, as well as the ceramic plates and disks used for interior and exterior decoration, for secular and religious buildings. The first excavations were carried out by the end of the 20th century by C.A. Romstorfer.
Suceava fortress was built by Petru I Muşat who moved here his residence from Siret and it had a rectangular shape, with a 36-meter long southern side and 40-meter long eastern side and defensive square towers at each end and in the middle of each side as well. It was first mentioned in 1388, but it was later transformed into a residence castle by Alexander the Good (1400-1432) and Stephen the Great (1457-1504) when Suceava became the capital of Moldavia. At the initial walls (10 m high and 2 m width) there were added new ones and a deeper water ditch was dig to surround the castle. The inside rooms belonged to soldiers, the prince and his family; there was also a chapel and a warehouse for food and ammunition. After 1476 Stephen doubled the exterior walls by adding new layers which were fixed to the existing walls, so that they varied in thickness from 2m to 4m. The walls were also made circular so that they stood more chance of surviving bombardment. This is the explanation why Suceava fortress couldn't be conquered despite the fact it was under siege several times by Turks and Polish armies - in 1467, 1485, 1497 and 1509. Only treason was the key for making possible its occupation by enemies (September 18th, 1538).
Under Alexandru Lăpuşneanu's second reign (1564-1568), the Turks ordered the fortress to be set on fire and the royal residence was moved to Iaşi. The last flourishing period of the fortress took place during Vasile Lupu's reign (1634-1653); the prince restored a good deal of it. In 1657, the Turks ordered ruling prince Dumitraşcu Cantacuzino (1673-1674 and 1684-1685) to destroy it. Nowadays, this fortress is a part of Suceava city so one can reach it easily.
From the point of view of the economic life it is worth mentioning that for the first half of the 15th century, the archaeological excavations revealed at Suceava metal processing (iron and bronze, proven by the iron and bronze slag bits, as well as metal dies). They uncovered numerous craft tools, such as: hammers, anvils, tongs, chisels, household artifacts (knives, locks, keys, etc.) or arms and harness parts. At the same time, they found many agricultural tools, such as shares, plough iron parts, sickles, hacks, etc. Besides these crafts it is worth mentioning those for ceramics processing, especially the enameled one, as well as the ceramic plates and disks used for interior and exterior decoration, for secular and religious buildings. The first excavations were carried out by the end of the 20th century by C.A. Romstorfer.
The Royal Inn in Suceava
A historical monument and the oldest preserved medieval civil building in the city of Suceava, the inn was built at the end of the XVI-th century, as a hosting house for foreign guests and great merchants. It was erected over an older building, within an area for merchant shops, especially pottery shops, during the 15-16th centuries. Along the centuries, it used to be the meeting point where rulers stopped on their way back from hunting in Suceava forests, reason for it was named "Hanul Domnesc" (The Royal Inn). After the occupation of northern Moldova by the Habsburg Empire in 1775, the Royal Inn changes its destination, becoming a hunting house for the imperial family members. The building became a gendarmerie headquarters, then a private property until 1962.
In 1962 it was completely restored, from the cellar to the roof. In the former kitchen of the inn, the oven was reconstructed in the style of traditional Moldovan ovens. On the first floor have been preserved the oak beams of the ceilings of the two corridors. The architectural elements of the period regained with the restoration of walls, the construction of Royal Inn into the cultural tradition of the old medieval inns of Suceava.
The inn houses Bucovina's Ethnographic Museum or the Ethnography and Popular Art Museum. The permanent exhibition at the ground floor reconstruct the atmosphere of an old inn and includes pub room, private salon, recreation room, cuisine, and basement. In the museum are shown over 6 ethnographic micro zones of the county (Suceava, Humor, Câmpulung-Moldovenesc, Vatra Dornei, Rădăuţi and Fălticeni), exceptional pieces of popular high artistic refinement. The museum has heritage and folk art objects (13,000 items); it highlights a series of very old folk costumes, collections of masks, painted eggs or pieces carved in wood, ceramics, textiles, ornaments for holiday, musical instruments, traditional furniture, some exposed even in the reconstruction of interior peasant houses.
In 1962 it was completely restored, from the cellar to the roof. In the former kitchen of the inn, the oven was reconstructed in the style of traditional Moldovan ovens. On the first floor have been preserved the oak beams of the ceilings of the two corridors. The architectural elements of the period regained with the restoration of walls, the construction of Royal Inn into the cultural tradition of the old medieval inns of Suceava.
The inn houses Bucovina's Ethnographic Museum or the Ethnography and Popular Art Museum. The permanent exhibition at the ground floor reconstruct the atmosphere of an old inn and includes pub room, private salon, recreation room, cuisine, and basement. In the museum are shown over 6 ethnographic micro zones of the county (Suceava, Humor, Câmpulung-Moldovenesc, Vatra Dornei, Rădăuţi and Fălticeni), exceptional pieces of popular high artistic refinement. The museum has heritage and folk art objects (13,000 items); it highlights a series of very old folk costumes, collections of masks, painted eggs or pieces carved in wood, ceramics, textiles, ornaments for holiday, musical instruments, traditional furniture, some exposed even in the reconstruction of interior peasant houses.
Nicolae Tonitza
Nicolae Tonitza (April 13, 1886, Bârlad – February 27, 1940, Bucharest) was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-impressionism and Expressionism, he had a major role in introducing modernist guidelines to local art.
In 1902 he joins the National School of Fine Arts in Iaşi. In 1908 he left for Munich, where he attended the Königliche Bayerische Akademie der Bildenden Kunste (Royal Academy of Fine Arts); he began publishing political cartoons in Furnica (The Ant), and contributing art criticism articles to Arta Română (Romanian Art). Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings.
After his return, Tonitza finished his studies and received also a church painter diploma. He then painted the churches of Grozeşti, Scorţeni, Silişte, Poeni, Văleni in Moldavia and worked as an art teacher, and then, together with Cezar Petrescu, as editor of Iaşul newspaper. He married Ecaterina Climescu in 1913. In 1916, after Romania entered the WWI, Tonitza was drafted into the Army and fell prisoner to the Bulgarians during the Battle of Turtucaia. Interned, he became ill with malaria and rheumatism, which would plague him until his death. He was set free and returned in 1918. During the 1920s, he was a member of the Arta Română group (alongside Gheorghe Petraşcu and others).
His commitment to social commentary is best perceivable in his graphic work, malicious and sometimes dramatic — he sketched for many contemporary, usually political and leftist, magazines. In 1921, Tonitza expanded his range, painting prototypes for a ceramics factory, and organizing a ceramics exhibition; the same year, he moved to Vălenii de Munte, and decided to cease contributing to the press. It was at the time that he developed on his characteristic style and themes, both of which, Zambaccian contended, were determined by his experiences as a father. In 1926, Tonitza, Oscar Han, Francisc Şirato, and Ştefan Dimitrescu, organized themselves as Grupul celor patru ("The Group of Four"). He met success in 1925, after opening a large exhibit in Bucharest, while raising controversy (including criticism from Ressu) over his "poster-like" style.
He begins must to be more and more appreciated and to considered in the time as the most important painter of moment, also by exposing abroad (Amsterdam, Brussels, Barcelona). Despite his fame, he continued to live an impoverished and hectic existence, which probably contributed to the decline of his health. Upon Dimitrescu's death in 1933, Tonitza held his chair at the Fine Arts Academy in Iaşi. A participant in several national exhibitions and World Fairs, he painted his last works around Balchik. He fell severely ill in 1937, and died three years later.
His aesthetic options were built around the problems of Impressionism, the achievements of the Post-Impressionists, the decorative trends of Modern Style. His equilibrium, his hedonism, his tempered sensitiveness are turned into the brilliancy of light and color in the harmony between color and line. Beyond the everyday torments, his painting remained serene, expressing a classicist artistic ideal. Highly influential and admired, he inspired several generations of artists with his works, which were at the same time original, strong and vivid.
In 1902 he joins the National School of Fine Arts in Iaşi. In 1908 he left for Munich, where he attended the Königliche Bayerische Akademie der Bildenden Kunste (Royal Academy of Fine Arts); he began publishing political cartoons in Furnica (The Ant), and contributing art criticism articles to Arta Română (Romanian Art). Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings.
After his return, Tonitza finished his studies and received also a church painter diploma. He then painted the churches of Grozeşti, Scorţeni, Silişte, Poeni, Văleni in Moldavia and worked as an art teacher, and then, together with Cezar Petrescu, as editor of Iaşul newspaper. He married Ecaterina Climescu in 1913. In 1916, after Romania entered the WWI, Tonitza was drafted into the Army and fell prisoner to the Bulgarians during the Battle of Turtucaia. Interned, he became ill with malaria and rheumatism, which would plague him until his death. He was set free and returned in 1918. During the 1920s, he was a member of the Arta Română group (alongside Gheorghe Petraşcu and others).
His commitment to social commentary is best perceivable in his graphic work, malicious and sometimes dramatic — he sketched for many contemporary, usually political and leftist, magazines. In 1921, Tonitza expanded his range, painting prototypes for a ceramics factory, and organizing a ceramics exhibition; the same year, he moved to Vălenii de Munte, and decided to cease contributing to the press. It was at the time that he developed on his characteristic style and themes, both of which, Zambaccian contended, were determined by his experiences as a father. In 1926, Tonitza, Oscar Han, Francisc Şirato, and Ştefan Dimitrescu, organized themselves as Grupul celor patru ("The Group of Four"). He met success in 1925, after opening a large exhibit in Bucharest, while raising controversy (including criticism from Ressu) over his "poster-like" style.
He begins must to be more and more appreciated and to considered in the time as the most important painter of moment, also by exposing abroad (Amsterdam, Brussels, Barcelona). Despite his fame, he continued to live an impoverished and hectic existence, which probably contributed to the decline of his health. Upon Dimitrescu's death in 1933, Tonitza held his chair at the Fine Arts Academy in Iaşi. A participant in several national exhibitions and World Fairs, he painted his last works around Balchik. He fell severely ill in 1937, and died three years later.
His aesthetic options were built around the problems of Impressionism, the achievements of the Post-Impressionists, the decorative trends of Modern Style. His equilibrium, his hedonism, his tempered sensitiveness are turned into the brilliancy of light and color in the harmony between color and line. Beyond the everyday torments, his painting remained serene, expressing a classicist artistic ideal. Highly influential and admired, he inspired several generations of artists with his works, which were at the same time original, strong and vivid.
World's hardest enduro rally
Red Bull RoManiacs is considered World's toughest Hard Enduro rally. Sibiu's medieval center (southern Transylvania) and the mountains nearby hosts the 5th edition of the 5 days motorcycle run starting 15th August, 2009.
What makes Red Bull RoManiacs so tough? Well for sure this is not a "one day" wonder event. There is the entertaining in-city Prologue race in the very center of Sibiu where contestants fight over difficult man made obstacles to get to the front of the race and win the right to be the first to start the day one off road stage. For four off roads days, a constant battle with stamina, fitness and strength takes place, the steep climbs and descents, and fighting the too hot or very cold weather just to get to the finish. This is not a leisurely ride across some mountains, it a mental battle to just keep going on and on ,pushing both body and machine to the very limits of endurance while striving to get to the finish line before anyone else.
Red Bull RoManiacs hard enduro rally is organized by "Xventure" Freinademetz Offroad Tours, run by snowboard legend and Dakar Rally finisher Martin Freinademetz. Three of the precedent editions were won by Cyril Despres, winner of Dakar Rally. There are special sections for Professionals, Experts, Expert teams and Hobby teams, so riders of all competitive abilities can compete, enjoy the event and have a chance of finishing.
Who decides to start at world’s hardest enduro rally has to be totally passionate about off-road racing. Red Bull RoManiacs is not a simple race it is a tour the force, merciless and nasty. Those who bushwhacked best through the wilderness, managed to bring their bikes back into the paddocks every night and kept their weaker self under control were the ones to survive and finally make it to the ultimate finish line. To finish here is to be a winner!
What makes Red Bull RoManiacs so tough? Well for sure this is not a "one day" wonder event. There is the entertaining in-city Prologue race in the very center of Sibiu where contestants fight over difficult man made obstacles to get to the front of the race and win the right to be the first to start the day one off road stage. For four off roads days, a constant battle with stamina, fitness and strength takes place, the steep climbs and descents, and fighting the too hot or very cold weather just to get to the finish. This is not a leisurely ride across some mountains, it a mental battle to just keep going on and on ,pushing both body and machine to the very limits of endurance while striving to get to the finish line before anyone else.
Red Bull RoManiacs hard enduro rally is organized by "Xventure" Freinademetz Offroad Tours, run by snowboard legend and Dakar Rally finisher Martin Freinademetz. Three of the precedent editions were won by Cyril Despres, winner of Dakar Rally. There are special sections for Professionals, Experts, Expert teams and Hobby teams, so riders of all competitive abilities can compete, enjoy the event and have a chance of finishing.
Who decides to start at world’s hardest enduro rally has to be totally passionate about off-road racing. Red Bull RoManiacs is not a simple race it is a tour the force, merciless and nasty. Those who bushwhacked best through the wilderness, managed to bring their bikes back into the paddocks every night and kept their weaker self under control were the ones to survive and finally make it to the ultimate finish line. To finish here is to be a winner!
Subscribe to:
Posts (Atom)
Posts
