bluuebunny/crossref_metadata_2025_split huggingface dataset:
Hoffmann, Josef Franz Maria (1870–1956)
Authors: Johnson Michael 
Published: September 2018

Josef Hoffmann was an Austrian architect and designer who proved instrumental in formulating the aesthetics and theory of modernist design. Among the most progressive architects in turn-of-the-century Austria, he was a founder of the Vienna Secession and the Wiene Werkstätte. His early work was aligned with Jugendstil, the German and Austrian manifestation of Art Nouveau, but graduated towards an abstract, geometric simplicity that anticipated twentieth-century Modernism. Committed to the concept of the Gesamtkunstwerk (total work of art), Hoffmann applied his talents to architecture, interior design, furniture and metalwork. His greatest achievement is the Palais Stoclet in Brussels, a true Gesamtkunstwerk in which all elements are synthesized into symphonic unity.
Born in Pirnitz, Moravia (now part of the Czech Republic), Hoffmann studied at the Higher State Crafts School in Brno and at Vienna’s Academy of Fine Arts. He worked in the office of proto-modernist architect Otto Wagner, where he met future collaborator Joseph Maria Olbrich. He won the Prix de Rome in 1895, which gave him the opportunity to study classical architecture, and Mycenaean influences proliferated in his early work. Hoffmann was among the group of artists, architects and designers who seceded from the Association of Austrian Artists in 1897, objecting to what they saw as the inherent conservatism of established academies.
Isokon (1931–1939)
Authors: Johnson Michael 
Published: September 2018

Isokon was a British furniture and architectural design company founded in London in 1931. Led by architect Wells Coates and plywood manufacturer Jack Pritchard, Isokon was among the first systematic attempts to introduce modernist design to Britain. The founders of Isokon were committed to the principles of European Modernism and aimed to create standardized housing and furniture based on modern materials and production processes. In interwar Britain, these designs represented radical new solutions for modern living.
Jack Pritchard joined the Venesta Plywood Company in 1925. At this time plywood was regarded as a cheap substitute for solid wood, but Pritchard was intrigued by its intrinsic properties of lightness, fluidity and strength, and was keen to promote it as a material for modern design. In 1929 he encountered the work of Canadian-born designer Wells Coates, who had recently created innovative plywood factory interiors and shop-fittings for Cresta, a silk manufacturer. Pritchard and Coates founded the firm of Wells Coates and Partners in 1930 to facilitate collaboration. Tensions between the two prompted reorganization, however, and the firm of Isokon Limited was founded on 31 December 1931. The name was derived from the term Isometric Unit Construction, owing to Coates’s preference for isometric drawing.
MARS Group (1933--1957)
Authors: Johnson Michael 
Published: September 2018

The Modern Architectural Research Group (MARS) was a coalition of architects, academics and critics united by the aim to promote modernist architecture in Britain. Founded in 1933 as a British branch of the Congrès internationaux d'architecture moderne (CIAM), the group was an attempt to bring together practitioners and polemicists committed to the ideals of European Modernism, who had previously been isolated in the conservative design establishment of 1930s Britain. Most of the participants were British, but many were émigrés fleeing oppression in Nazi Germany. The acronym MARS was chosen to express the group’s futuristic nature.
Teatro Prometeo
Authors: Fonseca Pacheco Fernando 
Published: September 2018

Teatro Prometeo (Prometheus Theater) was founded in Cuba by actor and director Francisco Morín (1918– ) in 1948. Prometeo began as a fundraising project for the magazine of the same name, also founded by Morín in 1947, which was encountering financial problems around the occasion of its one-year anniversary. Morín established the Teatro Prometeo group and staged the play Ligados (Welded) by Eugene O´Neill to raise money to support the magazine. The magazine’s goal was to foster the culture of theater in Cuba through the medium of print, so that members of the public and theater practitioners could inform and educate themselves. Based on similar premises, Teatro Prometeo aimed to stage plays by both national and international writers that had never before been staged in Cuba. Teatro Prometeo intended to generate national theatrical production while also keeping up with international trends in theater and performance by periodically staging the most important plays of world theater.
Treadwell, Sophie (1885–1970)
Authors: Walker Julia A. 
Published: September 2018

Like many women writers of her day, American playwright Sophie Treadwell began her career in journalism, working at the San Francisco Bulletin and the New York Herald Tribune, where she wrote fanciful vignettes before earning the right to cover sensational murder trials of female defendants and report from behind the front lines of war (including an interview with Mexican revolutionary Pancho Villa). These assignments appear to have imprinted her dramatic style, which often tempered realistic situations with surreal, sometimes violent, imagery; a well-made play structure with an episodic logic; and the predictability of a character type with an unexpected act of rebellion.
Treadwell, who wrote over forty plays (seven of which were produced on Broadway), is best known for Machinal (1928), an expressionist drama about a ‘young woman’ who is coercively compelled to enact the roles of secretary, daughter, wife, and mother over the short course of her doomed life. Only in an illicit love affair does she find true happiness, taking inspiration from her lover’s tales of renegade justice in Mexico to free herself from her oppressive marriage by killing her husband. But her freedom is short-lived, as the social order hails her back into its defining structures. After being forced to fit the pre-set narratives of a sensationalistic press, her life is condemned by the law before finally being taken from her by way of the electric chair.
Loy, Mina (1882–1966)
Authors: Devaney Beulah Maud 
Published: September 2018

Mina Loy, born Mina Gertrude Lowry, (1882–1966), was a British artist, designer, model, novelist, nurse, playwright and poet, with ties to the Dadaist, Futurist and Surrealist moments. Loy was one of the first generation modernists and was close friends with many leaders of the movement including Djuna Barnes, T. S. Eliot, Ezra Pound, Gertrude Stein and William Carlos Williams. Her poetry was published in The Little Review and championed by Left Bank publisher Robert McAlmon.
Mina Loy was born in London in 1882, the eldest daughter of Sigmund and Julia Bryant Lowry. In 1899, at the age of seventeen, Loy left school and moved to Munich to study art with the painter and graphic artist Angelo Jank. Jank, a member of the Munich Secession, introduced Loy to the work of newly emerging European thinkers, including Henri Bergson, Sigmund Freud and Friedrich Nietzsche.
MacGreevy, Thomas (1950–1963)
Authors: Schreibman Susan 
Published: September 2018

Thomas MacGreevy was a poet, art and literary critic, and Director of the National Gallery of Ireland (1950-63). MacGreevy was born in 1893, during the closing decades of the British Empire, in Tarbert, County Kerry, one of the most westerly points of both the Empire and Europe. His childhood, pleasant and uneventful, provided him with the dual pillars of faith and nationalism that underpinned the vast majority of his writings. These pillars found their expression in writing in the early 1920s, after he returned to live in Ireland after working as a Civil Servant in London from 1912, and serving as a Second Lieutenant in the Royal Field Artillery in the British Expeditionary Force in 1917–18.
MacGreevy is an extremely autobiographic poet. The poems in the single book of poetry to appear in his lifetime, Poems, (Heinemann, 1934) were ordered chronologically (as opposed to thematically or when they were written). War: the Great War, the Anglo-Irish War, and the Irish Civil War, are reoccurring themes. While much of MacGreevy’s poetry was about Ireland, exile provided the necessary geographic and psychic distance to write about it. MacGreevy, attuned to the new in both the written and visual arts, wrote what the Irish poet and critic Anthony Cronin described as ‘the most perfectly modulated free verse written in the period in English, Ireland, or America’.
Tremblay, Gilles (1932--)
Authors: Lefebvre Marie-Thérèse 
Published: September 2018

Composer and musical pedagogue Gilles Tremblay made significant contributions to the development of musical composition in Quebec in the second half of the twentieth century. After studying at the Montreal Conservatory (Conservatoire de Musique du Québec à Montréal), he attended workshops at the Marlboro School of Music (Vermont) in the summers of 1950, 1951, and 1953. He lived in Paris from 1954 to 1961, where he enrolled in the piano studio of Yvonne Loriod, took analysis courses with Olivier Messiaen, attended workshops on Ondes Martenot, and received counterpoint lessons with Andrée Vaurabourg-Honegger. Tremblay attended the Darmstadt International Summer Courses in 1957 and 1960, and worked at the GRM (Groupe de Recherches Musicales) led by Pierre Schaeffer. Involved at this time with the networks of French new music, he frequently met with Pierre Boulez, Karlheinz Stockhausen, and Iannis Xénakis.
In 1961 Tremblay returned to Quebec and was appointed professor of analysis and composition at the Montreal Conservatory, a position he occupied until his retirement in 1997. His courses at the Conservatory were inspired by Messiaen’s famous analysis class in Paris. Tremblay found connections between master works of Western music that linked the past to the present, from Gregorian chants to the polyphony of Guillaume de Machaut, Monteverdi, and Mozart, through to the twentieth century. His courses were extremely influential to two or three generations of composers in Quebec.
Vicente Emilio Sojo (1887--1974)
Authors: Tovar Roberta Ojeda 
Published: September 2018

Vicente Emilio Sojo was born in Guatire, Miranda State, on December 8, 1887, the son of Francisco Reverón and Luisa Sojo. Self-taught composer, conductor, choirmaster and pedagogue, he was also the most influential figure of the first half of the Venezuelan twentieth century. In 1896, he undertook his first music studies with Henrique León (1854-1895) and Régulo Rico (1878-1960). While studying and performing, Sojo had to work as tobacco maker and house painter due to his economic circumstances.
In 1906 Sojo was relocated to Caracas, and in 1909 he auditioned for the School of Music and Declamation (today José Angel Lamas Music School) where he studied solfège, music theory, harmony, composition and cello with Ignacio Bustamante (?–1921), Andrés Delgado Pardo (1870-1940) and Eduardo Richter (1874–1912), respectively. In the meantime, he acted as Choirmaster for the San Francisco Chapel and the Caracas Cathedral. In 1921 he started his teaching activities at the School of Music and Declamation, where he was later appointed as Headmaster in 1936, a position he held until 1964.
The Lost Generation
Authors: McKee Adam R. 
Published: September 2018

The Lost Generation is a group of expatriate American writers who came of age during World War I and who subsequently became prominent literary figures. The term can also be used to refer to the whole of the post-World War I generation. The term was coined by Gertrude Stein (1874–1946) in a comment to Ernest Hemingway (1899–1961) in which she declared, ‘You are all a lost generation’. Hemingway subsequently used this phrase as an epigraph to his novel The Sun also Rises (1926), which is often seen as emblematic of the Lost Generation’s literary tradition.
Fin de siècle
Authors: Martens David 
Published: September 2018

Referring to the end of the 19th century, Fin de siècle not only represents a specific historical moment but also a part of the sensibility and of the cultural production of the period. It is particularly challenging to define fin de siècle within the artistic world, as it neither corresponds to a movement around a leading figure, nor to an amalgamation of shared and promulgated aesthetic principles (there is no manifesto laying claim to fin-de-sièclism).
The term appears for the first time at the end of the 1880s. In its French form, it has imposed itself ever since on most Western-European languages (e.g., English, German). Fin de siècle crystalizes certain anxieties that are typical of this era: the period is characterized by a particular striving for modernity, while at the same time it is also perceived as an end. This explains why the fin de siècle mentality has often been closely related to decadence (or decadentism) to which it is, however, not limited: symbolism, aestheticism or even art nouveau all fall within fin de siècle.
The fin de siècle mind-set is marked by an ensemble of shared features, in particular an ambivalent fear for the end.
Rice, Ron (1935–1964)
Authors: Guilford Josh 
Published: September 2018

Ron Rice was a central figure in the 1960s American avant-garde cinema. His films are closely affiliated with beat literature given their emphasis on improvisation and spontaneity, their engagement with themes such as social marginality, drugs, travel, and sexuality, and their documentation of artistic subcultures in San Francisco’s North Beach, Mexico, New York City, and Venice, California. As is suggested by his use of the neologism "Dazendada" to describe his work, Rice was influenced equally by the historical avant-garde (Dada, Soviet Cinema) and distinctly late-modern American cultural developments such as free jazz and the popularization of Zen Buddhism. At the same time, the comedic dimensions of his films have invited comparisons to silent slapstick cinema.
Rice only completed three works before his death by pneumonia at the age of 29: The Flower Thief (1960), Senseless (1962), and Chumlum (1964). An additional feature, The Queen of Sheba Meets the Atom Man (1963/1982), was assembled posthumously.
Duhart, Emilio (1917–2006)
Authors: Forster Alejandra Celedon 
Published: September 2018

The Chilean architect Emilio Duhart Harosteguy is one of the most recognised modern architects and urban planners in the country. He is especially notable for the period he spent working as assistant for Walter Gropius and Konrad Wachsmann in the States and for Le Corbusier in France, whom he collaborated with in the planning of Chandigarh city in India. While Duhart was born in Temuco, he spent his childhood and primary and secondary education in France. He returned to Santiago and graduated as an architect from the School of Architecture at the Catholic University of Chile in 1941 and continued his studies at Harvard University (Master in Architecture 1942) and the Institutd’Urbanisme Sorbonne (Master in Urban Planning 1952).
Duhart’s first commissions were in relation to the Chillán earthquake (1939) reconstruction, and he worked mainly in rural housing as part of the Help and Reconstruction Corporation initiatives (1941). He belonged to a group of architects that went abroad at the time, and he imported foreign ideas and modes of architectural production to Chile; the other two main modes of foreign influence were architectural publications and external visitors to the country. From 1951 he taught at the Catholic University, becoming Director of the Institute of Urbanism, Housing and Planning.
Beach, Sylvia (1887–1962)
Authors: Crawford John 
Published: September 2018

Sylvia Beach was an American expatriate best known as the owner of the iconic Parisian Shakespeare and Company bookstore, located at 8 rue Dupuytren until 1921, and then at 12 rue de l’Odéon the Left Bank area of the city. The popular bookstore and lending library was a point of convergence for many modernist writers and artists in Paris’ thriving arts community, including Ernest Hemingway, André Gide, André Maurois, Robert McAlmon, Ezra Pound, Gertrude Stein, F. Scott Fitzgerald, and James Joyce. A supporter of James Joyce, Beach was the first publisher of Joyce’s Ulysses.
Born Nancy Woodbridge Beach, Sylvia Beach spent much of her youth distancing herself from a household made uneasy by the tense marriage of her mother, Eleanor Thomazine Orbison, and father, Sylvester Beach, a Presbyterian minister who served several parishes in New England, including the prominent Princeton, New Jersey community. Beach’s early refusal of material wealth was often at odds with her father’s attempts to gain social status among affluent Princeton parishioners. However, Beach found some hope for her ambition of becoming an independent woman during a year spent in Paris in 1902, during which her father served as Associate Pastor of the American Church of Paris. This period helped develop Beach’s love for Paris, its artists, and its liberal atmosphere.
Maas, Willard (1906–71)
Authors: Key Laura E.B. 
Published: September 2018

Willard Maas (1906–71) was an American filmmaker and poet. He was known for his experimental style of filmmaking and was considered part of an avant-garde group of artists who worked in opposition to the commercial film industry. The types of films he made were sometimes referred to as "film poems" for their unconventional style, blurring the traditional distinction between the media of film and poetry.
Maas was a literature professor by trade, working at Wagner College in New York City. Along with his wife, fellow filmmaker and artist Marie Menken, Maas was prominent in the New York art scene from the 1940s to the 1960s. Maas and Menken were founder members of the Gryphon Group, a set of like-minded artists who worked together on postwar experimental art and film projects. The couple was well-known for holding avant-garde salons at their Brooklyn apartment.
Maas and Menken’s tempestuous relationship was well recorded, and they are cited as inspiration for the characters of George and Martha in Edward Albee’s play, Who’s Afraid of Virginia Woolf? (1962).
Maas’s film credits as director include Geography of the Body (1943, with Marie Menken and George Barker), The Mechanics of Love (1955, with Ben Moore), Image in the Snow (1943–8), and Narcissus (1956, with Ben Moore).
Mahle, Ernst (1929--)
Authors: Rodrigues André 
Published: September 2018

Ernst Mahle is a German-born Brazilian composer, conductor, and music educator who occupies the chair number 6 of the Academia Brasileira de Música. He is also a former vice-president of the Sociedade Brasileira de Música Contemporânea.
He was born on January 3rd 1929 in Stuttgart and spent most of his childhood in Bluendz, Austria. Following the World War II, the city of Bluendz would host concerts by the most prominent students of the Conservatoire national de musique de Paris. Impressed by the dexterity of such players, Mahle decided to pursue piano and composition studies, and at age 20 he was accepted at the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart in the class of Austrian composer Johann Nepomuk David. His studies in Stuttgart ended quickly, only one year later, when his family moved to São Paulo, Brazil, in 1951. Nevertheless, Mahle developed a special interest in modal music during this period after being introduced to the music of Béla Bartók.
van Wyk Louw, Nicolaas Petrus (1906–1970)
Authors: du Plooy Heilna 
Published: September 2018

N. P. Van Wyk Louw is regarded as the most prominent poet of the group known as the Dertigers, a group of writers who began publishing mainly in the 1930s. These writers had a vision of Afrikaans literature which included an awareness of the need of thematic inclusiveness, a more critical view of history and a greater sense of professionality and technical complexity in their work. Van Wyk Louw is even today considered one of the greatest poets, essayists and thinkers in the Afrikaans language.
Nicolaas Petrus van Wyk Louw was born in 1906 in the small town of Sutherland in the Western Cape Province of South Africa. He grew up in an Afrikaans-speaking community but attended an English-medium school in Sutherland as well as in Cape Town, where the family lived later on. He studied at the University of Cape Town (UCT), majoring in German and Philosophy. He became a lecturer at UCT, teaching in the Faculty of Education until 1948. In 1949 he became Professor of South African Literature, History and Culture at the Gemeentelijke Universiteit van Amsterdam. In 1960 he returned to South Africa to become head of the Department of Afrikaans and Dutch at the University of the Witwatersrand in Johanneshurg. He filled this post until his death in 1970.
Matiushin, Mikhail Vasilevich (1861–1934)
Authors: Wünsche Isabel 
Published: September 2018

The musician, painter, and theoretician Mikhail Matiushin is best known for his music for the Cubo-Futurist opera Pobeda nad Solntsem (Victory over the Sun), which he wrote in 1913. Together with Elena Guro, he founded the artists’ group Soiuz Molodezhi (Union of Youth), in December 1909, and was one of the main organizers of the publications, exhibitions, and events of the St. Petersburg avant-garde in 1912–13. Matiushin stands at the center of what we today refer to as the Organic School of the Russian avant-garde. He developed the concept of Organicheskaia Kultura (Organic Culture), first with his students at the reformed Petrograd Art Academy (SVOMAS), from 1918 to 1926, and then in his research groups at the State Institute of Artistic Culture (GINKhUK), from 1923 to 1926, and the State Institute of Art History (GIII), from 1926 to 1929. In the late 1920s and 1930s he worked on a color theory, parts of which were published in 1932 as Zakonomernost izmentaemosti tsvetovykh sochetanii: Spravochnik po tsvetu (The Laws Governing the Variability of Color Combinations: A Handbook of Color). Matiushin was an influential teacher; among his students were the Ender siblings, Nikolai Grinberg, Valida Delakroa, Elena Khmelevskaia, and Nikolai Kostrov.
Crowley, Aleister (1875–1947)
Authors: Sorensen Leif 
Published: September 2018

Aleister Crowley was an occultist, writer, and mystic who founded the spiritual philosophy of Thelema. Crowley’s work combines European, South Asian, and Chinese esoteric teachings. His fictional, poetic, and spiritual writings celebrate free will. The popular press frequently referred to him as ‘the wickedest man on earth’. Crowley died in 1947, leaving behind a vast corpus of writing, multiple followers, and a growing store of legends.
Crowley was born Edward Alexander Crowley into a wealthy Quaker family in Warwickshire. After the death of his father, Crowley rejected formal education and his parents’ religion. After withdrawing from multiple public schools and working with tutors, Crowley entered Trinity College at Cambridge in 1895. At Cambridge he met Leonard Smithers, the publisher of some of Oscar Wilde’s late work. Smithers published Crowley’s first two books of poems.