bluuebunny/crossref_metadata_2025_split huggingface dataset:
Munch, Edvard (1863–1944)
Authors: Gluchowska Lidia 
Published: September 2018

Edvard Munch was a Norwegian painter, printmaker and sculptor, who experimented with photography and film. He is one of the main forerunners of Expressionism, and his painting The Scream (1893) became a universal icon of existentialist fear. He was born in Løten, Norway, in 1863 and died in Oslo in 1944.
In 1879 Munch enrolled at a technical college and in 1881 at the Royal School of Art and Design of Christiania, where he took lessons in freehand drawing and modeling. In 1882 he was supervised by the naturalistic painter Christian Krohg, and in 1883 he held his first public exhibition. In 1885 Munch travelled to Paris; some influences of French art were recognizable in the works he presented at his first one-man show in Christiania in 1889. The recognition he received with this exhibition gained him a state scholarship to Paris for the period 1889–92. There he studied under French painter Léon Bonnat and saw works by Paul Gauguin, Vincent van Gogh, Henri Toulouse-Lautrec and James Whistler. Impressionism, Post-Impressionism, and Synthetism influenced his work of this period.
Portocarrero, René (1912–1985)
Authors: Estevez Lisandra 
Published: September 2018

Part of the Cuban vanguardia (or vanguard movement), René Portocarrero broke with the academic style of art that prevailed in Cuba in order to create a modern visual language that expressed his cultural identity. Born in Havana on 24 February 1912, René Portocarrero was one of the great second-generation artists of the Cuban avant-garde movement. Multi-talented, he was a painter of easel pictures, ceramicist, illustrator, muralist and set designer. Portocarrero’s early works were expressionist in style and explored a varied body of subject matter that was inspired by his native country.
Monnier, Adrienne (1892–1955)
Authors: Mitrano Mena 
Published: September 2018

Adrienne Monnier was a gifted writer, editor, bookseller, publisher, patron, and salon keeper based in Paris. For the first half of the twentieth century, Monnier was at the centre of an international intellectual network, a sought-after hostess who welcomed to her home and table many American friends of her companion, Sylvia Beach.
Her bookstore, La Maison des Amis de Livres, was located at 7 rue de l’Odeon. It was made possible by the indemnity money that Monnier’s father got from a train accident. Initially, it served as a lending library and specialized in modern authors, with a section on the ‘entire world’ and another on Tibet and Tibetan yoga. Her love of books turned the place from an anonymous bookstore to, as France Soir put it in 1953, ‘un espáce de célebrité’. Monnier organized readings called ‘Les Séance des Amis des Livre’ and held Wednesday gatherings devoted to lectures and presentations. In her bookstore Valery Larbaud lectured on James Joyce for the first time on December 7, 1921. An untiring cultural entrepreneur, she also edited and published her own review, Le Navire d’Argent.
Dos Passos, John (1896–1970)
Authors: Hanna Julian 
Published: September 2018

John Dos Passos was an American writer best known for his ‘contemporary chronicles’ of American life. His early novels, including Manhattan Transfer (1925) and the U.S.A. trilogy — The 42nd Parallel (1930), Nineteen Nineteen (1932), and The Big Money (1936) — are considered classics of American Modernism, offering a complex and multifaceted portrayal of American society from the turn of the century to the Great Depression. The depiction of urban experience in these novels reflects the cinematic montage of Dziga Vertov, the stream-of-consciousness style of James Joyce, and the dynamism and simultaneity of Italian Futurism, among other influences.
In addition to writing fiction, Dos Passos was a dramatist, poet, historian, journalist, travel writer, painter, and translator. His first two novels, One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), are harrowing and highly critical accounts based on his experience as an ambulance driver in the First World War. He published a collection of free verse, A Pushcart at the Curb (1922), as well as translations of the modernist poetry of Blaise Cendrars. In the late 1920s he worked briefly as a director, playwright, and set designer at the Vsevolod Meyerhold-inspired New Playwrights’ Theater in Greenwich Village, where his associates included communist writers like Mike Gold and John Howard Lawson.
Japonisme
Authors: Rottau Nadine 
Published: September 2018

The term Japonisme refers to the reception of Japanese art products and stylistic forms in Europe and the United States beginning in the second half of the 19th century and continuing until the early 20th century. Japonisme involves the collecting of Japanese products by Western artists and art lovers as well as the adaptation of East Asian motifs and forms for the creation of pictures and objects.
Paris was the center of early Japonisme; the first collectors were art critics such as Ernest Chesneau or Philippe Burty. The painters Edouard Manet and James Abbott McNeill Whistler were early enthusiasts of Japanese arts and crafts. The opening up of new possibilities for representation, mediated by Japanese color woodcuts from artists such as Utagawa (Andō) Hiroshige, had a profound effect on artistic schools ranging from Impressionism to Expressionism. Not only the means of Japanese design, but also the egality of the represented subjects, the equal treatment of nature, animals and human beings, of high art and handicraft, helped Western artists to overcome their academic traditions. Japonisme as an artistic and visual movement undertook a trans-cultural appropriation of the Japanese stylistic language, which contributed to the breakthrough of modern art in the West.
Costa, Lúcio (1902–1998)
Authors: Goossens Maarten 
Published: September 2018

Brazilian architect Lúcio Marçal Ferreira Ribeiro Lima Costa was a founding father and one the main exponents of Brazilian modern architecture. After passing his childhood in Europe, Costa enrolled in the National School of Beaux-Arts in Rio de Janeiro. Although his first years as a practicing architect were characterized by the influence of the neocolonial movement then in its full vigour, by 1929 Lúcio Costa became, along with Gregori Warchavchik, one of the first advocates of modern architecture in Brazil, influenced by the ideas of Le Corbusier, who had visited Brazil in 1929. Costa was given the opportunity to actively promote modern ideas when he was appointed, in 1930, as head of the National School of Beaux-Arts.
One of Costa’s most significant designs from this period, and a landmark in Brazilian and Latin American Modernism, is the Ministry of Education and Public Health (1936–1945), designed with Affonso Eduardo Reidy, Oscar Niemeyer (one of Costa’s former students), and with the participation of Le Corbusier as a design consultant, among others. During his career Costa was able to combine architectural design, landscape architecture, town planning, public service, heritage protection and writing. His most relevant work is the layout of Brasília, the newly built capital city of Brazil (1956–1960).
Golosov, Il’ia (1883–1945)
Authors: Vronskaya Alla G. 
Published: September 2018

Il’ia Aleksandrovich Golosov, one of the leading Soviet modernist architects of the 1920s, was born in Moscow into the family of a priest and was the brother of architect Panteleimon Aleksandrovich Golosov (1882–1945). Alongside his brother, Il’ia Golosov graduated from Moscow Stroganov Art and Industry School in 1907 and from the Moscow School of Painting, Sculpture and Architecture in 1912, having received an architectural degree. His first projects were private villas in various historical styles.
In 1919 Golosov became close to the members of the cubo-futurist group Zhivskul’ptrarkh (an agglutination referring to Painting, Sculpture, Architecture), in particular architect Nikolai Ladovskii, sculptor Boris Korolev, and painter Nikolai Istselenov, who together with Golosov became members of the Sculpture Artel (Co-operative) of the Second Independent State Art Studios (soon to become famous as VKhUTEMAS) under the leadership of Korolev. Golosov’s early connection with Cubo-Futurism and sculpture had predicated his design principles and his formal vision of architecture. This sculptural attitude to architecture was manifested, in particular, in Golosov’s "theory of design of architectural organisms": he interpreted architecture as a "mass" (according to formalist aesthetics, a quintessentially sculptural property), or, in other words, as a large-scale form.
Lima, João Filgueiras "Lelé" (1932–2014)
Authors: Frajndlich Rafael Urano 
Published: September 2018

João "Lelé" Filgueiras Lima is a public architect. Since his formative years on the construction sites of Brasília (1960) until today, his most remarkable works have been created for the public sector. This aspect of his career led him to take a very plastic approach that always relied upon economical building strategies, and often required new techniques and industrial materials.
Lelé’s interest in industrial building components led him to design pieces of his own, which were used in some early public works, such as the Taguatinga Hospital (1965) and the Secretariats of Bahia Administration Center (1973). Lelé’s breakthrough came when he designed hospitals for the SARAH Kubitschek Foundation. For Brasília’s Hospital for Diseases of the Locomotor System (1980), he used an integrated approach to fulfill the normative standards for a rehabilitation facility, to keep to a tight budget, and to create shade from the extreme heat of Brasília. A gap between the different levels allows all the recovery rooms to have access to a well-shaded green terrace. Structures and cladding are made from prefabricated reinforced concrete, articulated by one-storey-high Virendell beams.
Meyer, Hannes (1889–1954)
Authors: Xiong Xiangnan 
Published: September 2018

Hannes Meyer was a Swiss modernist architect, educator, and the second director of the Bauhaus from 1928 to 1930. He believed that architecture and planning are social issues and that modern architects and planners should serve the needs of the masses rather than those of the privileged class. This conviction directed him throughout his entire career.
Meyer was born on November 18, 1889, into an architectural dynasty in Basel. He was an apprentice mason and studied building at Basel Technical School for four years before going to Berlin in 1909, where he attended courses on town planning, economics, and land reform. Between 1912 and 1913 Meyer traveled to England, visiting and studying the garden cities of Letchworth, Bourneville, and Port Sunlight. By the time World War I broke out, Meyer had already completed his training in architecture and town planning. During the war he served in the Swiss army.
In 1919 Meyer received his first building commission: Freidorf housing estate near Basel, in which he used standardized building elements for the sake of economic efficiency. Meyer was appointed as master of architecture at the Bauhaus in 1927. A year later, he succeeded Walter Gropius as the director of the Dessau Bauhaus. He conducted an extensive reform of the Bauhaus curriculum, stressing practical experience and downplaying personal artistic concerns.
Rother, Leopoldo (1894–1978)
Authors: Devia Marta 
Published: September 2018

Although German by birth, Leopoldo Rother was a Colombian architect who exerted a great influence in the development of Colombian modern architecture. Rother is known for his rationality which reflects his technical training, his great discipline, his extensive knowledge of construction techniques, and his passion for the craft.
Rother began his studies in Karlsruhe, Germany, in 1913 and received the title of architect-engineer in 1920 from the Technische Hochschule Berlin. From 1920 to 1935 Rother worked for the German government. The design of several buildings for the Technische Universität Clausthal gave him a solid basis for his subsequent works in Colombia.
In 1935, due to his Jewish descent, Rother had to seek refuge in Colombia where he spent the rest of his life.
Sanabria, Tomás José (1922–2008)
Authors: D’Auria Viviana 
Published: September 2018

Sanabria is a representative figure of the second generation of 20th-century Venezuelan architects. He studied in the United States of America after World War II and had a rigorous functionalist orientation, paying attention to natural conditions, environmental features, the relationship between architecture and geography, the influence of architecture in civic culture, structural and technological expressiveness, and the links between architecture, art, and the urban scale.
After graduating as an engineer (1941–1945) from the Universidad Central de Venezuela (UCV), he embraced a functionalist approach during his studies (1945–1947) at the Harvard Graduate School of Design in Cambridge, Massachusetts. At Harvard Walter Gropius, Martin Wagner, Ieoh Ming Pei, Hugh Stubbins, and Marcel Breuer were among his professors. He returned to Venezuela in 1947 and worked as professor of Architecture for Engineers at the UCV’s School of Engineering. By 1948 he was director of the Department of Architectural Composition at the School of Architecture in the Faculty of Engineering. In 1954 he became the first director of the School of Architecture in the Faculty of Architecture and Urbanism, founded that year.
Kishida, Kunio (1890–1954)
Authors: Jortner David 
Published: September 2018

Kishida Kunio is considered to be one of the founders of Japanese shingeki drama and one of the most important modern Japanese dramatists. Through his use of imagistic language and psychological realism, Kishida established the "literary" school of shingeki theatre.
Kishida was born in 1890 in Tokyo to a military family. He was commissioned as an officer in the Japanese army in 1912 but left two years later, disillusioned by military life. He entered Tokyo Imperial University in 1917 in order to study French literature. In 1919 he traveled to Paris to study with the French playwright Jacques Copeau.
Kishida returned to Japan in 1923 and introduced many of the ideas Copeau had shown him to the shingeki stage. From 1924 to 1929 he wrote numerous one-act plays for both performance and publication; these works included Kami fūsen [Paper Balloon] (1925), Buranko [The Swing] (1925), and Ashita wa Tenki [Tomorrow it Will Be Fine] (1928). These plays examined the emotional lives of their characters as they focused on issues of domesticity.
From 1929 to 1936 Kishida shifted toward writing multi-act plays for the theater. With actor Tomoda Kyōsuke and actress Tamura Akiko he founded the Tsukijiza (Tsukiji Troupe) in 1932. This was the first shingeki company based on Kishida’s literary form of modern drama. He also founded Gekisaku [Playwriting] magazine in the same year, which became a platform for Kishida to articulate and promote his apolitical view of theater as well as a splace in which to promote new Japanese playwrights such as Tanaka Chikao and Uchimura Naoya.
Kawakami, Otojirō (1864–1911)
Authors: Swain John D. 
Published: September 2018

Kawakami Otojirō was an actor, comedian, and impresario during Japan’s early modern period and was the first to take Japanese performances on tour, albeit in a rather unconventional exoticized form, to the West in 1899–1901 and again from 1901–2. Otojirō married the actress, and former geisha, Kawakami Sada Yakko in 1896. She became his major creative collaborator, and she was the troupe’s featured performer during their tours.
The troupe went to France from 1907 to 1908 to study every aspect of Western theater. Upon their return to Japan, Kawakami opened the Imperial Actress Training Institute, and the Imperial Theater as a home for the troupe in Osaka.
Otojirō left his home in Fukuoka at the age of fourteen, ending up in Kyoto where he had several occupations and became a liberal political agitator until he apprenticed to a rakugo [comic storytelling] master. His apprenticeship inspired him to establish an amateur theater company with a fellow political activist. The amateur status of the troupe allowed them to fly slightly under the radar of the authorities, but in 1888 Kawakami created a musical sensation, the Oppekepe [trumpet] song. This was a satirical song with a rousing chorus that imitated the sound of a trumpet—"oppekepe!"
Mayama, Seika (1878–1948)
Authors: Zheng Guohe 
Published: September 2018

Mayama Seika was a novelist, historian, and one of the most prominent playwrights in Japan’s modernist theater movement.
Born Mayama Akira in Sendai, he studied medicine at high school and worked as a lay doctor in 1902. While in middle school, he became interested in literature. Inspired by Tokutomi Rokka (1868–1927) to become a novelist, he moved to Tokyo in 1903. Mayama’s first story was published when his mentor, Satō Kōroku (1874–1949), submitted it to meet his own deadline signed with Seika, a name subsequently adopted by Mayama as his own. Also under Satō, he helped to adapt Konjiki Yasha [The Golden Demon] by Ozaki Kōyō for the stage. In 1907 he published Minami Koizumi-mura [The South Koizumi Village], thereby winning recognition as a major naturalist novelist. However, in 1910 his career as a novelist ended in disgrace, however, for double-publishing his manuscripts. Ostracized from the bundan, he turned to scholarly research on Edo history, an abiding passion that engaged him for most of his life, and which not only produced authoritative studies on Ihara Saikaku, but later lent his drama depth and historical authenticity.
Following an invitation from actor Kitamura Rokurō, he joined Shōchiku in 1913 as a playwright, gaining life-long patronage from ōtani Takejirō and Noma Seiji, the founders of Shōchiku and the Kōdansha publishing house, respectively. In 1915–1917, he wrote pieces of mostly contemporary social drama for shinpa, including Mihana Adahana [A Flower Is Useless if it Blossoms without Bearing Fruit]. A turning point came in 1918 when he wrote two historical plays which were produced by kabuki, a much more prestigious genre.
Shin Kabuki
Authors: Zheng Guohe 
Published: September 2018

Shin Kabuki literally "new kabuki," a modern outgrowth of traditional kabuki and one of the fruits of Japan’s modernist theater movement.
The term was first coined by Kasuyama Masao and later defined by Kagayama Naozō to mean plays written in the kabuki format but with Western ideas incorporated in to them and with literary merit. As used today, it refers to works written since the late Meiji period (1868–1912) by intellectuals who were not part of the kabuki establishment. These works were staged with kabuki’s apparatus but without such traditional kabuki acting and staging conventions as climactic poses (mie), stylized makeup, and quick role-change (hayagawari). Through these plays, kabuki came to be divided into "classical" (koten) and "new" (shin) categories.
Following the Meiji Restoration, government leaders returning from trips to the West sought a potential counterpart to Western drama in Japan, as part of Japanese high culture suitable for entertaining the upper classes and visiting foreign dignitaries. This desire of the Meiji leaders coincided with indigenous modernist efforts to reform this traditional performing art to suit the times. This led to the appearance of zangiri-mono and katsureki-mono. However, following the death in 1893 of Kawakate Mokuami, who had provided most of the scripts for such reformative efforts, there was no playwright of comparable caliber to support the reform of kabuki. This gap, coupled with the growing influence of Western theater and the era’s great social changes, facilitated a transition away from the old practice—scripts were written exclusively by playwrights attached to a company—and the appearance of intellectual playwrights who were unrelated to kabuki.
Shōchiku Company Limited [松竹株式会社]
Authors: Fukushima Yoshiko 
Published: September 2018

Shōchiku Company Limited [松竹株式会社] is a Japanese entertainment gaint that owns theaters, film studios, production companies for motion pictures and theater, real estate, and other businesses such as music recording studios and publishing compaines.
In 1895 one of the founders of Shōchiku, Takejirō ōtani (1877–1969) became a theatrical promoter for Sakaiza. In 1900 ōtani purchased Sakaiza and renamed it Kabukiza and became a theatrical promoter for Tokiwaza. In 1902 ōtani and his twin brother Matsujirō Shirai (1877–1951) established a production company Matsu Take Partnership Corporation (renamed Shōchiku Company in 1937) and opened Meijiza (later Shōchikuza). By 1909 the company had purchased most of the major kabuki theaters in Kyoto and Osaka including Minamiza, Nakaza, and Asahiza. In 1909 the company purchased Bunrakuza and produced the first ningyo joruri [puppet theaters] performance. Following Shōchiku’s purchase and modernization of Shintomiza, the site of the Meiji era’s Theater Reform in 1911, the company began expanding its business in Tokyo. Ōtani was in charge of the company’s affairs in Tokyo while Shirai managed those in Kyoto and Osaka. In 1914 Tokyo’s Kabukiza fell under Shōchiku’s management, and by 1929 all kabuki actors had become affiliated with Shōchiku. Under the influence of Kawakami Otojirō creator of shinpa and Kawakami’s troupe actor Shizuma Kojirō, Shōchiku modernized the production system by establishing multiple ticket prices, abolishing the sale of food and drink in audience seating areas, shortening the length of productions, modernizing/Westernizing the theater building, and improving sanitary conditions in theaters.
Matsui, Sumako (1886–1919)
Authors: Zheng Guohe 
Published: September 2018

Matsui Sumako was the first superstar shingeki actress in Japan’s modernist theater movement.
Born Kobayashi Masako in Nagano Prefecture, she went to Tokyo at the age of sixteen. She became interested in theater following encouragement from her second husband. In 1909 she was admitted into Bungei Kyōkai’s newly launched Theater Academy. Hard work and a determination to become an actress enabled her, with only an elementary education, to survive the rigorous two-year co-educational program which used English-language original or translated scripts as textbooks. At the Theater Academy’s graduation presentation in May 1911, she debuted as Ophelia in Japan’s first full-length production of Hamlet in the recently opened Imperial Theater. The overwhelmingly positive reception of her role eliminated once and for all the need in shingeki for onnagata, the male impersonation of female roles. It was around this time that she adopted her professional name. Her role as Nora in A Doll’s House in September of that year at Bungei Kyōkai’s newly completed private theater was so successful that it was produced again two months later at the Imperial Theater, at the latter’s request. The success came from her superb natural and acquired skills to reveal the interior world of the roles she played, and which established her as the leading actress in modern Japanese theater.