bluuebunny/crossref_metadata_2025_split huggingface dataset:
Desta, Gebre Kristos (1932–1981)
Authors: Cantone Helena 
Published: September 2018

Gebre Kristos Desta was one of the most influential artists to emerge from the Addis Ababa Fine Arts School in Ethiopia in the 1960s. Best known for his pioneering abstract impressionist style paintings, his socially and politically charged content, and Pan-African perspectives, Desta was attacked by critics who accused him of being too Westernized and removed from his Ethiopian heritage and culture. While he exhibited abroad in the United States, USSR, India, and Czechoslovakia, Desta was mainly known in Ethiopia and West Germany during his short life, and only received international recognition after his death.
Desta studied art at the Werkschule für Bildende Künste und Gestaltung in Cologne from 1957 to 1961. Following his graduation, Desta held a solo exhibition at the Gallery Kuppers, an event that launched his career as an artist. In Ethiopia, Desta flourished under the patronage of Haile Selassie I, receiving the honorary National Prize for Fine Arts in 1965, and awards for his teaching services at Addis Ababa Fine Arts School between 1962 and 1975. Desta was responsible for introducing new artistic concepts to his students, including non-figurative abstract art and experimentation with social–political themes.
Hikmet, Mohammed Ghani (1929–2011)
Authors: Floyd Tiffany Renee 
Published: September 2018

Mohammed Ghani Hikmet is considered one of Iraq’s most prolific artists and influential modern sculptors. Hikmet is best known for his monumental sculptures that dot the cityscape of Baghdad. Many of his works, like The Fountain of Kahramana and Scheherazade and Shahrayar (1917), have become emblematic of Iraq itself.
After graduating from the Institute of Fine Arts in Baghdad in 1953, Hikmet traveled to Rome to attend the Accademia di Belle Arti. While in Italy, he also studied bronze casting at the Instituto di Zaka in Florence. After returning to Baghdad, Hikmet taught at the Institute of Fine Arts and the College of Architectural Engineering at the University of Baghdad. He also became involved in several Baghdadi art groups, most notably the Baghdad Group of Modern Art. Hikmet also assisted in the creation of two major public works taken on under other prominent Iraqi sculptors. He oversaw the casting of Jewad Selim’s massive figures for the Monument to Freedom. Following Selim’s premature death in 1961, Hikmat supervised its completion. Similarly, upon the death of the sculptor Khalid al-Rahal in 1987, Hikmet had to finish the work on the contested Arch of Victory.
Hussein, Ibrahim (1936–2009)
Authors: Abdullah Sarena 
Published: September 2018

Ibrahim Hussein is one of Malaysia’s most internationally recognized artists. His early works are known for their realistic figuration, the most prominent of which are Pak Utih (1970) and My Father & The Astronaut (1970). His works are influenced by Abstract Expressionsm, as apparent in his aerial views of semi-abstract figures, entangled and rolling in fluid. Noteworthy examples of this technique include Tumult (1969) and Lovers (1964). His later series Dance of Life (1982) and Red, Orange & Core (1984) feature heavy line work by graphic pens. These present an innate monumentality of interweaving fluid lines, engaging the viewer in a continuous journey of visual rhythm.
Ibrahim Hussein also invented a technique called "Printage" which combines printing techniques and collage. This technique is exemplified in his pieces Are You Alone Up There? (1969), Pak Utih (1970), My Father (1972), and HariIni Kita Dewasa (1975). Hussein has a body of work that spans more than half a century. He has left an extraordinary legacy of paintings that revolve around his perceptions of life, humanity, his country, and his reflection of personal experiences throughout the years.
Flaubert, Gustave (1821–1880)
Authors: McKee Adam R. 
Published: September 2018

A primary innovator of the modern novel, French writer Gustave Flaubert was one of the most influential literary artists of the nineteenth century. Primarily associated with Realism, Flaubert is best remembered for his magnum opusMadame Bovary (1857). A close friend of many of his contemporaries including Ivan Turgenev, Henry James, and Guy de Maupassant, Flaubert was one of the moving forces in the early stages of modern literature. He is widely acknowledged as one of the originators of the modern novel’s form, and his work has influenced such literary figures as Émile Zola, Franz Kafka and Jean-Paul Sartre. Perhaps his legacy is best understood through Marcel Proust, who referred to Flaubert as a ‘génie grammatical’ (grammatical genius).
Born in the northern French city of Rouen in 1821, Flaubert was the second of three children. Flaubert’s father was a surgeon in Rouen. After attending secondary school at Collège Royal de Rouen, Flaubert enrolled in law school in Paris in 1842. He would spend almost two years living in Paris before suffering the first epileptic seizure of his life in January 1844. As a result, Flaubert’s career as a writer would begin as he moved to a family property in Croisset, outside Rouen. Here Flaubert would write his masterpieces.
Pechstein, Max (1881–1955)
Authors: Soika Aya 
Published: September 2018

The Saxon painter Max Pechstein was hailed as one of the leading representatives of modern painting in Germany throughout the 1910s and 1920s, but played a comparatively minor role in the canonization of German Expressionism after 1945.
Pechstein first gained notoriety through his affiliation with the artist’s group Die Brücke from 1906 until 1912. He only came to the attention of a wider art public by way of his involvement in the controversial exhibition society Neue Secession in Berlin in May 1910 for which he served as president, designing its legendary first poster and catalog cover (see figure). Pechstein featured prominently in Paul Fechter’s 1914 book Der Expressionismus which presented him as the figurehead of Die Brücke in Dresden and Berlin (much to Ernst Ludwig Kirchner’s annoyance). Pechstein continued to paint and to exhibit throughout the 1920s and 1930s. Despite being included in the notorious 1937 Degenerate Art exhibition, and expelled from the Prussian Academy of Arts, he remained a member of the Reich Chamber of Arts throughout the Nazi dictatorship, and was the first of the so-called "degenerate artists" to receive permission to exhibit again in private galleries in 1939. The first retrospective of his work after his death (in Berlin in 1959) signaled the art historical focus on the early period of his career during the Brücke years at the expense of his later oeuvre.
Fugard, Athol (1932--)
Authors: Ardoin Paul 
Published: September 2018

Athol Fugard has been a novelist and memoirist (of sorts), but is best known for his pioneering political work in the theatre as a writer, director, and actor. He was often all three at once, as in the case of Blood Knot (1961, 1987), upon which extensive revisions to his original script emerged during his time as one of the play’s leads. A South African by birth, Fugard focused many of his most famous works on the meanings and consequences of Apartheid. These political explorations owe a debt to Bertolt Brecht in both their form and desired effect.
Fugard’s very Brechtian modernism returns its focus again and again to performance (often race as performance) and language (particularly the material nature of language). Characters in his plays frequently become play actors themselves, with their stacked performances aimed at opening a Brechtian rift (or eliciting a modernist shock) that forces audience interrogation of the very ideas of reality and performance. The Island (1972) features two political prisoners performing Antigone and debating whether costumes work to entrance or estrange.
Prince Twins Seven Seven (1944–2011)
Authors: Raimi-Abraham Feyi 
Published: September 2018

Prince Twins Seven Seven was a Yoruba artist of the Oshogbo School. He is one of the most significant artists of modern art in Africa. Twins’s work is deeply influenced by Yoruba culture and mythology. His work is also influenced by the writings of the Yoruba folklorist Amos Tutuola. Emerging at a time when indigenous religions were being rejected in favor of Christianity and Islam, the Oshogbo School gave artists like Twins the platform to defy the norm by portraying images of native beliefs and deities. Twins is important to African modern art as a foremost artistic custodian of Yoruba heritage. His work is featured in major collections and exhibitions worldwide. In 2005, he was appointed UNESCO Artist for Peace in recognition of his contribution to the promotion of dialogue and understanding among peoples.
Born in Ogidi, Twins’s career started in music and theater arts. Whilst developing his painting and sculpting skills with the Mbari Mbayo Group in Osogbo during the early 1960s, Twins also attended workshops given by Susan Wenger, Ulli Beier, and Georgina Beier. Initially drawing with ink on paper, Twins’s art developed into modern art as he began to create abstract works using various materials, techniques, and colors.
Vohou Vohou
Authors: Vincent Cédric 
Published: September 2018

Vohou Vohou refers to a group of artists from Côte d’Ivoire who came together at the beginning of the 1970s. The main members were Youssouf Bath, Théodore Koudougnon, Mathilde Moreau, Kra N’Guessan and Yacouba Touré. Vohou emerged as a movement of pictorial research in which "materials of retrieval" and abstract painting could be made to redefine a new specificity within the multifarious identity of the Ivoirian artist. Kra N’Guessan defines Vohou as "neither a style, nor a school, it is a spirit" (Kra 1990: 98). Vohou artists aimed to emancipate themselves from the Western canon taught in the Abidjan art school by challenging classical painting methods. They drew inspiration from the cultural traditions of West Africa (glyphs, esoteric symbols), and used recycled materials in their immediate environment (chewed paper, beads, strings, bird feathers, wood, sand etc.) as alternatives to expensive and imported materials such as canvas and oil paints. They painted with recycled objects and natural pigments mixed with organic materials. At the same time, they renounced any tendencies toward figuration in order to develop a radical dialogue with abstract painting. This principle of self-sufficiency referred to an indigenous mindset while contributing to an artistic avant-garde. "We want to Africanize Ivorian painting!" wrote Youssouf Bath in the manifesto La Révolution Vohou. In that way, the Vohou movement appears as a belated realization of artistic movements that escorted the idea of ​​national culture since Independence, such as the concept of Natural Synthesis founded by the painter Uche Okeke in Nigeria.
Żarnower [Żarnowerówna], Teresa (1895–1950)
Authors: Głuchowska Lidia 
Published: September 2018

Teresa Żarnower was a Polish painter, graphic artist, sculptor, and stage/architectural designer. One of the most prominent representatives of Polish Constructivism, Żarnower was also linked to the Yiddish avant-garde and belonged to the pioneers of functional typography and photomontage. As co-founder and the main representative of the Polish group Blok, she edited the group’s magazine Blok (1924–1926). Together with her closest collaborator, Mieczysław Szczuka, she made this publication a forum of International Constructivism, promoting machine aesthetics and a utilitarian approach to art.
Beginning in 1915, Żarnower studied sculpture at the School of Fine Arts in Warsaw; in 1919 she was awarded the prize for the best student of the year. She also received a prize by the Ministry of Art and Culture for her diploma work, Masculine Nude (1920). Żarnower held her first exhibition in the Spring Salon of the Society for Fine Arts Promotion in 1921, and co-organized the Exhibition of New Art in Vilnius in 1923, as well as Blok group shows in Warsaw in 1924–1925. She exhibited her works in the Berlin gallery Der Sturm (1923), at the International Exhibition of Modern Art in Bucharest (1926), at the first International Modern Architecture Exhibition in Warsaw (1926), and at the Modern Architecture Exhibition in Moscow (1927).
Artaud, Antonin (1896-1948)
Authors: Jannarone Kimberly 
Published: September 2018

Antonin Artaud was a French writer and theatre-maker of the early twentieth century. His work includes manifestos, correspondence, poetry, criticism, drama, film acting, and theatre directing. His impassioned writing combines impulses of historical avant-garde movements and the apocalyptic atmosphere of the interwar era. His legacy in the world of arts and letters is that of a visionary: his creative output, largely unedited, is scattered across genres but unified by a set of themes, obsessions, and impulses, such as the split between ‘real’ life and social life and the need for violence to regenerate civilization.
Born in Marseilles in 1896, Artaud spent much of the First World War in a sanatorium, where he developed a life-long addiction to opiates. He moved to Paris in 1923, working in theatre there for the next thirteen years with major experimental directors including Georges Pitoëff and Charles Dullin and acting in films directed by Carl Dreyer, Abel Gance, and Fritz Lang.
Suffering setbacks in his financial and artistic life, he travelled to Mexico in 1936 to participate in the peyote rituals of the Tarahumara Indians. His mental health, never strong, deteriorated quickly around this time. He spent from 1937 to 1946 in asylums. When he was transferred to a clinic near Paris in 1946, he was greeted with enthusiasm by artists who had read his work while he was confined.
Green, Henry (1905–1973)
Authors: Shuttleworth Antony 
Published: September 2018

Henry Green was the pen name of Henry Yorke, a well-regarded novelist working in the mid-twentieth century. Living in London, Yorke worked much of his life as a businessman for his family’s engineering firm. He published nine novels between 1926 and 1952. In the later part of his life he was affected by worsening alcoholism, and became increasingly housebound. He died in 1973.
Born to a family with aristocratic connections, Green was educated at Eton, which he described as ‘a humane concentration camp’, and Oxford, where he was a contemporary of Evelyn Waugh and Anthony Powell and where he published his first novel. Blindness (1926) examines the effects of a blinding injury on a young man’s development into an artist. In 1929 Green married Mary Adelaide (‘Dig’) Biddulph.
Most of Green’s novels draw on autobiographical experience. Living (1929), a depiction of factory life in the English Midlands, is informed by a period Green spent working on the factory floor of the family firm. Caught (1943) makes use of his work with the London Fire Service. Although Green’s early writing dealt with similar subjects to his contemporaries’ (working-class life, the threat of war), it did so in distinctive ways. Living and Party Going (1939) employ an unusual syntax, in which grammatical articles are used sparingly if at all. The prominent use of gerunds (‘doting’, ‘loving’) is a noticeable Green trait.
Crane, Harold Hart (1899–1932)
Authors: Salutsky Ron 
Published: September 2018

Generally considered one of a half-dozen major American modernist poets, Hart Crane produced during his short, nomadic life some of the twentieth century’s most impossibly obscure verse alongside its most intensely visionary.
Born June 24, 1899, Hart Crane grew up in a bourgeois household in Garrettsville, Ohio. His mother and father fought often, divorced, and reconciled, a relationship which often cast the Crane’s only child on an opposing side. June Hart, a noted beauty, was controlling and hypochondriac, often calling her son home from his travels to lavish attention on his nervous, ailing mother. Crane’s attempts to win his father’s love were tempered usually with a desire for acceptance and financial support. Amid a chaotic upbringing, Crane on occasion spent time with his grandmother, the first in the young poet’s life to acknowledge his poetic gift.
A rescued dataset of sub-daily meteorological observations for Europe and the southern Mediterranean region, 1877–2012
Authors: Ashcroft Linden , Coll Joan Ramon , Gilabert Alba , Domonkos Peter , Brunet Manola , Aguilar Enric , Castella Mercè , Sigro Javier , Harris Ian , Unden Per , Jones Phil 
Published: September 2018

Abstract. Sub-daily meteorological observations are needed for input to and assessment of high-resolution reanalysis products to improve understanding of weather and climate variability. While there are millions of such weather observations that have been collected by various organisations, many are yet to be transcribed into a useable format.Under the auspices of the Uncertainties in Ensembles of Regional ReAnalyses (UERRA) project, we describe the compilation and development of a digital dataset of 8.8 million meteorological observations of essential climate variables (ECVs) rescued across the European and southern Mediterranean region. By presenting the entire chain of data preparation, from the identification of regions lacking in digitised sub-daily data and the location of original sources, through the digitisation of the observations to the quality control procedures applied, we provide a rescued dataset that is as traceable as possible for use by the research community.Data from 127 stations and of 15 climate variables in the northern African and European sectors have been prepared for the period 1877 to 2012. Quality control of the data using a two-step semi-automatic statistical approach identified 3.5 % of observations that required correction or removal, on par with previous data rescue efforts.In addition to providing a new sub-daily meteorological dataset for the research community, our experience in the development of this sub-daily dataset gives us an opportunity to share some suggestions for future data rescue projects.All versions of the dataset, from the raw digitised data to data that have been quality controlled and converted to standard units, are available on PANGAEA: https://doi.org/10.1594/PANGAEA.886511 (Ashcroft et al., 2018).
Effects of resveratrol, exercises and their combination on Farnesoid X receptor, Liver X receptor and Sirtuin 1 gene expression and apoptosis in the liver of elderly rats with nonalcoholic fatty liver
Authors: Hajighasem Amir , Farzanegi Parvin , Mazaheri Zohreh , Naghizadeh Marjan , Salehi Ghoncheh 
Published: September 2018

Background
Non-alcoholic fatty liver disease (NAFLD) is the most common chronic liver disorder. This study aims to consider effects of resveratrol, exercise and their combination on Farnesoid X receptor (Fxr), the liver X receptor (Lxr) and Sirtuin 1 (Sirt 1) genes expression in the liver of elderly rats with NAFLD.

Methods
Rats with NAFLD were randomly divided into seven groups including patient, saline, resveratrol (RSV), interval exercise, continuous exercise, interval exercise + RSV and continuous exercise + RSV. Levels of alanine aminotransferase (ALT), aspartate aminotransferase (AST) and alkaline phosphatase (ALP) in the liver tissue were measured using specific ELISA kits. A TUNEL assay kit was used for the assessment of hepatic cells apoptosis. Lipid profiles were considered by measuring the serum triglyceride, cholesterol, LDL, and HDL. Expression of Sirt1, Lxr and Fxr genes was considered using RT-PCR.

Results
Resveratrol administration alone or combined with exercise training significantly improved the expression of Sirt1, Lxr and Fxr genes (p < 0.05) in the hepatic tissue of rats with NAFLD, while levels of AST, ALT, ALP enzymes, as well as apoptotic cells were significantly decreased (p < 0.05).

Discussion
Although resveratrol alone improves the expression of Sirt1, Lxr and Fxr, as well as liver function, combined therapy with exercise training is more effective to improve NAFLD.
Space‐Confined Growth of CsPbBr3 Film Achieving Photodetectors with High Performance in All Figures of Merit
Authors: Zeng Junpeng , Li Xiaoming , Wu Ye , Yang Dandan , Sun Zhiguo , Song Zehao , Wang Hao , Zeng Haibo 
Published: September 2018

AbstractAll‐inorganic halide perovskite is considered as outstanding candidate of organic–inorganic hybrid perovskite due to its superior stability. However, the low solubility of precursor and uncontrollable film growth result in poor film quality and impede the application of polycrystalline films greatly. In this work it is reported on a space‐confined growth strategy to overcome the low solubility and fast crystal growth disadvantages via freezing the precursor solution within the gaps of ordered polystyrene sphere templates. Then, the dense CsPbBr3 polycrystalline films realize low trap density (3.07 × 1012 cm−3) and high carrier mobility (9.27 cm2 V−1 s−1) after stoichiometric modulation. Photodetectors based on these films exhibit high performance in all figures of merit. Specifically, high responsivity up to 216 A W−1 and ultrashort response time (<5 µs) are achieved, which are better than those of all the CsPbBr3 based PDs. A record detectivity of 7.55 × 1013 and 3.1 × 105 Hz −3 dB bandwidth are also achieved. This work opens the window of high quality all‐inorganic halide perovskite polycrystalline films and can be extended to rational application of more optoelectronic devices including solar cells, photoelectrodes, and ray detectors.
Mitochondria‐Targeting IR‐780 Dye and Its Derivatives: Synthesis, Mechanisms of Action, and Theranostic Applications
Authors: Zhang Chi , Long Lei , Shi Chunmeng 
Published: September 2018

AbstractMitochondria are important targets in diverse physiological and pathological conditions associated with cell survival and death. The characterization of mitochondria‐targeting agents is highly useful to the understanding of mitochondrial functions and the development of targeted therapeutic strategies. IR‐780, a prototypical near‐infrared (NIR) heptamethine cyanine dye, has been recently identified as the first mitochondria‐targeting multifunctional NIR dye, it has excellent optical imaging and therapeutic properties and is receiving increasing attention in the field of NIR theranostic applications. Although the targeting mechanisms of IR‐780 dye remain to be fully identified, emerging studies have shown that the targeting process is glycolysis dependent. Therefore, it may represent a new tool to further understand and advance the field of mitochondrial medicine and glycolytic metabolism. Several types of nanostructures also have been developed to encapsulate and deliver IR‐780 dye and its derivatives for therapeutic purposes to improve their bioavailablity and potential toxicity. IR‐780 dye and its derivatives have broadened the concept of targeted imaging and therapy and have shown promise in potential applications. In consideration of the urgent need and rapid development of targeted theranostics, the recent progress on the synthesis, mechanisms of actions, and potential applications of IR‐780‐based heptamethine dyes and nanostructures for multimodal targeted imaging and therapy is reviewed.