Rubinstein was never given a chance to play Lasker for the world chess championship: he was unable to raise enough money to meet Lasker's financial demands. In the 1909 St. Petersburg tournament, he had tied with Lasker and won his individual encounter with him. However, he had a poor result at St. Petersburg tournament 1914, not reaching the final pool of five players. A match with Lasker was arranged for October 1914, but it never took place because of the outbreak of World War I.
After the war Rubinstein was still an elite grandmaster, but his results lacked their previous formidable consistency. Nevertheless, he won at Vienna in 1922, ahead of future world champion Alexander Alekhine, and was the leader of the Polish team that won the Chess Olympiad at Hamburg in 1930 with a superb record of thirteen wins and four draws. A year later he won an Olympic silver.
After 1932 he withdrew from tournament play, mostly because his symptoms of schizophrenia prevented normal life. He suffered from a fear of people and society. He lived then in a sanitorium, and later rejoined his family.
Rubinstein lived on for almost 30 years afterwards. He left behind no literary works (perhaps because of his mental problems), but a great heritage in his games. During World War II he was placed in an asylum. One account says that when the Nazis eventually arrived to haul the aged Jewish grandmaster from his asylum to the death camps, he was so patently insane that they abandoned the attempt.
He was one of the earliest chess players to take the endgame into account when choosing and playing the opening. He was exceptionally talented in the endgame, particularly in rook endings, where he broke new ground. Silman ranks him as one of the five best endgame players of all time, and a master of rook endgames.
He originated the Rubinstein System against the Tarrasch variation of the Queen's Gambit declined: 1.d4 d5 2.Nf3 c5 3.c4 e6 4.cxd5 exd5 5.Nc3 Nc6 6.g3 Nf6 7.Bg2 cxd4 8.Nxd4 Qb6 (Rubinstein - Tarrasch, 1912). He is also credited with inventing the Meran variation, which stems from the Slav defence.
Today, he certainly has no shortage of lines named for him. 1.d4 Nf6 2.c4 e6 3.Nc3 Bb4 4.e3. is the Rubinstein variation of the Nimzo-Indian defence.
The Rubinstein Trap, a trap in the Queen's Gambit declined is named after him because he fell into it twice. One version of the trap runs 1.d4 d5 2.c4 e6 3.Nc3 Nf6 4.cxd5 exd5 5.Bg5 Be7 6.e3 0-0 7.Nf3 Nbd7 8.Bd3 c6 10.0-0 Re8 11.Rc1 h6 12. Bf4 Nh5? 13. Nxd5! Now 13...cxd5?? is met by 14.Bc7, winning the queen, while 13...Nxf4 14.Nxf4 leaves White a pawn ahead.
The Rubinstein Memorial tournament in his honor has been held annually since 1963 in Polanica Zdroj, with a glittering list of top-flight winners.
Martín Chambi
Martín Chambi Jiménez was a photographer who came from the south of Peru. He was also known as Martín Chambi de Coaza. He was the only well known indigenous Latin American photographer of his time. He was born November 5, 1891 in Puno (a city in Peru) and died September 13, 1973 in the city of Cusco.
He is considered one of the great figures of American photography.
Chambi is famous for the historic and social value of his photographs. He was a portrait photographer in the cities and the countryside of the Peruvian Andes. He was the leading portrait photographer in the Andean city of Cusco. Chambi also took many landscape photographs, and he sold these photographs as postcards. He was one of the first to use the postcard format in Peru.
In 1979, MOMA in New York had a Chambi exhibition. The exhibition later moved to various locations. It inspired other international exhibitions of his work.
"It is wrong to focus too much on the "testimonial" (historical) value of his photos. They have that, indeed, but, in equal measure they express the "milieu" (society) in which he lived and they show (...) that when he was behind a camera, he became a giant, a true inventor, a force of invention, a recreator of life."
- Mario Vargas Llosa
"I've read that in Chile they think that the indigenous South American peoples have no culture, that they are not civilised, that they are intellectually and artistically inferior to European white peoples. The artworks are a graphic testament that is more eloquent than my own opinion, always. I hope that this testament will be examined fairly and objectively. I feel I am representing my race; my people will speak through the photographs."
- Martín Chambi, 1936
Martín Chambi was born in a poor Quechua family. He was born in one of the poorest parts of Peru, at the end of the nineteenth century. His father worked in a gold mine by the River Inambari. Martín sometimes went to work with his father too. He saw his first photographer there at the mine. Chambi learned the basic techniques from a photographer at the Santo Domingo Mine. This meeting fired his ambition.
Chambi tried to work as a professional photographer after this. He traveled to the city of Arequipa in 1908, where photography was more developed. Many professional photographers lived in Areqiupa. They had developed individual photographic styles and professional techniques.
Chambi was an apprentice in the studio of Max T. Vargas. After nine years he created his own studio in Sicuani in 1917. He published his first postcards in November 1917.
In 1923 he moved to Cusco and opened a studio there. In Cusco he photographed rich society people and poor indigenous people. During his career, Chambi also travelled all over the Andes. He photographed the landscapes, Inca ruins, and local people. Chambi was with the American explorer Hiram Bingham when Bingham "discovered" Machu Picchu, the great Inca monument.
1891 - Born in Coaza, Puno (Peru) to a Quechua-speaking indigenous family.
1905 - Father dies. Travels to the banks of the Inambari to work in the gold mines, meets photographers working at the Santo Domingo Mine owned by the Inca Mining Co.
1908 - Apprentice in the photographic studio of Max T. Vargas, in Arequipa.
1917 - Opens his first photographic studio in Sicuani, Puno.
1920 - Establishes himself in the city of Cusco, photographing in an artistic "painterly" style that he learned in Arequipa.
1927 - Beginning of his mature photographic style.
1938 - Opens studio gallery.
1950 - Cusco earthquake. End of the "Cusco School". After this, he gradually stops working actively as a photographer.
1958 - Exhibition in his honor after 50 years of his photography career.
1964 - Chambi Exhibition en Mexico ("Primera Convención de la Federación Internacional de Arte Fotográfico")
1973 - Chambi dies in Cusco, in his old studio on Calle Marqués.
1976 - Chambi is the subject of a video documentary, El arte fotográfico de Martín Chambi, by José Carlos Huayhuaca.
1977 - Chambi's photographs are archived and restored for the first time, financed by the Earthwatch Foundation (Belmont, Massachusetts). This marks the beginning of international fame.
1979 - Retrospective exhibition at MOMA in New York City.
1981 - Latin American photography exhibition in Zurich.
1986 - BBC Arena film "Martín Chambi and The Heirs of the Incas" is shown worldwide.
1990 - Exhibition dedicated to Chambi at the Círculo de Bellas Artes in Madrid. A book of his work is published to honor the exhibition.
Martín Chambi, Photographs 1920-1950 (Smithsonian Institution Press 1993)
Martín Chambi and the Heirs of the Incas
Kia Venga
The Kia Venga is a car produced by Kia since 2009. It is based on the Hyundai i20 and Kia Soul's platform.
The Venga is available with 1.4 and 1.6 litre petrol engines with 66 kW/90 hp and 92 kW/125 hp respectively, a 1.4 litre turbo diesel engine in 55 kW/75 hp and 66 kW/90 hp versions, and a 1.6 litre turbo diesel engine in 85 kW/115 hp and 94 kW/128 hp versions.
Reception history of Jane Austen