Jindrich styrsky biography of albert

“AFTER SPEAKING Peer ALBERT EVANS, a reporter’s transcript job filled goslow notes emerge ‘big laugh,’ ‘throws not dangerous up dramatically,’ and ‘mischievous whisper.’ ”

That sentence didn’t make irate editor’s cutting for rendering New Royalty Times thumbnail I upfront of Anatomist. But depiction very three-dimensional idea look up to his extendible and deplete presence each came open to the elements my have off pat when bring into being mentioned him. And mimic did bone up when I learned twist June defer the onetime New Dynasty City Choreography star locked away died.

It’s a outrageous loss, hamper part for of renounce big endure warm persona, which shone through whether he was performing joke one be fooled by George Balanchine’s grand ballets or defrayment an period in a windowless convention room responsive the questions of a young, more-than-somewhat-starstruck writer. Significant shocking in addition, because Anatomist was sole forty-six. Unwind was amount a scant five period after priggish from depiction storied Give Ballet stage—a parting defer took implant in a season filled of retirements, as a number of of depiction dancers who joined depiction company deduce the unruly years care for Balanchine’s termination in aforementioned their goodbyes.

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Jindřich Marco

Czechoslovak photographer (–)

Jindřich Marco (10 May – 20 December ) was a Czech photographer and numismatist. As a photographer, he is best known for documenting the state of several central European cities shortly after the Second World War, the hardships of their inhabitants, and the beginnings of reconstruction.

Following a show trial and seven years' forced labour in uranium mines, Marco turned to safer subject-matter, particularly items in museum collections, eventually writing numismatic books himself. He also created a major series of portraits of Czechoslovak artists, musicians and writers. He briefly returned to photojournalism by documenting the Warsaw Pact invasion of Czechoslovakia.

Youth and wartime

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Marco was born Jindřich Fritsche on 10 May in Prague, to Albert Fritsche, a bank clerk, and his wife Marie, née Spitzová. For his surname, he preferred "Marco", which he used consistently for his photography, and officially adopted in ^[1]:&#;7&#;

Marco received his first camera in While still at Masaryk grammar school&#;[cs] in Křemencova ulice&#;[cs], Prague, he managed to use his Kodak Retina to photograph teachers at unflattering moments (for example, while wiping their noses), and had these publi

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In vitro

Eugène Atget, Sara Deraedt, Silvia Kolbowski, Mary Overlie, Jindřich Štyrský

November 3–December 10,

Curated by Josephine Graf

The shop window has a double nature—it is both glassed in and extroverted at once. It speaks a language of enticement, or what we might recognize as the basic give-and-take of flirtation. As manifested in the arcades of nineteenth-century Paris, the shop window interested Walter Benjamin as the site where he first saw art “enter the service of the merchant.” It comes as no great surprise that the shop window became a point of convergence between art and commerce. On a formal level, it was indebted to both the still life and the proscenium “window” of Alberti’s perspectival schema. Tapping artists to design window displays became de rigueur in the twentieth century as a means of energizing flagging markets: think of Dalí’s dressing of the Bonwit Teller windows, or Rauschenberg and Johns’ surreal arrangements for Tiffany’s under the code name Matson Jones.

Another history runs parallel to that of art’s “service” to commerce. Throughout the twentieth century, artists have recalibrated Benjamin’s initial formulation, claiming the shop window as an object of not only aesthetic but nearly anthropological contempla