❤️ Stuart Davis (painter) 🐒

"Stuart Davis (December 7, 1892 – June 24, 1964), was an early American modernist painter. He was well known for his jazz-influenced, proto-pop art paintings of the 1940s and 1950s, bold, brash, and colorful, as well as his Ashcan School pictures in the early years of the 20th century. With the belief that his work could influence the sociopolitical environment of America, Davis' political message was apparent in all of his pieces from the most abstract to the clearest.Patterson, J. (2009). Stuart Davis's painting and politics in the 1930s. The Burlington Magazine, 151465–468. Contrary to most modernist artists, Davis was aware of his political objectives and allegiances and did not waver in loyalty via artwork during the course of his career. By the 1930s, Davis was already a famous American painter, but that did not save him from feeling the negative effects of the Great Depression, which led to his being one of the first artists to apply for the Federal Art Project. Under the project, Davis created some seemingly Marxist works; however, he was too independent to fully support Marxist ideals and philosophies. Despite several works that appear to reflect the class struggle, Davis' roots in American optimism is apparent throughout his lifetime. Life and career Stuart Davis was born on December 7, 1892, in Philadelphia to Edward Wyatt Davis, art editor of The Philadelphia Press, and Helen Stuart Davis, sculptor.Passantino, p 441 Starting in 1909, Davis began his formal art training under Robert Henri, the leader of the Ashcan School, at the Robert Henri School of Art in New York under 1912.Cooper, Philip. Cubism. London: Phaidon, 1995, p. 120. During this time, Davis befriended painters John Sloan, Glenn Coleman and Henry Glintenkamp. In 1913, Davis was one of the youngest painters to exhibit in the Armory Show, where he displayed five watercolor paintings in the Ashcan school style.Cécile Whiting, "Stuart Davis", Oxford Art Online In the show, Davis was exposed to the works of a number of artists including Vincent van Gogh, Henri Matisse, and Pablo Picasso. Davis became a committed "modern" artist and a major exponent of cubism and modernism in America. He spent summers painting in Gloucester, Massachusetts, and made painting trips to Havana in 1918 and New Mexico in 1923. After spending several years emulating artists in the Armory Show, Davis started moving toward a signature style with his 1919 Self-Portrait, in the collection of the Amon Carter Museum of American Art. In the 1920s he began his development into his mature style; painting abstract still lifes and landscapes. His use of contemporary subject matter such as cigarette packages and spark plug advertisements suggests a proto-pop art element to his work. Among Davis' practices was his use of previous paintings. Elements of harbor scenes he painted in Gloucester, Massachusetts can be found in a number of subsequent works. Another practice was painting series, works with similar structures, but with altered colors or added geometric embellishments, essentially creating variations on a theme. Some commentators suggest that this aspect of his work parallels his love of jazz in which a basic chord structure is improvised upon by the musicians. In 1928, he visited Paris, France for a year, where he painted street scenes. In 1929, while in Paris, he married his American girlfriend, Bessie Chosak. In the 1930s, he became increasingly politically engaged; according to Cécile Whiting, Davis' goal was to "reconcile abstract art with Marxism and modern industrial society". In 1934 he joined the Artists' Union; he was later elected its President. In 1936 the American Artists' Congress elected him National Secretary. He painted murals for Federal Art Project of the Works Progress Administration that are influenced by his love of jazz. US postage stamp of 1964 featuring 'Detail Study for Cliche' by Stuart Davis In 1932 Davis was devastated by the loss of his wife, Bessie Chosak Davis who died after complications from a botched abortion. Also in 1932 Davis executed a mural commission for Radio City Music Hall which the Rockefeller Center Art Committee named "Men Without Women" (after Ernest Hemingway's second collection of short stories completed the same year). According to Hilton Kramer in a 1975 piece on the work in the New York Times the artist was happy neither with the location in which the mural was placed or the title it was givenKramer, Hilton. (April 13, 1975). Art view. The New York Times. https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/ In 1938, Davis married Roselle Springer and spent his late life teaching at the New York School for Social Research and at Yale University. From 1945–1951, Davis worked on The Mellow Pad, an abstract work inspired by jazz music. In 1947–52, two works by Stuart Davis, For internal use only (1945) and Composition (1863) (c. 1930) were featured in the Painting toward architecture crossover art and design exhibition, in 28 venues.Preece, R. J. (July / August 2017). Rethinking Painting toward architecture (1947–52). Sculpture magazine / artdesigncafe. Retrieved March 22, 2020. He was represented by Edith Gregor Halpert at the Downtown Gallery in New York City. One of his last paintings, Blips and Ifs, created between 1963 and 1964, is in the collection of the Amon Carter Museum of American Art. The US Post Office in 1964 issued a stamp featuring 'Detail Study for Cliche' by Davis. Davis died of a stroke in New York on June 24, 1964, aged 71. Style Davis' interactions with European modernist works in 1913 had a significant impact on his growth as an artist. The realist Robert Henri had trained Davis to paint in a realist fashion since Davis' youth, however Davis' excursion with European modernists caused him to raise the modernist flag instead. Stuart Davis did not switch to modernism out of spite for Henri, but rather out of appreciation for the many forms of art that exist. The love and adoption of European modernism morphed into political and social isolationism that was a staple of American [...] in the 1920s and 1930s. Davis never joined an art group during the 1920s and became the sole author of Cubism which used abstract colors and shapes to show various dynamics of the American cultural and political environment. From 1915 to 1919, Davis spent summers in Massachusetts where his art work had intense color palettes paired with simple designs, trademarks of several artists that Davis admired at the Armory Show. The early 1920s saw many American artists abandon modern art, but Davis continued to try to discover ways to implement his knowledge of shapes and colors into his art work. By the end of the 1920s, Davis had done more work and research into Cubism and its various levels of sophistication than any other American artist at the time. During the 1930s and 1940s, Davis attempted to make is work with Cubism altered and more original. While working on several murals for the Federal Art Project, Davis tried to find alternatives to traditional Cubist structure. The emergence of Abstract Expressionism in the 1940s made some question whether Davis was still the greatest modernist in the country; however, this test did not shake his resolve as he continued to develop his own painting style. Mentors Davis was first professionally trained by Robert Henri, an American realist. Henri began teaching Davis in 1909. Henri did not look highly upon American art institutions at the time, which led to him joining John Sloan and six other anti-institutional artists (known as "the Eight") to put on an exhibit at the Macbeth Gallery in 1908. Through his vocal rejection of academic norms in painting, Henri encouraged Davis and his other students to find new forms and ways to express their art and to draw on their daily lives for inspiration. Inspirations Davis was born during the Progressive Era, a time when America had a growing sense of optimism about itself as a nation through its technologies and management in the material and social realm. Through this, Davis had a great sense of pride in being American and led to him creating several works centered on a "Great America". After his training from Henri, Davis would walk around the streets of New York City for inspiration for his works. His time amongst the public caused him to develop a strong social conscience which was strengthened through his friendship with John Sloan, another anti-institutional artist. Additionally, Davis frequented the 1913 Armory Show (in which he exhibited his work), to further educate himself on modernism and its evolving trends. Davis acquired an appreciation and knowledge on how to implement the formal and color advancements of European modernism, something Henri did not focus on, to his art. In 1925, the Société Anonyme put on an exhibit in New York with several pieces by the French artist Fernand Léger. Davis had a large amount of respect for Léger because like Davis, Léger sought the utmost formal clarity in his work. Davis also appreciated Léger's work for the subject matter: storefronts, billboard and other man-made objects. In the early 1930s after returning from a trip to Europe to visit several art studios, Davis was re-energized in his identity in his specific work. Previously, he saw Europe as a place bursting at the seams with talented artists, but now he felt as if he was of the same caliber if not greater than his European counterparts. According to Davis, his trip "allowed me to observe the enormous vitality of the American atmosphere as compared to Europe and made me regard the necessity of working in New York as a positive advantage." Quotes "The act of painting is not a duplication of experience, but the extension of experience on the plane of formal invention." "[Modern art] is a reflection of the positive progressive fact of modern industrial technology." "I don't want people to copy Matisse or Picasso, although it is entirely proper to admit their influence. I don't make paintings like theirs. I make paintings like mine." "It was amber." Public collections Among the public collections holding work by Stuart Davis are: *Addison Gallery of American Art (Andover, Massachusetts) *Amon Carter Museum of American Art (Texas) *Art Gallery of the University of Rochester (New York) *Art Institute of Chicago *Block Museum of Art (Northwestern University, Illinois) *Brooklyn Museum (New York City) *Carnegie Museums of Pittsburgh (Pittsburgh, Pennsylvania) *Cleveland Museum of Art *Crystal Bridges Museum of American Art (Arkansas) *Currier Museum of Art (New Hampshire) *Dallas Museum of Art (Texas) *Dayton Art Institute (Ohio) *Fine Arts Museums of San Francisco *Robert Hull Fleming Museum (University of Vermont) *Fred Jones Jr. Museum of Art (University of Oklahoma) *Harvard University Art Museums *Hirshhorn Museum and Sculpture Garden (Washington, D.C.) *Honolulu Museum of Art *the Hyde Collection (Glens Falls, New York) *Indiana University Art Museum (Bloomington, Indiana) *Johnson Museum of Art (Cornell University, Ithaca, New York) *Krannert Art Museum (University of Illinois at Urbana- Champaign, Champaign, Illinois) *Kemper Museum of Contemporary Art (Kansas City, Missouri) *Maier Museum of Art (Randolph-Macon Woman's College, Virginia) *Metropolitan Museum of Art *Montclair Art Museum (New Jersey) *Museum of Fine Arts, Houston (Texas) *Museum of Modern Art (New York City) *National Gallery of Australia (Canberra) *National Portrait Gallery (Washington, D.C.) *Nelson-Atkins Museum of Art (Kansas City, Missouri) *Nevada Museum of Art *Norton Museum of Art (West Palm Beach, Florida) *Oklahoma City Museum of Art (Oklahoma) *Orange County Museum of Art (Newport Beach, California) *Palazzo Ruspoli (Rome) *Pennsylvania Academy of the Fine Arts (Philadelphia) *The Phillips Collection (Washington, D.C.) *Pierpont Morgan Library (New York City) *Pomona College Museum of Art (California) *Portland Museum of Art (Maine) *San Diego Museum of Art (California) *Sheldon Art Gallery (Lincoln, Nebraska) *Smithsonian American Art Museum (Washington, D.C.) *Springfield Museum of Art (Ohio) *Tacoma Art Museum (Washington) *Thyssen-Bornemisza Museum (Madrid) *U.S. Library of Congress (Washington, D.C.) *University of Kentucky Art Museum *Virginia Museum of Fine Arts (Richmond) *Wadsworth Atheneum (Hartford) *Walker Art Center (Minnesota) *Westmoreland Museum of American Art (Greensburg, Pennsylvania) *Whitney Museum of American Art (New York City) *Yale University Art Gallery (Connecticut) Selected works Image:Davis_garage_no_1.jpgGarage No. 1, 1917, Hirshhorn Museum and Sculpture Garden, Washington, DC. Image:Davis_Stuart_Tree_and_Urn_1921.jpgTree and Urn, 1921, 30 x 19 inches Image:Davis_Stuart_Lucky_Strike_1921.jpgLucky Strike, 1921, Museum of Modern Art, New York City Image:Davis steeple street.jpgSteeple and Street, 1922, Hirshhorn Museum and Sculpture Garden, Washington, DC. File:Brooklyn Museum - The Mellow Pad - Stuart Davis.jpgThe Mellow Pad, 1945–1951, Brooklyn Museum, Brooklyn See also *Precisionism *The Masses *Liberator *New Masses References and sources ;References ;Sources * 2007 – Stuart Davis: A Catalogue Raisonné (3 volumes) by William Agee (Editor), Karen Wilkin, (Editor), Ani Boyajian, Mark Rutkoski () * *Lowery Stokes Sims et al., Stuart Davis: American Painter, 333 pages, 129 color illus., The Metropolitan Museum of Art and Harry N. Abrams, Inc. 1991. *Karen Wilkin 1999 - Stuart Davis in Gloucester () External links * Stuart Davis Artwork Examples on AskART. * Stuart Davis Artwork Examples on ibiblio's WebMuseum. * Comrades in Art: Stuart Davis * Stuart Davis' Swing Landscape * "STUART DAVIS: IN FULL SWING" retrospective at the Whitney Museum June 10 – Sept 25 2016, * Blips and Ifs (1963–1964), a painting in the collection of the Amon Carter Museum of American Art * Self-Portrait (1919), a painting in the collection of the Amon Carter Museum of American Art 1892 births 1964 deaths Artists from Philadelphia 20th-century American painters American male painters Modern painters Precisionism Students of Robert Henri Art Students League of New York faculty Painters from Pennsylvania Federal Art Project artists 20th-century American printmakers Burials at Green River Cemetery Deaths from cerebrovascular disease "

❤️ Mozilla Public License 🐒

"The Mozilla Public License (MPL) is a free and open-source software license developed and maintained by the Mozilla Foundation. It is a weak copyleft license, characterized as a middle ground between permissive software licenses and the GNU General Public License (GPL), that seeks to balance the concerns of proprietary and open-source developers. As such, it allows re-licensing. MPL software can thus be converted into a copyleft license such as the GPL or to a proprietary license (example: KaiOS). It has undergone two revisions: a minor update to version 1.1, and a major update to version 2.0 with the goals of greater simplicity and better compatibility with other licenses. The MPL is the license for Mozilla Firefox, Mozilla Thunderbird, and most other Mozilla software, but it has been used by others, such as Adobe to license their Flex product line, and The Document Foundation to license LibreOffice 4.0 (also on LGPL 3+). Version 1.1 was adapted by several projects to form derivative licenses like Sun Microsystems' own Common Development and Distribution License. Terms The MPL defines rights as passing from "contributors", who create or modify source code, through an optional auxiliary distributor (itself a licensee), to the licensee. It grants liberal copyright and patent licenses allowing for free use, modification, distribution, and "exploit[ation]" of the work, but does not grant the licensee any rights to a contributor's trademarks. These rights will terminate if the licensee fails to comply with the license's terms and conditions, but a violating licensee who returns to compliance regains its rights, and even receiving written notice from a contributor will result in losing rights to that contributor's code only. A patent retaliation clause, similar to that of the Apache License, is included to protect an auxiliary distributor's further recipients against patent trolling. The contributors disclaim warranty and liability, but allow auxiliary distributors to offer such things on their own behalf. In exchange for the rights granted by license, the licensee must meet certain responsibilities concerning the distribution of licensed source code. Covered source code files must remain under the MPL, and distributors "may not attempt to alter or restrict recipients' rights" to it. The MPL treats the source code file as the boundary between MPL-licensed and proprietary parts, meaning that all or none of the code in a given source file falls under the MPL. An executable consisting solely of MPL-covered files may be sublicensed, but the licensee must ensure access to or provide all the source code within it. Recipients can combine licensed source code with other files under a different, even proprietary license, thereby forming a "larger work" which can be distributed under any terms, but again the MPL-covered source files must be made freely available. This makes the MPL a compromise between the MIT or BSD licenses, which permit all derived works to be relicensed as proprietary, and the GPL, which requires the derived work as a whole to be licensed under the GPL. By allowing proprietary modules in derived projects while requiring core files to remain open source, the MPL is designed to motivate both businesses and the open-source community to help develop core software. The one exception to covered source files remaining under the MPL occurs when code under version 2.0 or later is combined with separate code files under the GNU GPL, GNU Lesser GPL (LGPL), or GNU Affero GPL (AGPL). In this case, the program as a whole will be under the chosen GNU license, but the MPL-covered files will be dual-licensed, so that recipients can choose to distribute them under that GNU License or the MPL. The initial author of MPL code may choose to opt out of this GPL compatibility by adding a notice to its source files. It is explicitly granted that MPL-covered code may be distributed under the terms of the license version under which it was received or any later version. If code under version 1.0 or 1.1 is upgraded to version 2.0 by this mechanism, the 1.x-covered code must be marked with the aforementioned GPL-incompatible notice. The MPL can be modified to form a new license, provided that said license does not refer to Mozilla or Netscape. History Version 1.0 of the MPL was written by Mitchell Baker in 1998 while working as a lawyer at Netscape Communications Corporation. Netscape was hoping that an open-source strategy for developing its own Netscape web browser would allow it to compete better with Microsoft's browser, Internet Explorer. To cover the browser's code, the company drafted a license known as the Netscape Public License (NPL), which included a clause allowing even openly developed code to be theoretically relicensed as proprietary. However, at the same time, Baker developed a second license similar to the NPL. It was called the Mozilla Public License after Netscape's project name for the new open-source codebase, and, although it was originally only intended for software that supplemented core modules covered by the NPL, it would become much more popular than the NPL and eventually earn approval from the Open Source Initiative. Less than a year later, Baker and the Mozilla Organization would make some changes to the MPL, resulting in version 1.1, a minor update. This revision was done through an open process that considered comments from both institutional and individual contributors. The primary goals were to clarify terms regarding patents and allow for multiple licensing. This last feature was meant to encourage cooperation with developers that preferred stricter licenses like the GPL. Not only would many projects derive their own licenses from this version, but its structure, legal precision, and explicit terms for patent rights would strongly influence later revisions of popular licenses like the GPL (version 3). Both versions 1.0 and 1.1 are incompatible with the GPL, which led the Free Software Foundation to discourage using version 1.1. For these reasons, earlier versions of Firefox were released under multiple licenses: the MPL 1.1, GPL 2.0, and LGPL 2.1. Some old software, such as the Mozilla Application Suite, is still under the three licenses. Therefore, in early 2010, after more than a decade without modification, an open process for creating version 2.0 of the MPL began. Over the next 21 months, the MPL was not only changed to make the license clearer and easier to apply, but also to achieve compatibility with the GPL and Apache licenses. The revision team was overseen by Baker and led by Luis Villa with key support from Gervase Markham and Harvey Anderson. They would publish three alpha drafts, two beta drafts, and two release candidates for comment before releasing the final draft of version 2.0 on January 3, 2012. Notable users * Apache Flex (Formerly known as Adobe Flex) * Armadillo * Boulderhttps://github.com/letsencrypt/boulder, the software that runs the Let's Encrypt certificate authority * Cairo * Celtx * Eigen * H2 (DBMS) * Internet Systems Consortium * LibreOffice *Mozilla Firefox * OpenMRS * Syncthing Licenses based on pre-MPL 2.0 * AROS Public License 1.1 (based on MPL 1.1) * Common Development and Distribution License * Common Public Attribution License * Erlang Public License 1.1 (modified MPL 1.0, where "disagreements are settled under Swedish law in English") * Firebird's Initial Developer's Public License (based on MPL v1.1) * MonetDB Public License (based on MPL 1.1) * Sun Public License * Yahoo! Public License * Openbravo's Openbravo Public License (based on MPL v1.1) See also * Software using the Mozilla license (category) * Comparison of free and open- source software licenses References External links * ** Mozilla Public License Version 2.0 *** Comparison between versions 2.0 and 1.1 ** Mozilla Public License Version 1.1 ** Mozilla Public License Version 1.0 Mozilla Copyleft Free and open-source software licenses Copyleft software licenses "

❤️ Anik Mountain 🐒

"Anik Mountain () is the highest peak of Primorsky Krai, Russia. It is located in the north of Primorsky Krai on the border with Khabarovsk Krai. Anik Mountain is third highest peak (after Tordoki Yani and Ko Mountain) of the Sikhote-Alin mountain system. Mountains of Primorsky Krai Sikhote-Alin Highest points of Russian federal subjects "