Business Insight_LGT

Vim's Innovative Services and Solutions can help LEG-Telecoms escape his toxin and achieve second situation later on or increase greater piece of the overall industry. 2. Customer Name: LEG Telecoms LEG Telecoms Co. Ltd. Gives versatile broadcast communications items and administrations basically in Korea. The organization offers remote Internet administration, ex-l, which gives a scope of substance, email, character/tune downloads, games, stock exchanging/banking, diversion, shopping/reservations, and traffic data/area based service.Further, the organization gives versatile media transmission arrange innovation, including system structure, arrangement, improvement, and activity, just as counseling for information administrations identified with WAP-based remote Internet administration framework arrangement, JAVA/JOINS-empowered handset arrangements, and sight and sound application innovation. As of September 30, 2004, It had 6 million supporters. LEG Telecoms was established In 1996 and is headquartered in Seoul The littlest of Koreans three versatile bearers is the recipient of an administration strategy to help littler operators.A unit of LEG Group, the nation's second-biggest aggregate, LEG Telecoms expanded its clients by 26% in 2004, when the overspent presented number movability, which permits supporters of keep their telephone number when changing specialist organizations. LEG, the most fragile of the three neighborhood versatile players, is the just one moved up to G systems on Just a year ago. To compensate for the burden, It's manufacturing coalitions with banks and financier houses to offer portable money related services.LEG utilizes Its organization with banks to grow Its retail nearness: It sells telephones and joins new supporters at 2,800 bank offices notwithstanding its 580 customer facing facades. It sold well 3. The Industry There are three versatile assistance organizations in Korea showcase. SKY Telecoms is top reformer, increasing over ha lf piece of the overall industry in this developed market. Also, the fire up. Size is likewise exceptional. From one perspective, LEG Telecoms is third situation in business volume and piece of the overall industry also. Figure 1: Business Performance in 2006 But striking things are that Net-salary of LEG Telecoms is far greater than KIT and uncommonly development pace of fire up. As best entertainer in a year ago. And furthermore piece of the overall industry was somewhat expanded. So I expect very however rivalry for second situation between two organizations will be supported for some time. Figure 2: By cell phone endorsers Source: Never Financial Reports Figure 3: Hot rivalry for industry players . Similar Analysis Marketing Analysis: Market Segmentation Three telecoms organizations have made Korea gigantic market for portable administrations during quite a long while with cutting edge administrations. The specialist co-ops have just delighted in selling portable administrations for the last a few years.But they're confronted with the constraint of development in nearby market on the grounds that nearly individuals as of now are endorsers of versatile assistance now. So they contend with others for having the clients of contenders change their present specialist organization. Be that as it may, 36 versatile help which was presented from a few years back will be a major and significant possibility for their equines development. A few people as of now are utilizing 36 portable assistance and more individuals will change our versatile help from current 26 to 36 sooner rather than later. Furthermore, now, numerous individuals will consider about changing their specialist co-op as per value condition and administration quality.Bigger versatile bearers SKY Telecoms and KIT left on 36 administrations halfway during that time before last and extended their and SKY Telecoms has drawn a large portion of a million over the previous year however LEG Telecoms has bounc ed onto the temporary fad of 36 portable administrations on June a year ago. So LEG telecoms has some hazard for this business as late player. Then again, the greatest player, SKY Telecoms is concentrating on oversea development of their business now and they previously made great business results from china and a few Asia nations. Be that as it may, the rest two players don't appear to have enough preparation for oversea business.So LEG telecoms need to concentrate on assaulting nearby 36 versatile market with esteem included assistance and serious cost. Also, that will be the most significant factor for increasing second situation For this, they have to receive progressed infra, for example, IP voicing and financially savvy IT infra too. Money related Analysis: Table 1: Key Profitability Ratios Source: Never Financial Reports (PEPS:won,) Figure 5 : ROAR Trend LEG Telecoms gainfulness factors, particularly most recent multi year's ROAR shows preferred execution over contender KIT a nd sound development rate yet the hole to SST is still appeared. So LEG Telecoms should put forth an attempt for better ROAR.Better ROAR can help them in making persistent value intensity for G versatile assistance. For better For better ROAR, They should concentrate on cost decrease through current IT infra advancement and so on. And furthermore savvy venture will be significant on NW infra improvement which is important for fruitful G versatile assistance business. 5. Deals Proposal: The IBM answers for secure serious assistance cost through cost decrease and better help quality through NW infra improvement will be the most significant elements for accomplishment of G answer for it. System improvement and Management arrangement 1 .ONION/ANA C.V. - IBM Network foundation/Application Optimization Consulting †Strategy : Present effective path for development and To-be model of current NW Infra through detail and precise start to finish investigation by IBM NW experts. †Bene fit : Customer can know the need of venture for NW infra improvement and Through that, they will have the option to buy NW gear and usage restore with savvy. 2. System Transformation administration for IP organize improvement †That can assist with changing your system to a met, IP-based system while supporting your remarkable business strategies.These arrangements can assist you with upgrading power over key segments of your system activities, and help secure your system framework and rearrange client, accomplice and provider associations for better G administration quality Cost decrease arrangement 1. Data Lifestyle the executives for Infra Optimization †Strategy : Telecoms organizations have gigantic information and information size will develop all the more quickly with substance for G bile administration in close to what's to come. So one of its biggest bit infra financial plan would be capacity related expense. So one of the most productive path for cost decrease will be capacity advancement through information legitimization. Advantage : IBM administration has by the drove understanding and very much characterized approach and different SW and HAW for ELM counseling and execution. We can cover unstructured information like picture, voice and information base too. I'm certain Storage Infra TCO of LEG Telecoms will be diminished strongly through layered stockpiling based filing or expel of old and unused information. Likewise advancement of DB size will help for better execution of use so LEG-Telecoms won't have to purchase a ton of top of the line servers like at this point. That is likewise cost decrease factor. 6.Prospects for the Client LEG Telecoms is as yet the littlest player among three significant players in portable help advertise. Be that as it may, they has demonstrated great outcome with sound business development and met their target during most recent quite a long while with their innovative market methodology. In any case, for inc reasing greater piece of the pie and second position, they have to get ready progressively appealing assistance cost and great quality help, particularly, that will be increasingly significant under new G showcase. Exertion for cost decrease and, forceful yet practical contribute for NW infra improvement will have the option to improve his position. . End and Making Changes to the Sales Approach arrangement based on IT advertise examination and CIO meet. And furthermore field-tested strategy and arrangement shutting methodology has been centered around client's IT technique. Be that as it may, through this class, I could improve money related investigation expertise and find out about methodology dependent on examination of client's general business torment point. The hypothetical philosophy for organization examination through contextual analysis will be exceptionally useful for our business exercises regardless of whether that is short talk.

Pride and Prejudice :: essays research papers fc

Pride and Prejudice Pride and Prejudice has numerous approaches to make you giggle, and yet this novel makes you think. The character that I thought caused the most attentive giggling was Miss Bingley and her appreciation of Mr. Darcy. At the point when she was first brought into the story she thought she was such a great amount of superior to the families in the territory, however it was at the second move that she made her emotions known to Mr. Darcy, who at this point previously had his eye on Elizabeth.  ¡Ã¢ ° I was rarely increasingly irritated! The vapidity but the clamor; the nothingness but then the pretentiousness of all these people!⠡â ± (19)*. I giggled when I thought of Miss Bingley⠡â ¯s family and how they began as common laborers individuals, they were simply more effective at it than most. Miss Bingley makes numerous individual assaults on Elizabeth⠡â ¯s character, a large portion of which are ignored by Mr. Darcy. Elizabeth strolling to Netherfield to visit Jane when she wa s badly gave Miss Bingley event to make one of her frightful remarks to Darcy,  ¡Ã‚ °I am apprehensive, Mr. Darcy,⠡â ­ that this experience has rather influenced your reverence of her fine eyes.⠡â ±(26)* Darcy told Miss Bingley how wrong she was, just as commending Elizabeth . Miss Bingley buckles down on praising Darcy on all that he does, she makes a significant senseless nitwit of herself thusly. Mr. Darcy ignores her considerations as every now and again as she gives them. At the point when he is composing a letter to his sister during he first remain at Netherfield, she gives him recognition and he appears to be generally irritated with her persistent talking. From this perusers perspective she makes a decent attempt to accomplish her objective of securing his expressions of love, that in certainty she gains his contempt. Miss Bingley proceeds in her ambushes on Elizabeth's appearance and character, and in doing so brings down herself in Darcy regard much further.  ¡Ã‚ °How sick Eliza Bennet looks this morning ¡Ã‚ ­I must admit for my own part I would never observe any magnificence in her⠡â ­and in her air out and out, there is an independence without design, which is intolerable⠡â ­  ¡Ã‚ ®She a stunner!- I ought to have before long have considered her mom a wit.⠡â ¯ But subsequently she appeared to enhance you, and I trust you thought her somewhat lovely at one time.⠡â ±(200-201)* This was not simply the best technique for prescribing to Darcy, however irate and envious individuals are not generally smart with regards to others sentiments.

Monetary and fiscal policies during the great recession

Presentation The extraordinary downturn that hit the US began in October 1929. It was the start of a multi year under work and the recuperation of the downturn came into be with the beginning of World War II. Notwithstanding, other European countries recouped from the downturn sooner than the US did.Advertising We will compose a custom research project test on Monetary and financial approaches during the extraordinary downturn explicitly for you for just $16.05 $11/page Learn More The recuperation in US was made conceivable when president Roosevelt was chosen during which he brought strategies that prompted the execution of a New Deal which was the reason for the recuperation. The downturn was principally described by high paces of joblessness and an extreme abatement in GDP. The shortage of cash and lack of credit strategy that was executed by the national bank of the United States to control the condition stick out to be a wrong move as it declined the economy (Morana, 2010, p. 1). In any case, another financial reaction came in past the point of no return on the grounds that the tight money related arrangement by the national bank had begun some time before the downturn right towards the finish of the emergency. Essentially, the new strategy was not successful since it was tied in with devaluating the dollar which would bring down the fiscal standard of the US money. This arrangement would have come about to advancement of the country’s economy to the detriment of their neighboring nations. The approaches by President Roosevelt were, then again, planned for dealing with a fair spending plan of the country just as decreasing its shortages. This unmistakably indicated the financial strategy was more effective in reacting to the downturn than the monetary arrangement was. Albeit a few endeavors saw an astounding development in the nation’s GNP, the pace of work that existed before the downturn couldn't be reestablished as it recorded 25 percent lo wer (Macklem, 2010, p. 1). Financial and monetary strategies during the Great downturn The usage of the money related approach was ostensibly the one which finished the extraordinary downturn instead of the financial arrangement. For example, a portion of the financial strategies by President Roosevelt appeared to block all the endeavors of consummation the downturn particularly the mission for high wages for all workers. This move would hinder the development of the economy instead of help in building it. The fiscal strategy likewise came about to chopping down the use by the US government on different key regions of the country’s financial plan. This was against the financial arrangements executed in Germany which saw Germany recuperate from the monetary emergency. Be that as it may, the monetary activities taken in the US were not adequate enough to carry a lot of progress to the economy. The subsequent universal war be that as it may, helped the government’s consum ption and therefore, prompted higher development rates contrasted with those during the financial strategy execution (Blinder And Zandi, 2010, p. 1). In any case, there was an exceptional development in the economy somewhere close to 1933 and 1937.Advertising Looking for research paper on business financial aspects? We should check whether we can support you! Get your first paper with 15% OFF Learn More This could have occurred because of an adjustment in that administration which occurred simultaneously with the appointment of Roosevelt taking the situation of president Hoover. The desires for the individuals during this time functioned as macroeconomic strategies changed too which delivered radical changes in costs of products and different factors. With the appointment of President Roosevelt, the tenet of non legislative impedance in trade was annulled and he moved the technique to an interventionist state. This move by Roosevelt had monetary advantages as well as empowered the i ndividuals to pick up trust in the new organization particularly in managing the money related emergency that the nation was confronting (Santucci, 2010, p. 1). The tight money related arrangement that was completed in 1933 gave the major premise to the recuperation of the emergency regardless of the way that the national bank didn't assume a noteworthy job in these endeavors. Much the same as numerous nations like Norway and UK had done, the US at last went off gold as they devaluated their cash in the year 1933 by a 41%. Therefore, the progression of gold into the nation expanded and came about to a decline in financing costs. This was a significant beginning point during the time spent recouping the nation from the downturn. This was trailed by an expansion in cash gracefully that came about to a huge development in the county’s GDP. The execution of the flattening approach saw the surrender of the best quality level arrangement. The impacts of the degrading of the US doll ar were in particular felt in the ranch and other ware costs which are the spines of a county’s economy. The administration at that point began the execution of the downgrading strategy by controlling costs in every monetary industry. The degrading of the dollar made it feasible for US to begin the recuperation procedure particularly with the monetary precariousness that Europe was confronting, a circumstance which prompted the expanded progression of gold in the US. Be that as it may, these endeavors didn't prompt a total discontinuance of the emergency; in any event not until the subsequent universal war was started (Hunt, 2010, p. 1). Impacts of the strategies after the incredible downturn The most evident transient impact of the extraordinary downturn is high paces of joblessness coming about because of the breakdown of numerous organizations following the monetary emergency. Managers in the US encountered short and long haul handicap costs per each guarantee as they dimi nished definitely after the recuperation of the downturn. Rather than concentrating on joblessness and financial development of the nation, the US government has moved its interests on making deficits.Advertising We will compose a custom research project test on Monetary and financial strategies during the extraordinary downturn explicitly for you for just $16.05 $11/page Learn More Although shortages might be useful in recuperating a downturn, the US government is bound to experience the ill effects of the developing shortfalls. It could even prompt another more noteworthy downturn. Since the fundamental driver of the downturn was high shortages where numerous Americans live past their guidelines, the US government has reduced the availability of Mastercards and home value advances. Accordingly, reserve funds by the Americans are as of now expanding as credit levels decline. Monetary obligation would and has prompted decreased utilization. Corporate income just as benefits would ex pand prompting an expansion in the pace of joblessness (Rose, 2010, p. 1). Also, utilization would diminish and the cycle keeps during which numerous families would be experiencing a great deal of troublesome minutes. The downturn has some great effects too. For example, individuals will know about the circumstance and this would energize numerous individuals and families be vigilant with regards to obligations and cash use. Accordingly, numerous individuals will figure out how to live inside their guidelines and be in a superior situation to spare. Every one of these progressions would result to adjustment of the US economy and reinforced of the dollar. The legislature will be therefore diminished of obligation installments and weight on its assessments (Carr, 2008, p. 1). End The incredible downturn that hit United States among different nations in the mid 19s was one of the biggest money related emergency to have hit Americans. The primary driver of the downturn was the presence of extremely high paces of obligations which prompted high paces of joblessness conditions. The nation at that point had a go at taking care of the issue utilizing the monetary strategy which involved the control of charges and government consumption thus influencing the financial improvement of a country. Be that as it may, if this approach isn't deliberately executed, it might prompt a moderate development of an economy and this was unequivocally the purpose for why it neglected to work in the endeavor to recoup the US economy during the extraordinary downturn. After the bombed endeavor, the choose president Roosevelt thought of the new arrangement which saw the usage of the fiscal approach which included decrease of financing costs, a move which made it feasible for the country to battle joblessness. It likewise included the expansion of cash flexibly yet such that diminished swelling impacts to the falling economy. The usage of the financial arrangement end up being fruitful des pite the fact that the achievement was made conceivable incompletely because of the monetary insecurity in Europe which prompted an expansion in the progression of gold into the United States. Be that as it may, the genuine recuperation of the downturn was toward the beginning of the Second World War.Advertising Searching for research project on business financial matters? How about we check whether we can support you! Get your first paper with 15% OFF Find out More The transition to go off highest quality levels was significant also in spite of the fact that the US postponed a piece to take the move. This is identified with different nations, for example, Europe which went off highest quality levels promptly and thus, recouped from the downturn before. Fundamentally what made the financial approach a triumph was the expanded spending just as development of yield the two of which advanced the country’s certainty not at all like the monetary arrangement which never focused on a decent spending plan. Reference List Blinder, Alan. Furthermore, Zandi, Mark. 2010. How We Ended the Great Recession. Web. Carr, Brian. 2008. The Recesssion †Short Term Pain, Long Term Gain. Web. Chase, Lacy. 2010. Monetary Policy’s Unintended Consequences. Web. Macklem, Tiff. 2010. Reflections on money related arrangement after the Great Recession. Worldwide Finance Club of Montreal. Web. Morana, Claudio. 2010. The Great Recession: US elements and overf lows to the world economy. Web. Rose, Nelson. 2010. The Lingering Effects of the Great Recession. Web. Santucci, Paul. 2010. Financial Policy or Monetary Policy, whi

Sociology Urben home Work Essay - 275 Words

Sociology: Urben home Work (Other (Not Listed) Sample) Content: Name:Tutor:Course:Date:My neighbourhood is Stanford University located in Escondindo village in California. The colors and building stock of the neighbourhood are mostly uniform and there is also the absences a typical street grid in the site. Notwithstanding, my neighbourhood contains all the 5 image elements namely paths, districts, edges, landmarks and nodes presented by Kevin Lynch in his literature Image of the City. Each of these elements a comparatively distinct in my neighbourhood and unambiguous to identify (Lynch 5).The landmarks you encounter in the neighbourhood are a number of Starbucks you will encounter as at the crossroad between Stanford Avenue and of El Camino. The most remarkable landmarks are the three buildings; the fire station, credit union and campus service station one finds along the entrance to the campus alongSerra Street. These three buildings stand out because they mark the automobile entrances to Escondindo village (EV). Escondido Villag e boundaries are Stanford Avenue in the east, and Serra Street boundary to the west. El Camino to the north but I not sure whether the boundary to the south is Bowdoin Escondido Road (Lynch 15). The major streets across acts as the edges that define the E-V has housing reserved.E-V has provides different housing for married students, student couples with children and for students who are singles. The apartment for married students and those who have children are arranged along fenced courtyards, each containing playing area for children and a sand pool. Thee courtyards especially the sand pools acts as the nodes of activities for my neighbourhood because children use the avenues as a playing ground in daily basis as well as adult use the places for graduation ceremonies, birthday parties and other parties.I regularly use are the down Thoburn Court or the community garden on my way to pool and to the credit union. Ià ¢Ã¢â€š ¬m walk along the tennis courts to the corner of Campus Dr ive and Serra when am going to the campus. However the paths (Lynch 66) I use more often is Olmstead Street to Yale markets and to my house because I spent most time off Campus than when am in the Camp...

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Judaism The Dynamic Nature Of Judaism - 957 Words

Judaism The dynamic nature of Judaism offers a successful living religion as a result of its strongly withheld characteristics. Through essential characteristics such as central beliefs, sacred texts, writings, ethical teachings and rituals and ceremonies, Judaism offers a dynamic nature and liveable religion that connects an individual and society with its roots. The way this living religion advances and grows is because of its dynamic characteristics as a whole. Importantly, these characteristics combined form the true nature of the religion rather than separately. Judaism is more than a religion, its a way of life. Judaism s entire body of beliefs and teachings which form the foundations of the religion, are outlined in the Torah. Within the Torah, Jewish people find the many different texts and rules that prescribe to them on how to live properly as the chosen people of God. The tradition of Judaism has been alive for thousands of years, its origins tracing back to the Patriarchs Abraham, Jacob and Isaac. Subsequently, from this comes Judaism s central beliefs: The belief in one God, the belief in moral law and the belief and trust in the covenant prescribed to Moses in Exodus 2.0. The Orthodox Judaism strand incorporates the Mitzvot quite literally and tries to take it on word for word. On the other hand Reform Judaism and Conservatio interpret it in different ways. These Sacred Texts form the Jewish religion and fundamentally make up the beliefs that the JewishShow MoreRelatedThe Role of Judaism in Family Relationships: Article Analysis1235 Words   |  5 PagesKrieger, Aliza. The Role of Judaism in Family Relationships. Introduction: According to Aliza Krieger, author of the article titled The Role of Judaism in Family Relationships, because Judaism plays an important role in a Jewish persons identity, Judaism should be incorporated into family-based therapy. Judaism itself is more than just a persons religious beliefs, it is also part of a Jewish persons ethnicity and culture as well. And because Judaism plays an important role in familyRead MoreJudaism : The Oldest Monotheistic Religion1002 Words   |  5 PagesJudaism is the oldest monotheistic religion, a religion that includes many rules and guidelines that guide the Jewish adherent to keep the right relationship with God and the right relationship with family and neighbours as well. The Torah refers to the first five books of the Jewish scriptures, or the Pentateuch. It is the sacred Jewish book of commandments given to Moses from God at the top of Mount Sinai, which contains all of the 613 mitzva that guide Jewish adherents to be faithful to the covenant Read MoreThe Jewish faith consists of founding principles that are quoted in the Tenak and Talmud. It is1100 Words   |  5 Pagesprinciple beliefs that Jewish adherents are conscious of God’s monotheism, The Covenant and the importance of divinely inspired moral law. Variants across Judaism including Hasidic and the Reform Jewish Movement, uphold differing interpretations of these beliefs which are reflected through their practices of faith everyday. The monotheistic belief of Judaism recognises that God is omnipotent, omnipresent and pure spirit. The concept of the oneness of God, is expressed through the Shema which is an affirmationRead MoreJudaism, Islam, and Christianity Essay1687 Words   |  7 Pages Judaism, Islam, and Christianity are some of the religions that most individuals can relate to, being the three largest religions in the world. Like many religions they share many differences and also some similarities. One difference that these religions hold is their view of Jesus Christ. Similarities are surprisingly common to find among some religions because of the basis they put on one another. Some similarities between these religions include: belief of monotheism and the influence of ZoroastrianismRead MoreThe Barriers Between Cultures, Patterns, And The Differences Amongst Society1647 Words   |  7 Pagescan only begin to be justified once religion occupies a permanent space in the individual’s life. Lauren F. Winner, the author of Girl Meets God, has given religion a permanent place in her life, as she creates a working dynamic that balances her spiritual journey between Judaism and Christianity. Wanting something to believe in, Winner was able to give religion a special distinction in her quest. Her journey encompassed the various notions that Cunningham and Kelsey, authors of the Sacred Quest believedRead MoreTraditions and Customs of The Jewish Culture Essay1007 Words   |  5 Pagesadding meaning and excitement. Also, bowing and kneeling are seen as signs of respect and usually done during Jewish services (Telushkin). The attitudes, greetings, and gestures of the Jewish culture demonstrate the whole heartedness and considerate nature of their values and customs. The diet of any culture is important to consider when looking at the lifestyles of others to fully understand how they live. The basic diet of the Jewish is termed kosher; basically focusing on how the food is preparedRead MoreThe Conflict Between Judaism And The Hellenistic And Roman Worlds2278 Words   |  10 Pages As dissimilar as they were, the encounter between Judaism and the Hellenistic and Roman worlds – with the latter taking on much of what the Greeks stood for – should not be considered as a clash between civilizations. Doing so, I believe, would render a complex society and a dynamic process into an absolute and a static one. The postexilic period had obviously brought Jews into contact and in activity with the surrounding non-Jewish communities in which they now lived; however, this social andRead MoreWorld Religions : The Nature Divine And The Existence Of Evil2756 Words   |  12 PagesWorld Religions: The Nature the of Divine and the Existence of Evil There are many different religions of the world and religion is found in societies of the past and present. Many of the religions today have been practiced for years. I will focus on seven different religions in this paper and how they each express the nature of the divine and how each religion views and deals with the existence of evil. Nature of the divine refers to God or Gods and their presence. Some religions are monotheisticRead More Resolving Conflict between Science and Religion: Reform Judaism and Scientific Thought3160 Words   |  13 PagesResolving Conflict between Science and Religion: Reform Judaism and Scientific Thought    The relationship between science and religion is not easy to navigate. On the most basic level, they are viewed as different types of thought. Religion, it seems, deals with the subjective, spiritual realm. Science, on the other hand, seems to deal with facts. It may then appear easy to separate the two realms of thought, and philosophers, theologians and scientists have from time to time attempted to doRead MoreThe Conflict Between Judaism And The Hellenistic And Roman Worlds2278 Words   |  10 Pages As dissimilar as they were, the encounter between Judaism and the Hellenistic and Roman worlds – with the latter taking on much of what the Greeks stood for – should not be considered as a clash between civilizations. Doing so, I believe, would render a complex society and a dynamic process into an absolute and a static one. The postexilic period had obviously brought Jews into contact and in activity with the surrounding non-Jewish communities in which they now lived; however, this social and

Determinant of Public Health-Free Samples-Myassignmenthelp.com

Question: Discuss about the Social and Ecological Determinant of Public Health. Answer: This essay will summarise a study that illustrated the social, health and environmental impacts of light rail transits among people who resided close to an LRT station (Huang et al., 2017). The study recruited 214 respondents (1 adult from each household, located proximal or distal from the stations). Inclusion criteria contained people aged who were more than 18 years, English proficient and able to walk for more than 10 minutes without assistance. There was no discrimination based on race, gender or ethnicity. However, a lesser proportion of participants were obese, aged 40 years, and with income 50,000. An accelerometer, which counted the acceleration of the participants for a week, was used as the determinant. GPS devices were used to divide the data into 30s-epochs. The health outcome was measured in the form of average daily walking minutes, LTR walking minutes, and station area walking proportion with the help of negative binomial regression model. No significant differences were observed in the average daily walking minutes among people who resided within a mile from the stations. This was associated to a reduction in walking, among people who were unaffected by GPS and the accelerometer (Kang et al., 2013). Positive changes were found among those who were more educated and had fewer cars. Thus,people living less than 0.25 miles from the station showed 2.26 times greater walking proportion than those who lived 0.751 miles from the station (Huang et al., 2017). To summarise, it was found that distance from the station was a major contributor of pedestrian activity. Station areas attracted transit use and economic activity. References Huang, R., Moudon, A. V., Zhou, C., Stewart, O. T., Saelens, B. E. (2017). Light rail leads to more walking around station areas.Journal of Transport Health, 6(2017), 201-208. Kang, B., Moudon, A. V., Hurvitz, P. M., Reichley, L., Saelens, B. E. (2013). Walking objectively measured: classifying accelerometer data with GPS and travel diaries.Medicine and science in sports and exercise,45(7), 1419.

Veterans Day free essay sample

Name would be here 11-12-09 Veterans Day Veterans Day isn’t about relaxing at home or hanging with friends. Instead, it’s about remembering those who served in the war and died, and honoring the military soldiers. It first started on November 11, 1919. Just one American Veteran is still alive today: 108-year-old Frank Buckles. In order to recognize Veterans Day, the Dublin society should host a community walk, wear white, and bring in real soldiers to talk.The community walk should be mandatory for every Dublin resident to attend because it is a way for them to show their honor to the ones who have died. Walking together would show the amount of respect we have as a community for the soldiers. The citizen’s of Dublin should wear white to represent the bravery; one of the many characteristics that the soldiers had. By wearing white, we can learn the value of sacrifice and putting a cause before ourselves. We will write a custom essay sample on Veterans Day or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The soldiers could come and talk about their experiences in the military. They could also talk about how they survived being a soldier and what they are doing to serve their country. Some people would think that the vets were heroes while others would think that they’re only regular people who just went to war. They don’t know how these soldiers risked everything they ever loved in order to save their country. We shouldn’t think of them as heroes, but legends, who stepped up against the world and fought with everything they had. â€Å"From our soldiers, we should learn this most important lesson: all life is sacred, and every citizen is important. †