This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 41°52′55″N87°37′40″N |
---|---|
bgcolour | #EEDD82 |
name | Paul Klee |
birth date | 18 December 1879 |
birth place | Münchenbuchsee bei Bern, Switzerland |
death date | June 29, 1940 |
death place | Muralto, Switzerland |
nationality | German/Swiss |
field | Painting |
training | Academy of Fine Arts, Munich |
movement | Expressionism, Bauhaus, Surrealism |
works | more than 10,000 paintings, drawings, and etchings, including ''Twittering Machine'' (1922), ''Fish Magic'' (1925), ''Viaducts Break Ranks'' (1937). |
awards | }} |
Klee was born in Münchenbuchsee (near Bern), Switzerland into a musical family. His father, Hans Klee, was a German music teacher at the Hofwil Teacher Seminar near Bern. His mother, Ida Frick, had trained to be a singer. He was the second of two children.
Klee started young at both drawing and music. At age seven, he started playing the violin, and at age eight, he was given a box of sidewalk chalk by his grandmother. Klee appears to have been equally talented in music and drawing. As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles.
Around 1897, he started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his final exams at the “Gymnasium” of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, “After all, it’s rather difficult to achieve the ''exact'' minimum, and it involves risks.” On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.
With his parents' reluctant permission, in 1898 he began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack any natural color sense. He later recalled, “During the third winter I even realized that I probably would never learn to paint.”
After receiving his Fine Arts degree, Klee went to Italy from October 1901 to May 1902 with friend Hermann Haller. They stayed in Rome, Florence, and Naples, and studied the master painters of past centuries. He responded to the colors of Italy, but sadly noted, “that a long struggle lies in store for me in this field of color.” For Klee, color represented the optimism and nobility in art, and a hoped for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires. He commented, “though I’m fairly satisfied with my etchings I can’t go on like this. I’m not a specialist.” Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.
On meeting Kandinsky, Klee recorded, “I came to feel a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid mind.” The association opened his mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the pioneering examples of “pure painting”, an early term for abstract art. The use of bold color by Robert Delaunay and Maurice de Vlaminck also inspired him. Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some primitive landscapes, including ''In the Quarry'' (1913) and ''Houses near the Gravel Pit'' (1913), using blocks of color with limited overlap. Klee acknowledged that “a long struggle lies in store for me in this field of color” in order to reach his “distant noble aim.” Soon, he discovered “the style which connects drawing and the realm of color.” With that realization, faithfulness to nature fades in importance. Instead, Klee began to delve into the “cool romanticism of abstraction”. One of the most literal examples of this new synthesis is ''The Bavarian Don Giovanni'' (1919).
After returning home, Klee painted his first pure abstract, ''In the Style of Kairouan'' (1914), composed of colored rectangles and a few circles. The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. His selection of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of colors, and other times “dissonant” colors, again reflecting his connection with musicality.
A few weeks later, World War I began. At first, Klee was somewhat detached from it, as he wrote ironically, “I have long had this war in me. That is why, inwardly, it is none of my concern.” Soon, however, it began to affect him. His friends Macke and Marc both died in battle. Venting his distress, he created several pen and ink lithographs on war themes including ''Death for the Idea'' (1915). He also continued with abstracts and semi-abstracts. In 1916, he joined the German war effort, but with behind the scenes maneuvering by his father, Klee was spared serving at the front and ended up painting camouflage on airplanes and working as a clerk. He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee’s work was selling well and art critics acclaimed him as the best of the new German artists. His ''Ab ovo'' (1917) is particularly noteworthy for its sophisticated technique. It employs watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns.
Klee taught at the Bauhaus from January, 1921 to April, 1931. He was a “Form” master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: “I also approve of these forces competing one with the other if the result is achievement.”
Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee’s work was published, written by Will Grohmann.
Klee also taught at the Düsseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, “Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he’s a thoroughbred Arab, but he’s a typical Galician Jew.” His home was searched by the Gestapo and he was fired from his job. His self-portrait ''Struck from the List'' (1933) commemorates the sad occasion. The Klee family emigrated to Switzerland in late 1933. He produced nearly 500 works in 1933 during his last year in Germany. However, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso. Klee’s simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over 1,200 works, a career high for one year. He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others sober, perhaps reflected his alternating moods of optimism and pessimism. Back in Germany in 1937, seventeen of Klee’s pictures were included in an exhibition of “Degenerate Art” and 102 of his works in public collections were seized by the Nazis.
He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile child-like quality to them and are usually on a small scale. He often used geometric forms as well as letters, numbers, and arrows, and combined them with figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some express political convictions. They frequently allude to poetry, music and dreams and sometimes include words or musical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, “Even if you hadn’t told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music.”
As Klee learned to manipulate color with great skill and passion, he became an effective teacher of color mixing and color theory to students at the Bauhaus. This progression in itself is of great interest because his views on color would ultimately allow him to write about it from a unique viewpoint among his contemporaries.
Klee influenced the work of other noted artists of the early 20th century including Belgian printmaker Rene Carcan.
Composer Gunther Schuller immortalized seven works of Klee's in his ''Seven Studies on Themes of Paul Klee''. The studies are based on a range of works, including ''Alter Klang [Antique Harmonies]'', ''Abstraktes Terzett [Abstract Trio]'', ''Little Blue Devil'', ''Twittering Machine'', ''Arab Village'', ''Ein unheimlicher Moment [An Eerie Moment]'', and ''Pastorale''. The German Ensemble Sortisatio together with the Swiss Groupe Lacroix worked on the project "8 Pieces on Paul Klee", based on the work of the painter. Another Klee-inspired work is Wingate's Second Symphony, subtitled ''Kleetüden''''; Variationen für Orchester nach Paul Klee (Variations for Orchestra after Paul Klee)'' which consists of 27 tone paintings in homage to Klee. The Spanish composer Benet Casablancas's symphonic work ''Alter Klang. Impromptu for orchestra after Klee'', based on Klee's painting of the same title, was commissioned by Orquesta Nacional de España, which prémièred it in 2007 under the baton of Josep Pons. This is not the only piece by Casablancas that is inspired by Klee; in 2007 he composed a chamber cantata ''Retablo sobre textos de Paul Klee'', for soprano, mezzosoprano and piano, commissioned by Fundación Canal in Madrid. Well into 2011, more than 800 pieces of music, in virtually all genres, are known to have been inspired by Klee's artwork, and sometimes by his words. This is far more music than has been inspired by any other artist.{citation needed}
One of Klee's paintings, ''Angelus Novus'', was the object of an interpretive text by German philosopher and literary critic Walter Benjamin, who purchased the painting in 1921. In his "Theses on the Philosophy of History," Benjamin suggests that the angel depicted in the painting might be seen as representing the angel of history.
In the late sixties, the psychedelic nature of Klee's pieces was revived musically by a group (including jazz composer Chuck Mangione), The National Gallery released the album ''Performing Musical Interpretations of the Paintings of Paul Klee'' in 1968, with music and lyrics that are appropriately surprising, strange, and delightful.
Today, a painting by Klee can sell for as much as $7.5 million.
A museum dedicated to Klee was built in Bern, Switzerland, by the Italian architect Renzo Piano. Zentrum Paul Klee opened in June 2005 and houses a collection of about 4,000 works by Paul Klee. Another substantial collection of Klee's works is owned by chemist and playwright Carl Djerassi and displayed at the San Francisco Museum of Modern Art.
The 2005 bottling of Kenwood Vineyards "Artist Series" Cabernet Sauvignon reproduces Klee's "Highway and Byways" (1929) on the label.
Category:1879 births Category:1940 deaths Category:People from Bern-Mittelland District Category:Bauhaus Category:Cubism Category:German painters Category:Swiss painters Category:Expressionist painters Category:20th-century painters Category:Academy of Fine Arts, Munich alumni Category:Kunstakademie Düsseldorf faculty
als:Paul Klee ar:بول كلي an:Paul Klee be:Паўль Клее bg:Паул Клее ca:Paul Klee cs:Paul Klee da:Paul Klee de:Paul Klee el:Πάουλ Κλέε es:Paul Klee eo:Paul Klee eu:Paul Klee fa:پل کله (نقاش) fr:Paul Klee gl:Paul Klee ko:파울 클레 hy:Պաուլ Կլեե hr:Paul Klee io:Paul Klee it:Paul Klee he:פאול קלי ka:პაულ კლეე la:Paulus Klee lb:Paul Klee hu:Paul Klee nl:Paul Klee ja:パウル・クレー no:Paul Klee pms:Paul Klee pl:Paul Klee pt:Paul Klee ro:Paul Klee ru:Клее, Пауль sc:Paul Klee scn:Paul Klee si:පෝල් ක්ලී sk:Paul Klee sr:Паул Кле fi:Paul Klee sv:Paul Klee tr:Paul Klee uk:Пауль Клее vi:Paul Klee zh:保羅·克利This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 41°52′55″N87°37′40″N |
---|---|
bgcolour | #6495ED |
name | Victor Vasarely |
birth name | Vásárhelyi Győző |
birth date | April 9, 1906 |
birth place | Pécs, Hungary |
death date | March 15, 1997 |
death place | Paris, France |
nationality | Hungarian-French |
field | painting |
movement | optical art |
awards | }} |
Victor Vasarely (, ; born Vásárhelyi Győző , 9 April 1906, Pécs - 15 March 1997, Paris) was a Hungarian French artist whose work is generally seen aligned with Op-art. His work entitled ''Zebra'', created by Vasarely in the 1930s, is considered by some to be one of the earliest examples of Op-art. Vasarely died in Paris in 1997.
In 1929 he painted his ''Blue Study'' and ''Green Study''. In 1930 he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. In Budapest, he worked for a ball-bearings company in accounting and designing advertising posters. Victor Vasarely became a graphics designer and a poster artist during the 1930s who combined patterns and organic images with each other.
Vasarely left Hungary and settled in Paris in 1930 working as a graphic artist and as a creative consultant at the advertising agencies Havas, Draeger and Devambez (1930–1935). His interactions with other artists during this time were limited. He played with the idea of opening up an institution modeled after Sándor Bortnyik's ''műhely'' and developed some teaching material for it. Having lived mostly in cheap hotels, he settled in 1942/1944 in Saint-Céré in the Lot ''département''. After the Second World War, he opened an atelier in Arcueil, a suburb some 10 kilometers from the center of Paris (in the Val-de-Marne ''département'' of the Île-de-France). In 1961 he finally settled in Annet-sur-Marne (in the Seine-et-Marne ''département'').
Vasarely eventually went on to produce art and sculpture mainly focused around the area of optical illusion. Over the next three decades, Vasarely developed his style of geometric abstract art, working in various materials but using a minimal number of forms and colours:
He died in Paris on 15 March 1997.
Category:Hungarian painters Category:French painters Category:French people of Hungarian descent Category:Modern painters Category:Contemporary artists Category:People from Pécs Category:1906 births Category:1997 deaths *Victor Vasarely Category:20th-century painters
ar:فيكتور فازاريلي bs:Victor Vasarely cs:Victor Vasarely de:Victor Vasarely el:Βικτώρ Βαζαρελί es:Víctor Vasarely fa:ویکتور وازارلی fr:Victor Vasarely hr:Victor Vasarely it:Victor Vasarely ka:ვიქტორ ვაზარელი lt:Victor Vasarely hu:Victor Vasarely nl:Victor Vasarely pt:Victor Vasarely ru:Вазарели, Виктор sk:Victor Vasarely sr:Виктор Вазарели fi:Victor Vasarely sv:Victor Vasarely th:วิกตอร์ วาซาเรอลี tr:Victor Vasarely uk:Віктор ВазареліThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Agrippina Yakovlevna Vaganova () (July 6, 1879 - November 5, 1951) was an outstanding Russian ballet teacher who developed the Vaganova method - the technique which derived from the teaching methods of the old ''Imperial Ballet School'' (today the ''Vaganova Academy of Russian Ballet'') under the ''Premier Maître de Ballet'' Marius Petipa throughout the mid to late 19th century, though mostly throughout the 1880s and 1890s. It was Vaganova who perfected and cultivated this form of teaching the art of classical ballet into a workable syllabus. Her ''Fundamentals of the Classical Dance'' (1934) remains a standard textbook for the instruction of ballet technique. Her technique is one of the most popular techniques today.
Vaganova's whole life was connected with the Imperial Ballet (later the Kirov Ballet) of the Mariinsky Theatre in Saint Petersburg. She was accepted into the Imperial Ballet School in 1888, the great institution of classical dance founded by Anna of Russia and funded by the Tsars. She graduated from the ''Classe de Perfection'' of the former ''Prima Ballerina'' Eugeniia Sokolova (she was also trained by Ekaterina Vazem, Enrico Cecchetti, Christian Johansson, Nikolai Legat, and Pavel Gerdt).
Ballet did not come easily to Vaganova in her first years as a student, but slowly, through the efforts of her own will power, she was able to join the illustrious Imperial Ballet upon her graduation. By the time she attained the rank of soloist, Saint Petersburg balletomanes dubbed her ''queen of variations'', for her unlimited virtuosity and level of technique.
The old Maestro Petipa cared little for Vaganova as a dancer — any mention of her performances in his diaries were usually followed by such comments as "awful" or "dreadful". In 1915 the Ballet Master Nikolai Legat cast Vaganova as the Goddess Niriti in his revival of Petipa's 1889 grand ballet ''The Talisman''. Vaganova's portrayal was a great success, and won her promotion to the rank of ''Prima''. Nevertheless, she chose to retire one year later to concentrate on teaching.
In 1916 Vaganova began teaching at the ''khortekhnikum'', as the Imperial Ballet School was by then known. Though she did have a respectable career as a dancer, her leadership in teaching classical dance was what gave her one of the most respected places in the history of ballet. Her own early struggle with deciphering ballet technique had taught her much. She taught students who would go on to become legends of the dance.
After the Revolution of 1917 the future of ballet in Russia looked grim because of its tradition as court entertainment. Vaganova ''"fought tooth and nail"'', as she put it, for the preservation of the legacy of Marius Petipa and the Imperial Ballet. In 1934 she was appointed director of the ''khortekhnikum'', the school which now bears her name: The Vaganova Ballet Academy. This is the school that prepares dancers to perform with the Kirov Ballet.
Among Vaganova's pupils were the distinguished Soviet ballerinas Natalia Dudinskaya, Marina Semenova, Galina Ulanova, Olga Lepeshinskaya, and Maya Plisetskaya. Her teaching combined the elegant, refined style of the Imperial Ballet which Vaganova had been taught by Enrico Cecchetti with more vigorous dancing developed in the Soviet Union. In 1933, she staged and choreographed the celebrated version of ''Swan Lake'' with Ulanova as Odette-Odile.
Famous graduates of the Vaganova Ballet Academy include many who achieved international recognition: Ninel Kurgapkina, Rudolf Nureyev, Valery Panov, Irina Kolpakova, Mikhail Baryshnikov, Natalia Makarova, Yuri Soloviev, Varvara P. Mey, Galina Mezentseva, Altynai Asylmuratova, Ulyana Lopatkina, Diana Vishneva, and Svetlana Zakharova, among many others.
Category:Ballet choreographers Category:Russian choreographers Category:Ballet teachers Category:Prima ballerinas Category:Russian ballet dancers Category:Ballerinas Category:1879 births Category:1951 deaths
bg:Агрипина Ваганова ca:Agrippina Vagànova de:Agrippina Jakowlewna Waganowa es:Agrippina Vagánova fr:Agrippina Vaganova it:Agrippina Jakovlevna Vaganova lt:Agripina Vaganova ja:アグリッピナ・ワガノワ pl:Agrypina Waganowa ru:Ваганова, Агриппина Яковлевна sr:Агрипина Ваганова fi:Agrippina Vaganova sv:Agrippina Vaganova uk:Ваганова Агріппіна ЯківнаThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 41°52′55″N87°37′40″N |
---|---|
Name | Emiliano Zapata Salazar |
Birth date | August 08, 1879 |
Birth place | Anenecuilco, Morelos, Mexico |
Death date | April 10, 1919 |
Death place | Chinameca, Morelos, Mexico |
Organization | Liberation Army of the South |
Religion | Roman Catholicism }} |
When Porfirio Díaz rose to power in 1876, the Mexican social and economic system was essentially a proto-capitalist feudal system, with large estates ''(haciendas)'' controlling much of the land and squeezing out the independent communities of the people who were subsequently forced into debt slavery (''peonaje'') on the ''haciendas''. Díaz ran local elections to pacify the people, and a government that could be argued was self-imposed. Under Díaz, close confidants and associates were given offices in districts throughout Mexico. These officials became enforcers of "land reforms" that drove the haciendas into the hands of progressively fewer and wealthier landowners.
Zapata came from a middle class family who were able to avoid peonage and to maintain their own land (''rancho''). In fact, the family had been ''porfiristas'': supporters of Porfirio Díaz. Zapata had the reputation of a dandy, appearing at bullfights and rodeos in his elaborate ''charro'' (cowboy) outfit. In 1906, he attended a meeting in Cuautla to discuss a way to defend the land of the people, on which he had worked as a farmhand. In 1908, due to his first acts of rebellion, he was drafted into the Ninth Regiment and sent to Cuernavaca. However, because of his skill with horses, he remained a soldier for only six months. At the request of Ignacio de la Torre, who employed him as a groom, he left for Mexico City. Though his gaudy attire might have suggested an affiliation with the rich ''hacendados'' who controlled the lands, he retained the admiration of the people of his village, Anenecuilco.
In 1909 an important meeting was called by the elders of Anenecuilco, whose chief elder was José Merino in which he announced his intention to resign from his position due to his old age and limited abilities to continue the fight for the land rights of the village. The meeting was used as a time for discussion and nomination of individuals as a replacement for Merino as the president of the village council. The elders on the council were so well respected by the village men that no one would dare to override their nominations or overtake the vote for an individual against the advice of the current council. The nominations made were: Modesto Gonzales, Bartolo Parral, and Emiliano Zapata. After the completion of nominations, a vote was taken and Zapata became the new council president without contest.
Although Zapata had turned 30 only a month before, the voters knew that it was necessary to elect an individual who would be responsible for the village and who was well respected by the village people. Even though he was young, the village was ready to hand over the controlling force to him without any worry of failure. Before he was elected he had shown the village his nature by helping to head up a campaign in opposition to a candidate for governor. Even though his efforts and his cause failed greatly, he was able to create and cultivate relationships with political authority figures that would prove useful for him. made quiet alliances with Madero, whom he perceived to be the best chance for genuine change in the country. Although he was wary about Madero, Zapata cooperated with him when Madero made vague promises about land reform. Land reform would be the only issue which Zapata cared about.
In 1910, Zapata quickly took an important role, becoming the general of an army that formed in Morelos – the ''Ejército Libertador del Sur'' (Liberation Army of the South). Zapata joined Madero’s campaign against President Diaz When Zapata's army captured Cuautla after a six-day battle on May 19, 1911, it became clear the Diaz would not hold on to power for long. With the support of Pancho Villa, Pascual Orozco, Emiliano Zapata, and rebellious peasants, Madero overthrew Díaz in May 1911 at the Battle of Ciudad Juárez. A provisional government was formed under Francisco León de la Barra. Under Madero, some new land reforms were carried out and elections were to be ensured. However, Zapata was dissatisfied with Madero's stance on land reform, which Madero did not really believe in, and was unable, despite repeated efforts, to make him understand the importance of the issue or to get him to act on it.
Madero and Zapata's relations worsened during the summer of 1911 as Madero appointed a governor who supported plantation owners and refused to meet Zapata’s agrarian goals. Compromises between the two failed in November 1911, days after Madero appointed himself President, and Zapata and Montano fled to the mountains of southwest Puebla. There they formed the most radical reform plan in Mexico; the Plan de Ayala. The plan declared Madero a traitor, named Pascual Orozco head of the Revolution, and outlined a plan for true land reform.
Zapata was partly influenced by an anarchist from Oaxaca named Ricardo Flores Magón. The influence of Flores Magón on Zapata can be seen in the Zapatistas' Plan de Ayala, but even more noticeably in their slogan (this slogan was never used by Zapata) "''Tierra y libertad''" or "land and liberty", the title and maxim of Flores Magón's most famous work. Zapata's introduction to anarchism came via a local schoolteacher, Otilio Montaño Sánchez – later a general in Zapata's army, executed on 17 May 1917 – who exposed Zapata to the works of Peter Kropotkin and Flores Magón at the same time as Zapata was observing and beginning to participate in the struggles of the peasants for the land.
The plan proclaimed the Zapatista demands for "Reforma, Libertad Ley y Justicia" (Reform, Freedom, Law and Justice). Zapata also declared the Maderistas as a counter-revolution and denounced Madero. Zapata mobilized his Liberation Army and allied with former Maderistas Pascual Orozco and Emiliano Vázquez Gómez. Orozco was from Chihuahua, near the U.S. border, and thus was able to aid the Zapatistas with a supply of arms.
In the following weeks, the development of military operations "betray(ed) good evidence of clear and intelligent planning." During Orozco's rebellion, Zapata fought Mexican troops in south and near Mexico City. In the original design of the armed force, Zapata was a mere colonel among several others. However, the true plan that came about though this organization lent itself to Zapata. Zapata believed that the best route of attack would be to center the fighting and action in Cuautla. If this political location could be overthrown, the army would have enough power to "veto anyone else's control of the state, negotiate for Cuernavaca or attack it directly, and maintain independent access to Mexico City as well as escape routes to the southern hills." However, in order to gain this great success, Zapata realized that his men needed to be better armed and trained.
The first line of action demanded that Zapata and his men "control the area behind and below a line from Jojutla to Yecapixtla."
Zapata finally did gain the support necessary by his peers and was considered a "singularly qualified candidate". Due to this amazing sum of money Zapata's group of rebels became one of the strongest in the state financially. After some time Zapata became the leader of his "strategic zone." After a meeting with Zapata and Ambrosio Figueroa in Jolalpan, it was decided that Zapata would have joint power with Figueroa with regard to operations in Morelos. his rebellion in the south soon fizzled and, in the short run, his ideals of land reform and fair treatment for Mexico's poor farmers were put to an end. However, Zapata's heir apparent Gildardo Magaña and many other Zapata adherents went on to political careers as representatives of Zapatista causes and positions in the Mexican army and government. Some of his former generals like Genovevo de la O allied with Obregón while others eventually disappeared after Carranza was deposed.
Zapata's influence continues to this day, particularly in revolutionary tendencies in south Mexico. In the long run, he has done more for his ideals in death than he did in life. Like many charismatic idealists, Zapata became a martyr after his treacherous murder. Even though Mexico still has not implemented the sort of land reform he wanted, he is remembered as a visionary who fought for his countrymen.
There are controversies about the portrayal of Emiliano Zapata and his followers, over whether they were simply bandits or revolutionaries. But in modern times, Zapata is one of the most revered national heroes of Mexico. To many Mexicans, specifically the peasant and indigenous citizens, Zapata was a practical revolutionary who sought the implementation of liberties and agrarian rights outlined in the Plan of Ayala. He was a realist with the goal of achieving political and economic emancipation of the peasants in southern Mexico, and leading them out of severe poverty.
Many popular organizations take their name from Zapata, most notably the Zapatista Army of National Liberation ''(Ejército Zapatista de Liberación Nacional'' or EZLN in Spanish), the revolutionary movement of indigenous peoples that emerged in the state of Chiapas in 1994 and is colloquially known as "the Zapatistas". Towns, streets, and housing developments called "Emiliano Zapata" are common across the country and he has, at times, been depicted on Mexican banknotes.
Modern activists in Mexico frequently make reference to Zapata in their campaigns, his image is commonly seen on banners and many chants invoke his name: ''Si Zapata viviera con nosotros anduviera'', "If Zapata lived, he would walk with us." ''Zapata vive, la lucha sigue'', "Zapata lives; the struggle continues."
In the folklore of the people of Morelos, there is a widespread belief that Zapata did not die. The corpse purported to be his was that of a friend posing as Zapata, because there was something on Zapata's chest that the dead body didn't have and that Zapata himself fled to some obscure rural locale.
In 1969 students from the Black Student Council and Mexican-American Youth Association of the University of California San Diego proposed the name Lumumba-Zapata College, for what is now known as Thurgood Marshall College. Additionally, Stanford University in California is home to 'Casa Zapata', a Latin American-themed dorm located in Lucie Stern Hall.
Zapata has been depicted in movies, comics, books, music, and clothing popular with teenagers and young adults. For example, there is a ''Zapata'' (1980) stage musical written by Harry Nilsson and Perry Botkin, libretto by Allan Katz, which ran for 16 weeks at the Goodspeed Opera House in East Haddam, Connecticut. A movie called ''Zapata: El Sueño De Un Heroe'' (''Zapata: A Hero's Dream'') was produced in 2004, starring Mexican actors Alejandro Fernandez, Jaime Camil, and Lucero.
Marlon Brando played Emiliano Zapata in the award-winning movie based on his life, ''Viva Zapata!'' in 1952. The film co-starred Anthony Quinn, who won best supporting actor. The director was Elia Kazan and the writer was John Steinbeck.
Zapata has been the subject of extensive street poster art by the anonymous street artist known as "Cutthroat". Cutthroat Art & Emiliano Zapata
Category:1879 births Category:1919 deaths Category:People from Morelos Category:19th-century Mexican people Category:Assassinated Mexican politicians Category:Deaths by firearm in Mexico Category:Deified people Category:Folk saints Category:Mexican generals Category:Mexican rebels Category:Mexican revolutionaries Category:Nahua people Category:People murdered in Mexico Category:People of the Mexican Revolution Category:Zapatistas
ar:إيمليانو زاباتا bs:Emiliano Zapata bg:Емилиано Сапата ca:Emiliano Zapata cs:Emiliano Zapata da:Emiliano Zapata de:Emiliano Zapata el:Εμιλιάνο Ζαπάτα es:Emiliano Zapata eo:Emiliano Zapata eu:Emiliano Zapata fa:امیلیانو زاپاتا fr:Emiliano Zapata ga:Emiliano Zapata gl:Emiliano Zapata ko:에밀리아노 사파타 hr:Emiliano Zapata id:Emiliano Zapata it:Emiliano Zapata jv:Emiliano Zapata ka:ემილიანო საპატა ku:Emiliano Zapata la:Aemilianus Zapata lt:Emiliano Zapata hu:Emiliano Zapata ml:എമിലിയാനൊ സപാത്ത ms:Emiliano Zapata nah:Emiliano Zapata nl:Emiliano Zapata ja:エミリアーノ・サパタ no:Emiliano Zapata nn:Emiliano Zapata pl:Emiliano Zapata pt:Emiliano Zapata ro:Emiliano Zapata qu:Emiliano Zapata ru:Сапата, Эмилиано simple:Emiliano Zapata sk:Emiliano Zapata sl:Emiliano Zapata sr:Емилијано Запата sh:Emiliano Zapata fi:Emiliano Zapata sv:Emiliano Zapata th:เอมีเลียโน ซาปาตา tr:Emiliano Zapata uk:Еміліано Сапата war:Emiliano Zapata zh:埃米利亚诺·萨帕塔This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
The World News (WN) Network, has created this privacy statement in order to demonstrate our firm commitment to user privacy. The following discloses our information gathering and dissemination practices for wn.com, as well as e-mail newsletters.
We do not collect personally identifiable information about you, except when you provide it to us. For example, if you submit an inquiry to us or sign up for our newsletter, you may be asked to provide certain information such as your contact details (name, e-mail address, mailing address, etc.).
When you submit your personally identifiable information through wn.com, you are giving your consent to the collection, use and disclosure of your personal information as set forth in this Privacy Policy. If you would prefer that we not collect any personally identifiable information from you, please do not provide us with any such information. We will not sell or rent your personally identifiable information to third parties without your consent, except as otherwise disclosed in this Privacy Policy.
Except as otherwise disclosed in this Privacy Policy, we will use the information you provide us only for the purpose of responding to your inquiry or in connection with the service for which you provided such information. We may forward your contact information and inquiry to our affiliates and other divisions of our company that we feel can best address your inquiry or provide you with the requested service. We may also use the information you provide in aggregate form for internal business purposes, such as generating statistics and developing marketing plans. We may share or transfer such non-personally identifiable information with or to our affiliates, licensees, agents and partners.
We may retain other companies and individuals to perform functions on our behalf. Such third parties may be provided with access to personally identifiable information needed to perform their functions, but may not use such information for any other purpose.
In addition, we may disclose any information, including personally identifiable information, we deem necessary, in our sole discretion, to comply with any applicable law, regulation, legal proceeding or governmental request.
We do not want you to receive unwanted e-mail from us. We try to make it easy to opt-out of any service you have asked to receive. If you sign-up to our e-mail newsletters we do not sell, exchange or give your e-mail address to a third party.
E-mail addresses are collected via the wn.com web site. Users have to physically opt-in to receive the wn.com newsletter and a verification e-mail is sent. wn.com is clearly and conspicuously named at the point of
collection.If you no longer wish to receive our newsletter and promotional communications, you may opt-out of receiving them by following the instructions included in each newsletter or communication or by e-mailing us at michaelw(at)wn.com
The security of your personal information is important to us. We follow generally accepted industry standards to protect the personal information submitted to us, both during registration and once we receive it. No method of transmission over the Internet, or method of electronic storage, is 100 percent secure, however. Therefore, though we strive to use commercially acceptable means to protect your personal information, we cannot guarantee its absolute security.
If we decide to change our e-mail practices, we will post those changes to this privacy statement, the homepage, and other places we think appropriate so that you are aware of what information we collect, how we use it, and under what circumstances, if any, we disclose it.
If we make material changes to our e-mail practices, we will notify you here, by e-mail, and by means of a notice on our home page.
The advertising banners and other forms of advertising appearing on this Web site are sometimes delivered to you, on our behalf, by a third party. In the course of serving advertisements to this site, the third party may place or recognize a unique cookie on your browser. For more information on cookies, you can visit www.cookiecentral.com.
As we continue to develop our business, we might sell certain aspects of our entities or assets. In such transactions, user information, including personally identifiable information, generally is one of the transferred business assets, and by submitting your personal information on Wn.com you agree that your data may be transferred to such parties in these circumstances.