manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
34_75	critics had killed Sandra Fisher. Kitaj returned to the US in 1997 and settled in Los Angeles, near
34_76	his first son. "When my Wife died", he wrote to Edward Chaney, "London died for me and I returned
34_77	home to California to live among sons and grandsons – It was a very good move and now I begin my
34_78	3rd and (last?) ACT! hands across The Sea." Three years later he wrote: "I grow older every day and
34_79	rather like my hermit life." The "Tate War" and Sandra's death became a central themes for his
34_80	later works: he often depicted himself and his deceased wife as angels. In Los Angeles No. 22
34_81	(Painting-Drawing) the beautiful young (and naked) girl records the shadow of her aged lover (on
34_82	whose lap she sits) in a pose directly taken from the Scots Grand Tourist David Allan's Origin of
34_83	Painting. The latter was included by Ernst Gombrich in his 1995 National Gallery exhibition (and
34_84	catalogue) on Shadows so that Kitaj would have seen it two years before he left England for ever.
34_85	In 1997 Kitaj exhibited his work Sandra Three, an installation of paintings, photographs and text
34_86	that stretched across an entire wall of the gallery at the Royal Academy's Summer Exhibition. Kitaj
34_87	used the Academy's Summer Exhibition to showcase this sequence of works that dealt with the events
34_88	of the "Tate War" and Sandra's death and even included a graffiti inscription stating 'The Critic
34_89	Kills'.
34_90	In 2000, Kitaj was one of several artists to make a Post-it note for an internet charity auction
34_91	held by 3M to celebrate the 20th anniversary of their product. The charcoal and pastel piece sold
34_92	for $925, making it the most expensive post-it note in history, a fact recorded in the Guinness
34_93	Book of World Records. Kitaj was elected to the Royal Academy in 1991, the first American to join
34_94	the Academy since John Singer Sargent. He received the Golden Lion at the Venice Biennale in 1995.
34_95	He staged another exhibition at the National Gallery in 2001, entitled "Kitaj in the Aura of
34_96	Cézanne and Other Masters".
34_97	In September 2010, Kitaj and five British artists including Howard Hodgkin, John Walker, Ian
34_98	Stephenson, Patrick Caulfield and John Hoyland were included in an exhibition entitled The
34_99	Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the
34_100	Yale Center for British Art.
34_101	In October 2012 a major international symposium was held in Berlin to mark what would have been
34_102	Kitaj's 80th birthday. It accompanied Obsessions, the first comprehensive exhibition of Kitaj's
34_103	work since his death, held at the Jewish Museum, Berlin. The title is partly in reference to what
34_104	he dubbed his "erratic Jewish obsessions". The exhibition was shown in the UK in two parts at
34_105	Pallant House Gallery, Chichester (February 23 to June 16, 2013) and the Jewish Museum London
34_106	(February 21 to June 16, 2013).
34_107	All Too Human: Bacon, Freud and a Century of Painting Life opened at Tate Britain in February 2018,
34_108	inspired by Kitaj's School of London.
34_109	References Sources
34_110	Further reading
34_111	Baskind, Samantha, Jewish Artists and the Bible in Twentieth-Century America,Philadelphia, PA,
34_112	Penn State University Press, 2014,
34_113	Chaney, Edward,'Kitaj versus Creed', The London Magazine (April 2002), pp. 106–11.
34_114	Chaney, Edward, "Warburgian Artist: R.B. Kitaj, Edgar Wind, Ernst Gombrich and the Warburg
34_115	Institute". Obsessions: R.B. Kitaj 1932–2007. Jewish Museum Berlin. Kerber Art, 2012, pp. 97–103.
34_116	Chaney, Edward, 'R.B. Kitaj (1932–2007): Warburgian Artist', "emaj" issue 7.1 November
34_117	Duncan, Robert. "A Paris Visit, with R.B. Kitaj". Conjunctions, no. 8, Fall 1985, pp. 8–17
34_118	Kampf, Avraham. Chagall to Kitaj: Jewish Experience in Twentieth-Century Art. Exhibition catalogue.
34_119	London: Lund Humphries and the Barbican Art Gallery, 1990.
34_120	Kitaj, R. B. First Diasporist Manifesto. London : Thames and Hudson, 1989.
34_121	Kitaj, R. B. The Second Diasporist Manifesto. New Haven, CT : Yale University Press, 2007.
34_122	Kitaj, R. B. / Irving Petlin. Rubbings...The Large Paintings and the Small Pastels. Exhibition
34_123	catalogue. Purchase, New York, and Chicago: Neuberger Museum and Arts Club of Chicago, 1978.
34_124	Lambirth, Andrew. Kitaj. London: Philip Wilson Publishers, 2004.
34_125	Palmer, Michael. "Four Kitaj Studies", from The Promises of Glass. New York: New Directions
34_126	Publishing, 2000.
34_127	Stępnik, Małgorzata. Błogosławione błądzenie. Na marginesie diasporycznego manifestu Ronalda B.
34_128	Kitaja (The Blessed Wandering. Side Notes on Ronald B. Kitaj's Diasporic Manifesto) (in:) Sztuka i
34_129	edukacja, (eds.) A. Boguszewska, B. Niścior, Maria Curie-Sklodowska University, Lublin 2015.
34_130	Stępnik, Małgorzata. The Aesthetics of the School of London "Diasporic" Painting – on the Basis of
34_131	Ronald B. Kitaj's Literary Manifestos (in:) Studies on Modern Art Vol. 5: Art of the United Kingdom
34_132	of Great Britain and Northern Ireland & Republic of Ireland in 20th–21st Centuries and Polish –
34_133	British & Irish Art Relation, (eds.) M. Geron, J. Malinowski, J. W.
34_134	Sienkiewicz, Toruń: The Nicolaus Copernicus University Press, 2015, pp. 109–116. .
34_135	External links
34_136	1932 births 2007 deaths 20th-century American painters 20th-century British painters
34_137	21st-century American painters 21st-century male artists 21st-century British painters
34_138	Academics of Camberwell College of Arts Academy of Fine Arts Vienna alumni
34_139	Alumni of the Royal College of Art Alumni of the Ruskin School of Art American emigrants to England
34_140	American male painters American people of Hungarian-Jewish descent
34_141	American people of Russian-Jewish descent British male painters British pop artists
34_142	British printmakers Cooper Union alumni Jewish American artists Jewish painters
34_143	Painters who committed suicide People from Chagrin Falls, Ohio Royal Academicians
34_144	American pop artists 2007 suicides
35_0	HMS Tiger was a conventional cruiser of the British Royal Navy, one of a three-ship class known as
35_1	the . Ordered during World War II, she was completed after its end.
35_2	Tiger was in service by 1960 and served in the Far East and then with the Home Fleet before going
35_3	into reserve at the end of 1966.
35_4	From 1968 Tiger was converted to a "helicopter and command cruiser" and equipped with guided
35_5	missile anti-aircraft defence before returning to service in the early 1970s. She remained in
35_6	service until 1978 when she was put into reserve and marked for disposal. There were moves to
35_7	return her to service during the Falklands War for her flight deck capacity but it did not proceed.
35_8	Tiger was finally sold for scrap in 1986.
35_9	Construction
35_10	Tiger started out as Bellerophon laid down in 1941 at the John Brown Shipyard as part of the of
35_11	light cruisers. These vessels had a low construction priority due to more pressing requirements for
35_12	other ship types during World War II, particularly anti-submarine vessels. Bellerophon was renamed
35_13	Tiger in 1945, and was launched, partially constructed, on 25 October 1945. She was christened by
35_14	Lady Stansgate, the wife of William Benn, Viscount Stansgate, the Secretary of State for Air. Work
35_15	on Tiger was suspended in 1946, and she was laid up at Dalmuir.
35_16	The Tigers were redesigned in 1948, mainly for anti-aircraft defence of convoys and aircraft
35_17	carrier task forces. Cruisers were seen as playing a secondary and complementary role to light
35_18	fleet aircraft carriers in the defence of trade and attack on enemy shipping. For AA defence of
35_19	fleet carrier task forces the cruisers replaced the AA batteries of Second World War-era
35_20	battleships and carriers.
35_21	In 1951 the Government decided to complete the ship and two others to an altered design with
35_22	all-new armament as opposed to building new cruisers. With the revised design, HMS Tiger, became
35_23	the lead ship of the class. Due to the priority of the Royal Air Force (in providing defence
35_24	against nuclear attack by Soviet bombers), the Cold War, and the conflict between the prime
35_25	minister and Admiralty Naval Staff over shipbuilding issues, the warships that were approved in
35_26	1951-1953 were anti-submarine frigates, destroyers, and minehunters but no cruisers. The restart
35_27	of work on the Tiger class and reconstruction of other cruisers was delayed until 1955.
35_28	The ship had automatic guns in twin high-angle mounts with each gun designed to fire 20 rounds per
35_29	minute, and a secondary battery of automatic weapons firing at 90-120 rpm. Each 6 inch and 3 inch

34_75

critics had killed Sandra Fisher. Kitaj returned to the US in 1997 and settled in Los Angeles, near

34_76

his first son. "When my Wife died", he wrote to Edward Chaney, "London died for me and I returned

34_77

home to California to live among sons and grandsons – It was a very good move and now I begin my

34_78

3rd and (last?) ACT! hands across The Sea." Three years later he wrote: "I grow older every day and

34_79

rather like my hermit life." The "Tate War" and Sandra's death became a central themes for his

34_80

later works: he often depicted himself and his deceased wife as angels. In Los Angeles No. 22

34_81

(Painting-Drawing) the beautiful young (and naked) girl records the shadow of her aged lover (on

34_82

whose lap she sits) in a pose directly taken from the Scots Grand Tourist David Allan's Origin of

34_83

Painting. The latter was included by Ernst Gombrich in his 1995 National Gallery exhibition (and

34_84

catalogue) on Shadows so that Kitaj would have seen it two years before he left England for ever.

34_85

In 1997 Kitaj exhibited his work Sandra Three, an installation of paintings, photographs and text

34_86

that stretched across an entire wall of the gallery at the Royal Academy's Summer Exhibition. Kitaj

34_87

used the Academy's Summer Exhibition to showcase this sequence of works that dealt with the events

34_88

of the "Tate War" and Sandra's death and even included a graffiti inscription stating 'The Critic

34_89

Kills'.

34_90

In 2000, Kitaj was one of several artists to make a Post-it note for an internet charity auction

34_91

held by 3M to celebrate the 20th anniversary of their product. The charcoal and pastel piece sold

34_92

for $925, making it the most expensive post-it note in history, a fact recorded in the Guinness

34_93

Book of World Records. Kitaj was elected to the Royal Academy in 1991, the first American to join

34_94

the Academy since John Singer Sargent. He received the Golden Lion at the Venice Biennale in 1995.

34_95

He staged another exhibition at the National Gallery in 2001, entitled "Kitaj in the Aura of

34_96

Cézanne and Other Masters".

34_97

In September 2010, Kitaj and five British artists including Howard Hodgkin, John Walker, Ian

34_98

Stephenson, Patrick Caulfield and John Hoyland were included in an exhibition entitled The

34_99

Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the

34_100

Yale Center for British Art.

34_101

In October 2012 a major international symposium was held in Berlin to mark what would have been

34_102

Kitaj's 80th birthday. It accompanied Obsessions, the first comprehensive exhibition of Kitaj's

34_103

work since his death, held at the Jewish Museum, Berlin. The title is partly in reference to what

34_104

he dubbed his "erratic Jewish obsessions". The exhibition was shown in the UK in two parts at

34_105

Pallant House Gallery, Chichester (February 23 to June 16, 2013) and the Jewish Museum London

34_106

(February 21 to June 16, 2013).

34_107

All Too Human: Bacon, Freud and a Century of Painting Life opened at Tate Britain in February 2018,

34_108

inspired by Kitaj's School of London.

34_109

References Sources

34_110

Further reading

34_111

Baskind, Samantha, Jewish Artists and the Bible in Twentieth-Century America,Philadelphia, PA,

34_112

Penn State University Press, 2014,

34_113

Chaney, Edward,'Kitaj versus Creed', The London Magazine (April 2002), pp. 106–11.

34_114

Chaney, Edward, "Warburgian Artist: R.B. Kitaj, Edgar Wind, Ernst Gombrich and the Warburg

34_115

Institute". Obsessions: R.B. Kitaj 1932–2007. Jewish Museum Berlin. Kerber Art, 2012, pp. 97–103.

34_116

Chaney, Edward, 'R.B. Kitaj (1932–2007): Warburgian Artist', "emaj" issue 7.1 November

34_117

Duncan, Robert. "A Paris Visit, with R.B. Kitaj". Conjunctions, no. 8, Fall 1985, pp. 8–17

34_118

Kampf, Avraham. Chagall to Kitaj: Jewish Experience in Twentieth-Century Art. Exhibition catalogue.

34_119

London: Lund Humphries and the Barbican Art Gallery, 1990.

34_120

Kitaj, R. B. First Diasporist Manifesto. London : Thames and Hudson, 1989.

34_121

Kitaj, R. B. The Second Diasporist Manifesto. New Haven, CT : Yale University Press, 2007.

34_122

Kitaj, R. B. / Irving Petlin. Rubbings...The Large Paintings and the Small Pastels. Exhibition

34_123

catalogue. Purchase, New York, and Chicago: Neuberger Museum and Arts Club of Chicago, 1978.

34_124

Lambirth, Andrew. Kitaj. London: Philip Wilson Publishers, 2004.

34_125

Palmer, Michael. "Four Kitaj Studies", from The Promises of Glass. New York: New Directions

34_126

Publishing, 2000.

34_127

Stępnik, Małgorzata. Błogosławione błądzenie. Na marginesie diasporycznego manifestu Ronalda B.

34_128

Kitaja (The Blessed Wandering. Side Notes on Ronald B. Kitaj's Diasporic Manifesto) (in:) Sztuka i

34_129

edukacja, (eds.) A. Boguszewska, B. Niścior, Maria Curie-Sklodowska University, Lublin 2015.

34_130

Stępnik, Małgorzata. The Aesthetics of the School of London "Diasporic" Painting – on the Basis of

34_131

Ronald B. Kitaj's Literary Manifestos (in:) Studies on Modern Art Vol. 5: Art of the United Kingdom

34_132

of Great Britain and Northern Ireland & Republic of Ireland in 20th–21st Centuries and Polish –

34_133

British & Irish Art Relation, (eds.) M. Geron, J. Malinowski, J. W.

34_134

Sienkiewicz, Toruń: The Nicolaus Copernicus University Press, 2015, pp. 109–116. .

34_135

External links

34_136

1932 births 2007 deaths 20th-century American painters 20th-century British painters

34_137

21st-century American painters 21st-century male artists 21st-century British painters

34_138

Academics of Camberwell College of Arts Academy of Fine Arts Vienna alumni

34_139

Alumni of the Royal College of Art Alumni of the Ruskin School of Art American emigrants to England

34_140

American male painters American people of Hungarian-Jewish descent

34_141

American people of Russian-Jewish descent British male painters British pop artists

34_142

British printmakers Cooper Union alumni Jewish American artists Jewish painters

34_143

Painters who committed suicide People from Chagrin Falls, Ohio Royal Academicians

34_144

American pop artists 2007 suicides

35_0

HMS Tiger was a conventional cruiser of the British Royal Navy, one of a three-ship class known as

35_1

the . Ordered during World War II, she was completed after its end.

35_2

Tiger was in service by 1960 and served in the Far East and then with the Home Fleet before going

35_3

into reserve at the end of 1966.

35_4

From 1968 Tiger was converted to a "helicopter and command cruiser" and equipped with guided

35_5

missile anti-aircraft defence before returning to service in the early 1970s. She remained in

35_6

service until 1978 when she was put into reserve and marked for disposal. There were moves to

35_7

return her to service during the Falklands War for her flight deck capacity but it did not proceed.

35_8

Tiger was finally sold for scrap in 1986.

35_9

Construction

35_10

Tiger started out as Bellerophon laid down in 1941 at the John Brown Shipyard as part of the of

35_11

light cruisers. These vessels had a low construction priority due to more pressing requirements for

35_12

other ship types during World War II, particularly anti-submarine vessels. Bellerophon was renamed

35_13

Tiger in 1945, and was launched, partially constructed, on 25 October 1945. She was christened by

35_14

Lady Stansgate, the wife of William Benn, Viscount Stansgate, the Secretary of State for Air. Work

35_15

on Tiger was suspended in 1946, and she was laid up at Dalmuir.

35_16

The Tigers were redesigned in 1948, mainly for anti-aircraft defence of convoys and aircraft

35_17

carrier task forces. Cruisers were seen as playing a secondary and complementary role to light

35_18

fleet aircraft carriers in the defence of trade and attack on enemy shipping. For AA defence of

35_19

fleet carrier task forces the cruisers replaced the AA batteries of Second World War-era

35_20

battleships and carriers.

35_21

In 1951 the Government decided to complete the ship and two others to an altered design with

35_22

all-new armament as opposed to building new cruisers. With the revised design, HMS Tiger, became

35_23

the lead ship of the class. Due to the priority of the Royal Air Force (in providing defence

35_24

against nuclear attack by Soviet bombers), the Cold War, and the conflict between the prime

35_25

minister and Admiralty Naval Staff over shipbuilding issues, the warships that were approved in

35_26

1951-1953 were anti-submarine frigates, destroyers, and minehunters but no cruisers. The restart

35_27

of work on the Tiger class and reconstruction of other cruisers was delayed until 1955.

35_28

The ship had automatic guns in twin high-angle mounts with each gun designed to fire 20 rounds per

35_29

minute, and a secondary battery of automatic weapons firing at 90-120 rpm. Each 6 inch and 3 inch