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

chunk_id stringlengths 3 9	chunk stringlengths 1 100
33_102	Willson-Piper is a vegetarian and an agnostic. He neither smokes nor drinks alcohol. Willson-Piper
33_103	is married to violinist Olivia Willson-Piper and was married once before to Australian Lucy Stewart
33_104	in the early eighties.
33_105	He speaks English and Swedish. As of 2021 he is living in Porto, Portugal. Discography
33_106	Albums In Reflection (1987) Art Attack (1988) Rhyme (1989) Spirit Level (1992)
33_107	Hanging Out in Heaven (2000) Nightjar (2008)
33_108	Singles and EPs She's King (1988) "On the Tip of My Tongue" (1988)
33_109	"Questions Without Answers" (1989) "Melancholy Girl" (1989) Luscious Ghost EP (1992)
33_110	"I Can't Cry" (1992)
33_111	Live recordings Live at the Fine Line Cafe (2000) Live at the Knitting Factory (2000)
33_112	Live from the Other Side (2004)
33_113	Seeing Stars Seeing Stars (1997)
33_114	Noctorum Sparks Lane (2004) Offer the Light (2006) Honey Mink Forever (2011) The Afterlife (2019)
33_115	All About Eve Touched by Jesus (1991) Ultraviolet (1992)
33_116	The Saints Nothing is Straight in My House (2005)
33_117	Other projects MOAT – MOAT (2013) MOAT – Poison Stream (tba)
33_118	Sweet Gum Tree – The Snakes You Charm and the Wolves You Tame (2014)
33_119	Anekdoten – Until All The Ghosts Are Gone (2015)
33_120	References
33_121	External links Official Homepage Marty Willson-Piper's In Deep Music Archive Heyday Records
33_122	Second Motion Records Waterfront Records
33_123	English rock guitarists English male guitarists English buskers Gothic rock musicians
33_124	Living people People from Stockport Musicians from Cheshire The Church (band) members 1958 births
33_125	The Saints (Australian band) members All About Eve (band) members English emigrants to Australia
33_126	Second Motion Records artists
34_0	Ronald Brooks Kitaj (; October 29, 1932 – October 21, 2007) was an American artist with Jewish
34_1	roots who spent much of his life in England.
34_2	Life
34_3	He was born in Chagrin Falls, Ohio, United States. His Hungarian father, Sigmund Benway, left his
34_4	mother, Jeanne Brooks, shortly after he was born and they were divorced in 1934. His mother was the
34_5	American-born daughter of Russian-Jewish immigrants. She worked in a steel mill and as a teacher.
34_6	She remarried in 1941, to Dr Walter Kitaj, a Viennese refugee research chemist, and Ronald took his
34_7	surname. His mother and stepfather were non-practicing Jews. He was educated at Troy High School
34_8	(New York). He became a merchant seaman with a Norwegian freighter when he was 17. He studied at
34_9	the Akademie der bildenden Künste in Vienna and the Cooper Union in New York City. After serving in
34_10	the United States Army for two years, in France and Germany, he moved to England to study at the
34_11	Ruskin School of Drawing and Fine Art in Oxford (1958–59) under the G.I. Bill, where he developed a
34_12	love of Cézanne, and then at the Royal College of Art in London (1959–61), alongside David Hockney,
34_13	Derek Boshier, Peter Phillips, Allen Jones and Patrick Caulfield. Richard Wollheim, the philosopher
34_14	and David Hockney remained lifelong friends.
34_15	Kitaj married his first wife, Elsi Roessler, in 1953; they had a son, screenwriter Lem Dobbs, and
34_16	adopted a daughter, Dominie. Elsi committed suicide in 1969. After living with her for 12 years, he
34_17	married Sandra Fisher in December 1983 and they had one son, Max. Sandra Fisher died in 1994, at
34_18	age 47, from acute disseminated encephalomyelitis (not an aneurysm, as is commonly written). Kitaj
34_19	had a mild heart attack in 1990. He died in Los Angeles in October 2007, eight days before his 75th
34_20	birthday. Seven weeks after Kitaj's death, the Los Angeles County coroner ruled that the cause of
34_21	death was suicide.
34_22	Career
34_23	Kitaj settled in England, and through the 1960s taught at the Ealing Art College, the Camberwell
34_24	School of Art and the Slade School of Art. He also taught at the University of California, Berkeley
34_25	in 1968. He staged his first solo exhibition at Marlborough New London Gallery in London in 1963,
34_26	entitled "Pictures with commentary, Pictures without commentary", in which text included in the
34_27	pictures and the accompanying catalogue referred to a range of literature and history, citing Aby
34_28	Warburg's analysis of symbolic forms as a major influence.
34_29	"School of London"
34_30	He curated an exhibition for the Arts Council at the Hayward Gallery in 1976, entitled "The Human
34_31	Clay" (an allusion to a line by W. H. Auden), including works by 48 London artists, such as William
34_32	Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at
34_33	a time when abstract was dominant. In an essay in the controversial catalogue, he invented the
34_34	phrase the "School of London" to describe painters such as Frank Auerbach, Leon Kossoff, Francis
34_35	Bacon, Lucian Freud, Euan Uglow, Michael Andrews, Reginald Gray, Peter de Francia and himself.
34_36	Style and influence
34_37	Kitaj had a significant influence on British pop art, with his figurative paintings featuring areas
34_38	of bright colour, economic use of line and overlapping planes which made them resemble collages,
34_39	but eschewing most abstraction and modernism. Allusions to political history, art, literature and
34_40	Jewish identity often recur in his work, mixed together on one canvas to produce a collage effect.
34_41	He also produced a number of screen-prints with printer Chris Prater. He told Tony Reichardt,
34_42	manager of the Marlborough New London Gallery, that he made screen-prints as sketches for his
34_43	future paintings. From then onwards Tony Reichardt commissioned Chris Prater to print three or four
34_44	copies of every print he made on canvas. His later works became more personal.
34_45	Kitaj was recognised as being one of the world's leading draftsmen, almost on a par with, or
34_46	compared to, Degas. Indeed, he was taught drawing at Oxford by Percy Horton, whom Kitaj claimed was
34_47	a pupil of Walter Sickert, who was a pupil of Degas; and the teacher of Degas studied under Ingres.
34_48	Meanwhile, Edgar Wind encouraged him to become a 'Warburgian artist'. His more complex compositions
34_49	build on his line work using a montage practice, which he called 'agitational usage'. Kitaj often
34_50	depicts disorienting landscapes and impossible 3D constructions, with exaggerated and pliable human
34_51	forms. He often assumes a detached outsider point of view, in conflict with dominant historical
34_52	narratives. This is best portrayed by his masterpiece "The Autumn of Central Paris" (1972–73),
34_53	wherein philosopher Walter Benjamin is portrayed, as both the orchestrator and victim of historical
34_54	madness. The futility of historical progress creates a disjointed architecture that is maddening to
34_55	deconstruct. He staged a major exhibition at Los Angeles County Museum of Art in 1965, and a
34_56	retrospective at the Hirshhorn Museum in Washington, D.C. in 1981. He selected paintings for an
34_57	exhibition, "The Artist's Eye", at the National Gallery, London in 1980. In 1981 he was elected
34_58	into the National Academy of Design as an Associate member and became a full Academician in 1984.
34_59	Later years
34_60	In his later years, he developed a greater awareness of his Jewish heritage, which found expression
34_61	in his works, with reference to the Holocaust and influences from Jewish writers such as Kafka and
34_62	Walter Benjamin, and he came to consider himself to be a "wandering Jew". In 1989, Kitaj published
34_63	"First Diasporist Manifesto", a short book in which he analysed his own alienation, and how this
34_64	contributed to his art. His book contained the remark: "The Diasporist lives and paints in two or
34_65	more societies at once." And he added: "You don't have to be a Jew to be a Diasporist."
34_66	A second retrospective was staged at the Tate Gallery in 1994. Critical reviews in London were
34_67	almost universally negative. British press savagely attacked the Tate exhibit, calling Kitaj a
34_68	pretentious poseur who engaged in name dropping. Kitaj took the criticism very personally,
34_69	declaring that "anti-intellectualism, anti-Americanism, and anti-Semitism" had fueled the vitriol.
34_70	Despite the bad reviews, the exhibition moved to the Metropolitan Museum of Art in New York and
34_71	afterwards to the Los Angeles County Museum of Art in 1995. His second wife, Sandra Fisher died
34_72	from hyperacute haemorrhagic leuco-encephalitis in 1994, shortly after his exhibition at the Tate
34_73	Gallery had ended. He blamed the British press for her death, stating that "they were aiming for
34_74	me, but they got her instead." David Hockney concurred and said that he too believed the London art

33_102

Willson-Piper is a vegetarian and an agnostic. He neither smokes nor drinks alcohol. Willson-Piper

33_103

is married to violinist Olivia Willson-Piper and was married once before to Australian Lucy Stewart

33_104

in the early eighties.

33_105

He speaks English and Swedish. As of 2021 he is living in Porto, Portugal. Discography

33_106

Albums In Reflection (1987) Art Attack (1988) Rhyme (1989) Spirit Level (1992)

33_107

Hanging Out in Heaven (2000) Nightjar (2008)

33_108

Singles and EPs She's King (1988) "On the Tip of My Tongue" (1988)

33_109

"Questions Without Answers" (1989) "Melancholy Girl" (1989) Luscious Ghost EP (1992)

33_110

"I Can't Cry" (1992)

33_111

Live recordings Live at the Fine Line Cafe (2000) Live at the Knitting Factory (2000)

33_112

Live from the Other Side (2004)

33_113

Seeing Stars Seeing Stars (1997)

33_114

Noctorum Sparks Lane (2004) Offer the Light (2006) Honey Mink Forever (2011) The Afterlife (2019)

33_115

All About Eve Touched by Jesus (1991) Ultraviolet (1992)

33_116

The Saints Nothing is Straight in My House (2005)

33_117

Other projects MOAT – MOAT (2013) MOAT – Poison Stream (tba)

33_118

Sweet Gum Tree – The Snakes You Charm and the Wolves You Tame (2014)

33_119

Anekdoten – Until All The Ghosts Are Gone (2015)

33_120

References

33_121

External links Official Homepage Marty Willson-Piper's In Deep Music Archive Heyday Records

33_122

Second Motion Records Waterfront Records

33_123

English rock guitarists English male guitarists English buskers Gothic rock musicians

33_124

Living people People from Stockport Musicians from Cheshire The Church (band) members 1958 births

33_125

The Saints (Australian band) members All About Eve (band) members English emigrants to Australia

33_126

Second Motion Records artists

34_0

Ronald Brooks Kitaj (; October 29, 1932 – October 21, 2007) was an American artist with Jewish

34_1

roots who spent much of his life in England.

34_2

Life

34_3

He was born in Chagrin Falls, Ohio, United States. His Hungarian father, Sigmund Benway, left his

34_4

mother, Jeanne Brooks, shortly after he was born and they were divorced in 1934. His mother was the

34_5

American-born daughter of Russian-Jewish immigrants. She worked in a steel mill and as a teacher.

34_6

She remarried in 1941, to Dr Walter Kitaj, a Viennese refugee research chemist, and Ronald took his

34_7

surname. His mother and stepfather were non-practicing Jews. He was educated at Troy High School

34_8

(New York). He became a merchant seaman with a Norwegian freighter when he was 17. He studied at

34_9

the Akademie der bildenden Künste in Vienna and the Cooper Union in New York City. After serving in

34_10

the United States Army for two years, in France and Germany, he moved to England to study at the

34_11

Ruskin School of Drawing and Fine Art in Oxford (1958–59) under the G.I. Bill, where he developed a

34_12

love of Cézanne, and then at the Royal College of Art in London (1959–61), alongside David Hockney,

34_13

Derek Boshier, Peter Phillips, Allen Jones and Patrick Caulfield. Richard Wollheim, the philosopher

34_14

and David Hockney remained lifelong friends.

34_15

Kitaj married his first wife, Elsi Roessler, in 1953; they had a son, screenwriter Lem Dobbs, and

34_16

adopted a daughter, Dominie. Elsi committed suicide in 1969. After living with her for 12 years, he

34_17

married Sandra Fisher in December 1983 and they had one son, Max. Sandra Fisher died in 1994, at

34_18

age 47, from acute disseminated encephalomyelitis (not an aneurysm, as is commonly written). Kitaj

34_19

had a mild heart attack in 1990. He died in Los Angeles in October 2007, eight days before his 75th

34_20

birthday. Seven weeks after Kitaj's death, the Los Angeles County coroner ruled that the cause of

34_21

death was suicide.

34_22

Career

34_23

Kitaj settled in England, and through the 1960s taught at the Ealing Art College, the Camberwell

34_24

School of Art and the Slade School of Art. He also taught at the University of California, Berkeley

34_25

in 1968. He staged his first solo exhibition at Marlborough New London Gallery in London in 1963,

34_26

entitled "Pictures with commentary, Pictures without commentary", in which text included in the

34_27

pictures and the accompanying catalogue referred to a range of literature and history, citing Aby

34_28

Warburg's analysis of symbolic forms as a major influence.

34_29

"School of London"

34_30

He curated an exhibition for the Arts Council at the Hayward Gallery in 1976, entitled "The Human

34_31

Clay" (an allusion to a line by W. H. Auden), including works by 48 London artists, such as William

34_32

Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at

34_33

a time when abstract was dominant. In an essay in the controversial catalogue, he invented the

34_34

phrase the "School of London" to describe painters such as Frank Auerbach, Leon Kossoff, Francis

34_35

Bacon, Lucian Freud, Euan Uglow, Michael Andrews, Reginald Gray, Peter de Francia and himself.

34_36

Style and influence

34_37

Kitaj had a significant influence on British pop art, with his figurative paintings featuring areas

34_38

of bright colour, economic use of line and overlapping planes which made them resemble collages,

34_39

but eschewing most abstraction and modernism. Allusions to political history, art, literature and

34_40

Jewish identity often recur in his work, mixed together on one canvas to produce a collage effect.

34_41

He also produced a number of screen-prints with printer Chris Prater. He told Tony Reichardt,

34_42

manager of the Marlborough New London Gallery, that he made screen-prints as sketches for his

34_43

future paintings. From then onwards Tony Reichardt commissioned Chris Prater to print three or four

34_44

copies of every print he made on canvas. His later works became more personal.

34_45

Kitaj was recognised as being one of the world's leading draftsmen, almost on a par with, or

34_46

compared to, Degas. Indeed, he was taught drawing at Oxford by Percy Horton, whom Kitaj claimed was

34_47

a pupil of Walter Sickert, who was a pupil of Degas; and the teacher of Degas studied under Ingres.

34_48

Meanwhile, Edgar Wind encouraged him to become a 'Warburgian artist'. His more complex compositions

34_49

build on his line work using a montage practice, which he called 'agitational usage'. Kitaj often

34_50

depicts disorienting landscapes and impossible 3D constructions, with exaggerated and pliable human

34_51

forms. He often assumes a detached outsider point of view, in conflict with dominant historical

34_52

narratives. This is best portrayed by his masterpiece "The Autumn of Central Paris" (1972–73),

34_53

wherein philosopher Walter Benjamin is portrayed, as both the orchestrator and victim of historical

34_54

madness. The futility of historical progress creates a disjointed architecture that is maddening to

34_55

deconstruct. He staged a major exhibition at Los Angeles County Museum of Art in 1965, and a

34_56

retrospective at the Hirshhorn Museum in Washington, D.C. in 1981. He selected paintings for an

34_57

exhibition, "The Artist's Eye", at the National Gallery, London in 1980. In 1981 he was elected

34_58

into the National Academy of Design as an Associate member and became a full Academician in 1984.

34_59

Later years

34_60

In his later years, he developed a greater awareness of his Jewish heritage, which found expression

34_61

in his works, with reference to the Holocaust and influences from Jewish writers such as Kafka and

34_62

Walter Benjamin, and he came to consider himself to be a "wandering Jew". In 1989, Kitaj published

34_63

"First Diasporist Manifesto", a short book in which he analysed his own alienation, and how this

34_64

contributed to his art. His book contained the remark: "The Diasporist lives and paints in two or

34_65

more societies at once." And he added: "You don't have to be a Jew to be a Diasporist."

34_66

A second retrospective was staged at the Tate Gallery in 1994. Critical reviews in London were

34_67

almost universally negative. British press savagely attacked the Tate exhibit, calling Kitaj a

34_68

pretentious poseur who engaged in name dropping. Kitaj took the criticism very personally,

34_69

declaring that "anti-intellectualism, anti-Americanism, and anti-Semitism" had fueled the vitriol.

34_70

Despite the bad reviews, the exhibition moved to the Metropolitan Museum of Art in New York and

34_71

afterwards to the Los Angeles County Museum of Art in 1995. His second wife, Sandra Fisher died

34_72

from hyperacute haemorrhagic leuco-encephalitis in 1994, shortly after his exhibition at the Tate

34_73

Gallery had ended. He blamed the British press for her death, stating that "they were aiming for

34_74

me, but they got her instead." David Hockney concurred and said that he too believed the London art