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Journal articles on the topic 'Art medal'
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Василь, Гурмак. "МЕДАЛЬ: ПРОБЛЕМИ ЖАНРОВОЇ КЛАСИФІКАЦІЇ". ВІСНИК Львівської національної академії мистецтв, № 27 (18 листопада 2015): 214–20. https://doi.org/10.5281/zenodo.33961.
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The article continues to explore the problems of contemporary medal art, focusing on the difficulties of defining the genre of different coins. Classification by genre accepted in Ukrainian art criticism today is inherited from the Soviet era and is chronologically and ideologically obsolete. The article proposes a different method of determining genre of medals based on historical development of the medal art from Antiquity to the present.
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Волкова, Ульяна Михайловна. "Moscow in the Russian medallic art." Искусство Евразии, no. 2(17) (June 27, 2020): 116–25. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.007.
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В статье рассматриваются медали, созданные в Российской империи в XVIII – начале XX века, с изображением города Москвы. В течение XVIII века была отчеканена всего одна медаль с таким изображением – на основание Московского университета. Все памятники XIX – начала XX века с изображением древней столицы можно разделить на три типа – это виды Кремля, различные сооружения и персонифицированный образ города. Персонификация Москвы – самый увлекательный медальный образ старой столицы. С этой аллегорией существует всего три медали. Первая персонификация Москвы была показана на медали, посвященной Отечественной войне 1812 года – «Освобождение Москвы», отчеканенной в 1834 году и принадлежащей к серии графа Ф.П. Толстого. Одеяние аллегорического персонажа соответствует русской моде начала XIX века и включает стилизованный сарафан и кокошник. На примере трех проанализированных медалей с изображением персонификаций Москвы автор прослеживает основные изменения, произошедшие в отечественном медальерном искусстве – от первых попыток включить элементы традиционной культуры в европейское по своей сути искусство до композиций, созданных на основе исторических источников и научных трудов. The article deals with the images of Moscow in the Russian medallic art of the 18th – beginning of the 20th century. Only one medal with the view of Moscow Kremlin was struck during 18th century. It was a medal dedicated to the inauguration of the Moscow University in 1754 by Helvetian medallieur Jacques-Antoine Dassier. During 19th – beginning of the 20th century, there were three types of the images of Moscow on the Russian medals. Moscow Kremlin, some landmark buildings or personification of the town are the main images depicted on the medals. Personification of Moscow is the most fascinating medallic image of the old capital. There were only three medals with this allegory. First personification of Moscow was shown on a medal dedicated to the Patriotic war of 1812 – “Liberation of Moscow” belonging to the series of count F.P. Tolstoy, minted in 1834. Allegory was dressed according to the Russian fashion of the beginning of the 19th century. And wore stylized sarafan (Russian folk costume) and kokoshnik (traditional Russian headdress). Two other personification were depicted after the first one.
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Bourne, Simon. "Prestressing: recovery of the lost art." Structural Engineer 91, no. 2 (2013): 12–22. http://dx.doi.org/10.56330/fhex5494.
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Recipient of IABSE's 2012 Milne Medal, Simon Bourne, draws on 30 years of bridge design experience, to encourage engineers to consider simplicity over complexity when designing post-tensioned bridges. This paper is based on Simon's Milne Medal Lecture.
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Daub, Eugene, and Bev Mazze. "The Contemporary Art Medal in America." Sculpture Review 69, no. 1 (2020): 8–14. http://dx.doi.org/10.1177/0747528420926810.
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Demian, Nicoleta. "Fier şi “amintire”. Medalii de Anina din colecţia Muzeului Naţional al Banatului din Timişoara (sfârşitul sec. al XIX‑lea – începutul sec. al XX‑lea)." Banatica 1, no. 34 (2024): 469–93. https://doi.org/10.56177/banatica.34.2024.art.25.
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The items presented are four medals cast from an alloy in which iron predominates, with a diameter between 80 and 104 mm and a weight between 200 and 400 grams, preserved in the collection of medals at the National Museum of Banat in Timişoara (MNaB). These medal items suggest an interesting story being produced in Banat, at the Iron Works, Anina, which belonged to the Railroad Company, StEG (K. K. privilegierte Österreichische Staats Eisenbahn Gesellschaft). At Anina they used to make cast items intended for commercialization; at this foundry, they produced from the finest decorative items, dishes, and stoves, to the heaviest components for industrial machinery. The medals are presented in chronological order: medal – the 7th general meeting of the Association of Primary Teachers in Caraş-Severin county (June 29, 1901), unknown provenance; medal – commemorating the consecration of the Roman-Catholic Church from Anina (1901), unknown provenance; two medals dedicated to dr. Leitner Miksa/Max, the chief physician of Caraş-Severin county (September 29, 1907) on the anniversary of 25 years of activity (1882–1907), one of which was donated to the museum by Lendvai Sándor in 1908. Although they have the same representations on the obverse and reverse, the two medals differ not only in terms of execution but also in the alloy’s composition. In the collection of the MNaB, there was another item like those mentioned above, which is currently in the collection of the National History Museum of Romania in Bucharest, having been definitively transferred in 1974: medal – in memory of the trip to Anina of the participants in the Mining Congress (September 18, 1885). The medal was donated to the Museum from Timişoara in 1889 by Franz Blaskovich (1864–1937) from Timişoara, an important personality of the Swabians in Banat. Starting from documents preserved in archives and the information found in mining magazines and the newspapers of the time, one can find details about each of the events marked by these medals: the 7th general meeting of the Association of Primary Teachers in Caraş-Severin county, held at Anina in June 29, 1901; the consecration of the Roman-Catholic Church at Anina în 1901; the anniversary in 1907 of dr. Leitner Max (1856–1934), the chief physician of Caraş-Severin county and biographical information about him; the Congress of mining, metallurgy and geology held in Budapest between September 14–16, 1885, and the trip to Anina in September 18, 1885. It is possible that medals for other mining centres were also ordered at Anina, or in certain cases the medals cast at Anina might have represented models for other medals of this kind. Two examples are presented: a medal from the mine in Borod (located east of Oradea), dated June 11, 1901, and the series of medals dedicated to the Feast of St. Barbara, December 4, made in Pécs between 1891 and 1899. Medals cast at Anina, found in the collections of other museums in Banat, are mentioned (the Mountainous Banat Museum in Reşiţa: a medal – AVT – Aninai Vasut Társaság / the Railroad Company, Anina, October 10, 1885, an almost unknown variant); in private collections: in Anina (the Mosoroceanu collection) and Timişoara or those appeared in recent years in the context of online auctions. At the same time, reference is also made to the decorative art objects produced in the fine/artistic foundry workshop in Anina: statuettes with hunting scenes (for the shooting associations in the mountainous Banat in the second half of the 19th century), decorative plates with mythological scenes (for collectors), presse-papiers, imperial busts, candlesticks, etc. The iron decorative art objects, cast in Anina, found in the collection of Ormós Zsigmond (1813–1894), the founder of the museum in Timişoara, as well as those found in the collection of decorative art of the Museum in Timişoara in 1909, are also mentioned. Some were related to the donations of Ormós Zsigmond, Lendvai Sándor, and Molnár Lajos, some others were purchased by the museum in 1902 directly from the artistic foundry in Anina for the price of 109 crowns. All the items were exhibited for the public in the permanent exhibition at the first headquarters of the museum in Timişoara, Lonovics street, no 8 (today Augustin Pacha street). Medalist Anton Rudolf Weinberger (1879–1936), a refined portraitist of many personalities (some from Banat), born in Reşita, later settled to Vienna, also spent a lot of time in this artistic foundry workshop. The medals presented certify both the technical and artistic level of those who created them, as well as the activity at the artistic foundry in the second half of the 19th century until the World War I. The special documentary value of these medals is noteworthy, recalling special events in the life of the local community (gatherings, trips, anniversaries, church consecrations) or local personalities connected to a period of time so well described by the following words: “coal, steam, iron, and steel“.
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Smith, David B. "Curling medals with miniature stones." Proceedings of the Society of Antiquaries of Scotland 139 (November 30, 2010): 377–84. http://dx.doi.org/10.9750/psas.139.377.384.
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This paper describes a small group of exuberantly designed and skilfully executed medals which wereproduced between 1842 and 1858 as trophies in the game of curling. For much of the 19th century,the main trophy of the game was the medal, which was competed for annually, or as frequently asthe weather permitted. The winner, or winners then held the medal until the date of the next contest.These medals were not designed to be worn; they were to be displayed and admired rather like smallworks of art. This group is very unusual, in that miniature stones and various other implements ofthe game are set upon the obverse.
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Burd, Gary. "A modern medal." Biochemist 24, no. 4 (2002): 46–47. http://dx.doi.org/10.1042/bio02404046.
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The new Biochemical Society Award is to be presented this year to Steven Rose and Bernard Dixon for their outstanding contribution to the field of science communication. This is the first year that this award has been given, and consequently, a new medal was needed. The Society enlisted the help of Martin Kemp, Professor of Art History at the University of Oxford, to choose an artist who would design a medal that pushed the boundaries of design. Consequently, Mirjam Mieras, a Dutch medal designer was commissioned.
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Baranyi, Anna. "Fülöp Ö. Beck’s Liszt Interpretation in His 1911 Series of Plaques." Studia Musicologica 55, no. 1-2 (2014): 157–68. http://dx.doi.org/10.1556/6.2014.55.1-2.11.
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During his lifetime hundreds of portraits were made of Ferenc Liszt in a great diversity of genres by foreign and Hungarian artists alike. Medallists also commemorated Liszt on the centenary of his birth in 1911. Numerous one-sided medals and plaques were cast or struck but some of them, like that of Fülöp Ö. Beck, do have motives on the reverse as well. Beck had been working on a Liszt plaque for years. The starting inspiration was the Liszt mask he had personally received from the aging sculptor Alajos Stróbl. He prepared several designs for the reverse. The series of the reverse variations is significant because Beck’s aim was not to present an allegory about Liszt’s figure or create symbols for his compositions as was the custom in medal art, but to capture the essence and the infinity of music. Fülöp Ö. Beck’s Liszt plaque is an outstanding exponent not only of the Hungarian but the international medal art.
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Микола, Гурмак. "Технології виготовлення медалей — від міфу до історії". ВІСНИК Львівської національної академії мистецтв, № 28 (19 травня 2016): 189–204. https://doi.org/10.5281/zenodo.51664.
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The article is about the gap between the technique means and figurative filling of modern medal art. Author studies a comparison of contemporary proportion between technique and image of medal and the same proportion of the Ancient, Middle-aged and Renaissance medal and coin. The way to get over this gap is also proposed. The author notes that the rises of medal art in previous eras were associated with the consummation of the combining of an image and a technology — in ancient times the mythology was taken as the basis of such a unity, in medieval times its place as a basis was replaced by the natural-philosophical school like alchemy. Forasmuch neither of these foundations is suitable for contemporary artists, each of them should develop the own unique version of «technique spirituality».
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Rokita, Jan Gustaw. "Medale Stefana Batorego. Uwagi ikonograficzne." Studia Europaea Gnesnensia, no. 26 (January 27, 2025): 45–83. https://doi.org/10.14746/seg.2024.26.3.
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The author of this paper discusses twenty-six works of art, including medals, coins, portrait engravings, emblems as well as specimens of woodcarving and sculpture. Apart from a detailed analysis of the medallic legacy of Stefan Batory, the aim of this study is to find and describe works of art that a medallic artist might have been exposed to when commissioned by the king or his immediate circle to fashion a medal. Having identified direct sources of inspiration for seventeenth-century artists, it has been possible to offer a better explanation of how Stefan Batory promoted his own indisputable political or military achievements.
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Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.
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Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
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Basargina, Ekaterina Yu, and Olga A. Kirikova. "Commemorative Medal for the Centenary of the Imperial St. Petersburg Academy of Sciences in 1826." Herald of an archivist, no. 4 (2018): 1244–53. http://dx.doi.org/10.28995/2073-0101-2018-4-1244-1253.
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The article studies the commemorative medal for the centenary of the Imperial St. Petersburg Academy of Sciences as a part of the Academy’s jubilee. Preserving memory of significant events is one of key aspects of culture. Jubilees and jubilee-related artifacts, i.e. commemorative medals, have their place among so called commemorative practices. Scientific community uses such practices make appeals to the authorities, to enhance its prestige, and to consolidate itself. The 1826 commemorative medal appeared to be a part of the jubilee events. The large-scale celebrations seemed to be a landmark in the history of the Academy of Sciences. Its President, Sergey Uvarov, used the opportunity to appeal to the Emperor and to show the Academy in all its glory. Medallionist Fyodor Tolstoy created for the occasion a jubilee commemorative medal, which was presented to the members of the Imperial family and other notable guests. That event was the climax of the celebration. The medal was authorized by the Emperor. Its creation therefore proved that the authorities recognized the import of the Academy of Sciences, the worth of science for state, its military power and its political reputation. The 1826 commemorative medal symbolized Imperial favor towards the Academy of Sciences; it bears the names of three monarchs: Peter I, its founder, Alexander I, its protector at the close of its first hundred years, and Nicholas I, its hope for the new era. Several drafts of the medal prove that academician experts in numismatics participated in its creation. The authors consider the commemorative medal an important historical source and a set of symbols to be explained. The article analyses art media and studies the evolution of medal inscriptions (they were first made in Latin, but later re-written in Russian on the Emperor’s orders).
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O'Callaghan, James. "Milne Medal: Engineering clarity." Structural Engineer 94, no. 12 (2016): 14–21. http://dx.doi.org/10.56330/ibbt7968.
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In a paper based on his 2016 IABSE Milne Medal Lecture, James O'Callaghan reflects on his career as an engineer and, in particular, his interest in the art of structural glass design – a field in which he is widely acknowledged as an authority. James illustrates the evolution of glass as a structural material over the last 20 years and considers its future in an industry increasingly focused on energy efficiency. The Milne Medal is awarded annually to an individual engineer for excellence in structural design, both in the overall concept and in the attention to detail in their work, and is named in recognition of the late Bob Milne, who served for many years as the Honorary Secretary of the IABSE British Group.
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Gilliland, Cory. "FIDEM and the Art Medal: Portable, Personal, and Peculiar." Sculpture Review 65, no. 1 (2016): 26–29. http://dx.doi.org/10.1177/074752841606500104.
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Matić, Milan, and Sandra Radenović. "Artist - Olympian." Fizicka kultura, no. 00 (2024): 12. http://dx.doi.org/10.5937/fk77-51679.
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From 1912 to 1948, eighteen hundred artists participated in art competitions within the Olympic Games. Art competitions were held at the following Olympic Games during the period from 1912 to 1948: Stockholm (1912), Antwerp (1920), Paris (1924), Amsterdam (1928), Los Angeles (1932), Berlin (1936), and London (1948). The introduction of art competitions at the Olympic Games was intended to integrate sport and art, spirit and body, and at the same time as a reminder of the cultural valuesand ideals represented in Ancient Greece. Prominent artists of that era served as judges for the artworks. The aim of this study is to present artistic disciplines from 1912 to 1948, to determine how many works of art, from which field of art, were inspired by sports events, primarily those related to the disciplines of athletic competitions of the analyzed period. A t t h e C u l t u r a l O l y m p i a d , from 1912 to 1948, the largest number of medals were awarded for paintings and graphic art (a total of 38 (applied graphics 5, drawings and watercolors 8, other graphic arts 9, paintings 16 medals)), sculpture (a total of 34 (10 medals awarded for medals, 3 for reliefs, and 21 for sculptures)), followed by literature (a total of 29 (dramatic works 1, epic works 9, literature - all kinds 11, lyrics 8 medals)), architecture (a total of 28 (architectural designs 12, designs for town planning 16)), music (a total of 17 (compositions for one instrument 2, compositions for orchestra of all kinds 7, compositions of songs for soloists or choir with or without instrumental accompaniment 4, music - all kinds 4)). When the number of medals awarded for artistic works inspired by athletic events is separated, the most are those from sculpture (7 medals), architecture (4 medals), painting and graphics (3 medals), literature (3 medals), music (1 medal).
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Barshteyn, Victor, and Yaroslav Blume. "Pages of history of the Muséum national d’Histoire naturelle (Paris) in medal art." GEO&BIO 2023, no. 24 (2023): 3–24. http://dx.doi.org/10.53452/gb2403.
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The article briefly covers the pages of the history of the Muséum national d’Histoire naturelle (Paris, France), which was established in 1793, inheriting the material base and collections of one of the oldest botanical gardens in the world—the Royal Garden of Medicinal Plants. Contribution to the development of the Royal Garden of Medicinal Plants was made by its leaders and employees: Guy de La Brosse, Guy Crescent Fagon, Joseph Pitton de Tournefort, Pierre Chirac, the family of French botanists de Jussieu, Georges-Louis Leclerc, Comte de Buffon, and Jacques-Henri Bernardin de Saint-Pierre. After its foundation, the museum was managed, among others, by Louis Jean-Marie D’Aubenton, Bernard Germain Étienne de Laville-sur-Illon, comte de Lacépède, George-Léopold-Chrétien-Frédéric-Dagobert Cuvier, Michel Eugène Chevreul, Adolphe Théodore Brongniart, André Marie Constant Duméril, Isidore Geoffroy Saint-Hilaire, Alphonse Milne-Edwards, Jean Octave Edmond Perrier, Achille Joseph Urbain, Maurice Alfred Fontaine, and Jean Dorst. The heyday of the scientific activity of the Museum was during the long years of leadership of Michel Eugène Chevrel. Table medals of France and the USA, researched and described by the authors of the article, were created to honour these famous scientists. Attention is also drawn to modern tourist medals (tokens) dedicated to the Museum’s facilities: the Garden of the Plants, the Great Evolution Gallery, the Palaeontological Museum (Galleries of Comparative Anatomy and Palaeontology), the Botanical Garden Zoo, and the Vincennes Zoo. The results of the analysis of the medals made it possible to display in a new plane the most vivid pages of the history of the Museum, the function of which is teaching, research, and dissemination of natural science knowledge, its modernity, biographies of outstanding personalities who worked in it. Most of the medals were first introduced into scientific biological circulation. The obtained information once again confirmed the possibility of using objects that are studied by special historical disciplines (in this case, the section of numismatics, medal art) for the study of the history of science.
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Rokita, Jan Gustaw. "MEDAL UPAMIĘTNIAJĄCY KRÓLEWSKĄ KORONACJĘ JANA III SOBIESKIEGO I MARII KAZIMIERY W KRAKOWIE POCHODZĄCY Z 1676 ROKU. UWAGI IKONOGRAFICZNE." Studia Europaea Gnesnensia, no. 17 (June 15, 2018): 307–36. http://dx.doi.org/10.14746/seg.2018.17.17.
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The author of the article discusses in depth ten works of art (prints, numismatic pieces, sculptures) which demonstrate iconographic consistency with the obverse or reverse of the said medal. As the author argues, the medallionist sought both to reflect current events in Cracow and commemorate the beginning of the propitious reign of Jan III Sobieski and Maria Kazimiera, which would benefit the people of the Commonwealth (bear fruits), which is why he used well-known representations from 17th-century compendia of emblems as well as 16th- and 17th-century coinage and medals.
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Plazek, Donald J. "1995 Bingham Medal Address: Oh, thermorheological simplicity, wherefore art thou?" Journal of Rheology 40, no. 6 (1996): 987–1014. http://dx.doi.org/10.1122/1.550776.
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Matkovska, Ivanna. "Oleksa Novakivskyi: Unknown pages of study and life from Archival Materials of the Krakow Academy of Arts." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 153–67. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283145.
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The paper aims to study and publicize educational activities and exhibitions in Krakow by Oleksa Novakivskyi (1872– 1935), an outstanding Ukrainian artist — symbolist, expressionist, graphic artist, and educator, who over 20 years lived in Krakow (1892–1913) and Lviv (1913–1935) and founded his own art school in Lviv (1923–1935) for 100 students. The archival documents of the 1890s–1900s from the Archives of the Krakow Academy of Arts about Oleksa Novakivskyi’s studies in 1892–1904 were investigated. Oleksa Novakivskyi’sreport cards of 1892–1904 from the Krakow School and the Academy of Fine Arts were first introduced into scientific circulation. It was discovered that in 1892–1898 Oleksa Novakivskyi studied at the Department of Drawing of the Krakow School of Fine Arts (with a pause in 1893–1895) and received an “award in the competition” (1896), silver medals on July 15, 1897 and July 23, 1898 at the course of prof. Unierzyski, Stanislawski. In 1898–1901 Oleksa Novakivskyi studied at the Department of Fine Art, where he received a silver medal (1899) and a gold medal on July 15, 1900, on the course of Prof. Wyczółkowski, Stanislawski. In 1901–1904 Novakivskyi continued his studies at the Department of Fine Art at the School of Prof. Wyczółkowski at the Krakow Academy of Arts. It was established that Novakivski’s teachers in Krakow were the professors Florian Cynk, Jozef Unierzyski, Leon Wyczółkowski, Jan Stanislawski. In addition, personal documents of the painter’sspouse (whom the researchers previously listed as Anna-Maria) from the archives of Lviv and Krakow were introduced into scientific circulation (the identity card of Maryanna Rozalia Nowakowska, 1916; Birth Certificate of Maryanna Rosalia Palmowska, 1888), as well as the Polish specialized and popular periodicals of the 1890s–1930s that mentioned Oleksa Novakivskyi’s exhibitions participation in Krakow and Warsaw.
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D’Amelio, Maria Grazia, and Delfín Rodríguez Ruiz. "Sul perduto bozzetto della medaglia per il theatrum canonizationis (1629) di Andrea Corsini nella Basilica di San Pietro a Roma." Opus Incertum 9 (December 13, 2023): 196–99. http://dx.doi.org/10.36253/opus-14852.
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On 22 April 1629, the day of the canonisation of the Florentine Andrea Corsini, the apse of St. Peter’s was refigured and refunctioned with a scenographic ephemeral decoration designed by Giovan Lorenzo Bernini. It consisted of a wooden lining with a peribolos of architraved columns, all painted to simulate stone, bronze and gold, with the papal throne in the centre. The ceremony is immortalized in a description by Federico Cristofari, in an engraving (1625) from a reworked copper plate (1628-1629) and on two medals bearing, on the reverse side, a figurative scene in which some details of the canonisation can be glimpsed. A preparatory sketch for an uncoined medal (Raclin Murphy Museum of Art) and, in recent years, a second sketch for an unexecuted medal have also been traced back to the event. The latter sketch, which was destroyed during the Spanish Civil War and of which only a photographic reproduction is preserved (Consejo Superior de Investigaciones Científicas in Madrid), offers further valuable information on the teatro aperto created to ensure that the ceremony was fully visible to the faithful present in the Basilica.
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Popiel, Jacek. "Laudacja dla Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 13–18. http://dx.doi.org/10.14746/pt.2017.27.1.
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During the laudation speech on 12th May 2016 at the Jagiellonian University Senate session on the occasion of Andrzej Wajda being awarded the gold medal Plus Ratio Quam Vis, the director’s most significant services to Polsh and world culture (film, theatre, museum art) were presented.
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Rokita, Jan Gustaw. "Uwagi ikonograficzne na temat medali ślubnych Fryderyka Augusta Wettyna i Marii Józefy Habsburg z okazji Festiwalu Planet w Dreźnie (od 10 do 26 września 1719 roku)." Studia Europaea Gnesnensia 24, no. 24 (2022): 115–52. http://dx.doi.org/10.14746/seg.2022.24.7.
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In the course of preliminary research, the author managed to locate most of the engravings by artists associated with the Dresden court: Oluf Wif, Johann August Corvinus and Carl Heinrich Jacob Fehling, whose work drew thematically on the reverses of the medals which commemorated the Festivaof the Planets in Dresden. These finds are the main subject of interest in this paper. The compositional relationship between medallic art and engraving is, in most cases, indisputable. It should be noted, however, that the medallist, having to reproduce a much larger engraving on a medal disc, was compelled to reduce many details that the engraver had so meticulously captured. Nevertheless, the inspiration with the engraving yielded works which are unique and extraordinary in terms of expression and content.
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Burd, Gary. "How (not) to communicate science: Biochemical Society Award Event." Biochemist 24, no. 6 (2002): 24–25. http://dx.doi.org/10.1042/bio02406024.
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“Explaining things in simple terms is a great gift and art. It is something we must be thankful for,” says Tim Hunt, who was Chair for the evening's proceedings. The Biochemical Society Award for 2002 was awarded to Bernard Dixon and Steven Rose for their outstanding contribution to communicating science in the public domain. “I'm absolutely delighted that my very own Society has decided to honour these two brilliant practitioners of that difficult art,” says Tim. A description of the medal can be found in the The Biochemist (August 2002, 46–47).
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Garbaczewski, Witold. "Medal “To the Ruthenian Brethren Murdered by the Muscovite Tsar for Their Fidelity to the Church and Poland” (the So-Called Chełm Commemorative Medal) from 1875 Engraved by Ernest Paulin Tasset." Notae Numismaticae - Numismatic Notes, no. 18 (2023): 285–314. https://doi.org/10.52800/ajst.1.18.a13.
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The “To the Ruthenian Brethren” medal belongs to those examples of fine relief art which represent the commemorative-patriotic trend in our medal-making. It commemorates the massacre of Uniates in Podlachia by the Russian army in 1874. Matters related to the issue were coordinated by the Medal Committee, established in Lwów (now Lviv, Ukraine) in October 1874 and chaired by Kornel Ujejski. The idea itself, as indicated by the notes in the press, came from an anonymous witness to the bloody events in Podlachia who probably also made the first proposals for the design of the dies. The final design was the collective work of the Lwów Committee, with Kornel Ujejski having the decisive influence on the content of the message and Karol Młodnicki probably supervising the artistic side. Cyprian Norwid’s authorship, commonly claimed in numismatic literature, has no confirmation in the sources. The medal was originally intended to be minted in Paris, but as a result of Russia’s diplomatic intervention, the order was executed in Brussels, while the mintage can be estimated at a minimum of 750 pieces, but most probably 1,000, half of which were intended for distribution in Poland, and the other half among Poles in exile and foreigners.
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O.V. Syniachenko, M.V. Yermolaeva, S.M. Verzilov, K.V. Liventsova, T.Yu. Syniachenko, and S.F. Verzilova. "Neurology of Ukraine in the mirror of exonumia." INTERNATIONAL NEUROLOGICAL JOURNAL 16, no. 8 (2021): 57–62. http://dx.doi.org/10.22141/2224-0713.16.8.2020.221962.
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The main goal was to analyze the history of neurology of Ukraine using exonumia materials. Exonumia (a form of medallic educational art) is a branch of historical science numismatics (from the Latin numisma — coin), which originated in the 19th century and became closely related to economics, politics, culture and law; it includes the thematic study of medals and plaques. The medal became the prototype of a commemorative (memorial) coin. This work presents a catalogue of 43 numismatic materials (medals), including some unique ones, presented for the first time, brief biographies of physicians (21 persons) who have made an invaluable contribution to the formation of this scientific discipline. Unfortunately, for now the memory of famous doctors of the past has not been sufficiently marked by the release of numismatic (exonumia) products, so in the future we hope for a systematic approach to this matter, for the purposeful promotion of the achievements of neurology by meaning of numismatics, which provides an illustrative example for studying the history of medicine, contributes to an increase in the level of education of doctors. The authors expect the appearance of new interesting materials of such small forms of art.
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Syniachenko, O. V., M. O. Kolesnyk, N. M. Stepanova, and M. V. Iermolaieva. "History of studying the kidney pathology in the mirror of numismatics. Report 3. Development of urology." Ukrainian Journal of Nephrology and Dialysis, no. 2(70) (May 29, 2021): 82–88. http://dx.doi.org/10.31450/ukrjnd.2(70).2021.10.
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The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of the medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The development of urology over 520 years of historical epochs of the New and Modern times were presented, portraits on 60 numismatic materials of well-known specialists-urologists and kidney transplantologists were presented, scientific forums of urologists were reflected on commemorative medals.
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Mazze, Bev. "The American Art Medal: Staggered and Inspired by the Conceptual, Technical, and Visual Revolution." Sculpture Review 65, no. 1 (2016): 36–39. http://dx.doi.org/10.1177/074752841606500106.
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Panaou, Petros. "The Nostoi of Two Acclaimed Immigrant Picturebook Creators." Libri et liberi 13, no. 2 (2024): 181–96. https://doi.org/10.21066/carcl.libri.13.2.3.
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Peter Sís and Allen Say are two acclaimed immigrant picturebook creators who travelled illuminating Odysseys, setting sail on boats of image and text. Only a few years after the end of World War II, Caldecott Medal winner Allen Say emigrated to the US from Japan. And during the Cold War, Hans Christian Andersen Award winner Peter Sís fled to the US from the Communist regime of former Czechoslovakia. Even though they came from different cultures, geographies, generations, and emigration experiences, both immigrant artists turned to art to negotiate their yearning for nostos (returning home), solace, and identity. Their negotiation of the paradoxes of nostalgia led them on similar paths: valuing the imagined, reconstructing their homelands and childhoods through and within art, and forming their identity by building on their self-image as artists. Their highly autobiographical picturebooks show us how healing, home, and identity may be found in Art and Story.
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Rokita, Jan Gustaw. "Medal upamiętniający zawarcie związku małżeńskiego między Teresą Kunegudną Sobieską a Maksymilanem Emanuelem Wittelsbachem z 1694 roku, autorstwa Georga Haustscha. Próba interpretacji na przykładzie wybranych dzieł sztuki (medalierstwa i grafiki)." Studia Europaea Gnesnensia, no. 18 (July 9, 2020): 209–28. http://dx.doi.org/10.14746/seg.2018.18.13.
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In the article, the author describes in detail two selected pieces of art which bear considerable resemblance to the medal minted by Georg Hautsch. As the author observes, no representation in the entire painterly and graphic legacy of associated with Jan III Sobieski offers a direct prototype on which the medallist may have relied. It should therefore be suspected that the royal likeness on the obverse was based on several earlier representations in graphic arts or constituted an original project by Hautsch.
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Nováková, Kateřina Nora. "Jablonecká odborná škola a Česká mincovna." Numismatické listy 79, no. 1-4 (2025): 157–76. https://doi.org/10.37520/nl.2024.007.
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Higher Vocational School in Jablonec nad Nisou and the Czech Mint The Higher Vocational School in Jablonec nad Nisou, specialized in coin and medal production, was founded in 1995; however, it follows the long regional tradition of the jewellery industry which has been established there at the beginning of the 19th century already. Over the past 30 years, the school has educated a number of prominent figures of the Czech art scene whose work is presented in the following article.
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Syniachenko, O. V., M. O. Kolesnyk, N. M. Stepanova, and M. V. Iermolaieva. "History of studying the kidney pathology in the mirror of numismatics. Report 2. Development of nephrology." Ukrainian Journal of Nephrology and Dialysis, no. 1(69) (May 29, 2020): 67–75. http://dx.doi.org/10.31450/ukrjnd.1(69).2021.10.
Full textAbstract:
The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The work presents a role in the origin of the study of kidney and urinary tract diseases of ancient physicians (Aretea, Aristotle, Galen, Hippocrates, Rufus, Sushruta, Empedocles) and doctors of the Middle Ages (Avicenna, Da Carpi, Panaskerteli, Paracelsus, Sun Simiao).
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Syniachenko, O. V., M. O. Kolesnyk, N. M. Stepanova, and M. V. Iermolaieva. "History of studying the kidney pathology in the mirror of numismatics. Report 1. Antiquity and middle ages." Ukrainian Journal of Nephrology and Dialysis, no. 4(68) (May 29, 2020): 74–80. http://dx.doi.org/10.31450/ukrjnd.4(68).2020.11.
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The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The work presents a role in the origin of the study of kidney and urinary tract diseases of ancient physicians (Aretea, Aristotle, Galen, Hippocrates, Rufus, Sushruta, Empedocles) and doctors of the Middle Ages (Avicenna, Da Carpi, Panaskerteli, Paracelsus, Sun Simiao).
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Syniachenko, O., M. Kolesnyk, N. Stepanova, and M. Iermolaieva. "History of studying the kidney pathology in the mirror of numismatics. Report 1. Antiquity and middle ages." Ukrainian Journal of Nephrology and Dialysis 4, no. 68 (2020): 74–80. https://doi.org/10.31450/ukrjnd.4(68).2020.11.
Full textAbstract:
The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The work presents a role in the origin of the study of kidney and urinary tract diseases of ancient physicians (Aretea, Aristotle, Galen, Hippocrates, Rufus, Sushruta, Empedocles) and doctors of the Middle Ages (Avicenna, Da Carpi, Panaskerteli, Paracelsus, Sun Simiao).
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Sander, P. M. "The other side of the medal. A paleobiologist reflects on the art and serendipity of science." Earth-Science Reviews 34, no. 4 (1993): 293–95. http://dx.doi.org/10.1016/0012-8252(93)90074-h.
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Soares, de Figueiredo Sofia, Natália Botica, Ramirez Primitiva Bueno, Anna Tsoupra, and José Mirão. "Analysis of portable rock art from Foz do Medal (Northwest Iberia): Magdalenian images of horses and aurochs." Comptes Rendus Palevol 19, no. 4 (2020): 63–77. https://doi.org/10.5852/cr-palevol2020v19a4.
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Studies focusing on Palaeolithic portable rock art have a long tradition in Europe. Nevertheless, they tend to only focus over formal and stylistic criteria of the motifs, important as they provide chronologies for cave art. This article proposes a multiple approach to a sample of 25 engraved plaques of the Foz do Medal archaeological site, where horses and aurochs were depicted, in order to construct a preliminary model able to guide the future analysis of the whole collection composed of more than 1500 fragments. On the one hand, relevant archaeological data was collected and systematized into a database that can be subjected to statistical analysis, for which we develop different variables and their respective attributes. On the other hand, laboratory techniques of analysis and examination of materials were applied, valuing the motifs details, their potential surface treatment by fire or pigments ornamentation, as well as the identification of raw materials and their origins. In this article, we present the obtained results, which allow us to propose some hypotheses regarding the social importance of this specific kind of artefact, as well as its possible manipulations.
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Tostões, Ana. "José Augusto França interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 83. http://dx.doi.org/10.52200/55.a.w6x7yxwv.
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On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au XXè siècle) and a PhD in Letters (1969, Paris-Sorbonne University, Le Romantisme au Portugal). He is professor emeritus of the Nova University of Lisbon, where he created the first Art History masters of the country (1976). He was Director of the Portuguese Cultural Center of the Calouste Gulbenkian Foundation in Paris (1983), President of the National Academy of Fine Arts (1985) and member of the UNESCO Comité du Patrimoine Mondial. He is a reference author in the field of visual and cultural arts in Portugal, being the first one identifying and presenting modern architecture in Portugal in his Arte em Portugal no Século XX (1974). Among his works stand out studies on art in Portugal in the 19th and 20th centuries, as several volumes of essays on historical, sociological and aesthetic reflection on contemporary art issues. He has received the Medal of Honor of the City of Lisbon (1992), the Grand Officer (1991) and the Grand Cross (2006) of the Infante D. Henrique Order and the Grand Cross of the Order of Public Instruction (1992).
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Czyż, Lidia Maria. "„Zofiówka” Szczęsnego Potockiego wśród ukraińskich stepów." Medycyna Nowożytna 30, Suplement I (2024): 139–47. http://dx.doi.org/10.4467/12311960mn.24.015.20008.
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Between Tulczyn and Uman in southwestern Ukraine, on the estate of Szczęsny Potocki, in the years 1796–1802 the park-garden „Zofiovka” was created, one of the most beautiful in 18th century Europe. The architect and contractor of the arboretum was L. Metzell. The most famous description is S. Trembecki’s poem „Zofiovka”, like the name of the park. They also wrote about the unique work of gardening art J.U. Niemcewicz i A. Mickiewicz. The unfinished novel by J. Słowacki „The King of Ladava” takes place in „Zofi ovka”. This unique steppe park is under the care of the State Academy of Sciences of Ukraine, in 1995 it received the Europa Nostra Medal.
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Lucey, Kate. "Celebrating African American Children’s Literature: An “Eye of the Beholder” Workshop." Children and Libraries 16, no. 3 (2018): 7. http://dx.doi.org/10.5860/cal.16.3.7.
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As an academic librarian at a liberal arts university, I was asked by our school’s art museum staff to collaborate on programming for an exhibition by African American illustrators of children’s books. The exhibition, called Telling a People’s Story: African-American Children’s Illustrated Literature, ran on campus through June 2018 as the first of its kind. To represent 33 different artists, the nearly 130 works on display included paintings, pastels, drawings, and mixed-media works. Artists included veterans like Jerry Pinkney, who has been illustrating award-winning books since the 1960s, and younger artists like Javaka Steptoe, whose Radiant Child: The Story of Young Artist Jean-Michel Basquiat won the 2017 Randolph Caldecott Medal.
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Kratochvíl, Bohumil. "Mineralogical and Deposit-Geological Expertise of the Head of the Dean's Scepter of the Faculty of Chemical Technology, UCT Prague." Chemické listy 117, no. 4 (2023): 214–18. http://dx.doi.org/10.54779/chl20230214.
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Academic insignia of the Faculty of Chemical Technology UCT Prague have a history and are used in academic ceremonies (graduation, ceremonial scientific councils, awarding honorary doctorates, etc.). Insignia consists of a single chain with a medal and a scepter. They are made of gold-plated silver and decorated with natural and synthetic precious stones. The central motif in the head of the sceptre is a pentagonal dodecahedron cut from sulphide ore. It consists mainly of pyrite, chalcopyrite and other minerals. The ore most probably comes from a Czech deposit. The pentagonal dodecahedron in the head of the scepter thus represents the conjunction of the power of intellect with art and manual dexterity.
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Senelick, Laurence. "The Accidental Evolution of the Moscow Art Theatre Prague Group." New Theatre Quarterly 30, no. 2 (2014): 154–67. http://dx.doi.org/10.1017/s0266464x14000268.
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During the period of confusion and divided loyalties that followed the 1917 Revolution in Russia, the resources of the Moscow Art Theatre were severely depleted, and its artists and staff found themselves giving barebones performances for the enlightenment of often mystified working-class audiences. By 1919 the decision was taken to split the company, with a contingent sent out on tour with the intention of rejoining the parent group for the new season. In the event, with civil war raging between the forces of the Red Army and the White Guard, this did not happen, and groups of former members of the Art Theatre worked independently in the provinces and eventually abroad. While some returned to Moscow in 1922, the ‘Prague Group of the Moscow Art Theatre’ continued to lead an independent existence, and in this article Laurence Senelick traces the events leading up to and following its creation – which caused much annoyance to Stanislavsky and confusion in the West. A frequent contributor to New Theatre Quarterly, Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and a Fellow of the American Academy of Arts and Sciences. He is a recipient of the St George medal of the Ministry of Culture of the Russian Federation for services to Russian art and scholarship. His latest books are Stanislavsky: a Life in Letters (Routledge) and the forthcoming Soviet Theatre: a Documentary History (Yale University Press).
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Novacek, Michael. "The Other Side of the Medal: A Paleobiologist Reflects on the Art and Serendipity of Science.Everett C. Olson." Quarterly Review of Biology 66, no. 3 (1991): 329–30. http://dx.doi.org/10.1086/417257.
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Nitecki, Matthew H. "The Other Sice of the Medal. A Paleobiologist Reflects on the Art and Serendipity of Science. Everett Olson." Journal of Geology 99, no. 4 (1991): 635–36. http://dx.doi.org/10.1086/629525.
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Allan, D. G. C. "The Pingo Family and Medal Making in Eighteenth-Century Britain. By Christopher Eimer. 295mm. Pp 96, 348 ills, 3 tables. London: British Art Medal Trust, 1998. ISBN 095-14271-64. £19.95." Antiquaries Journal 79 (September 1999): 425–26. http://dx.doi.org/10.1017/s0003581500044899.
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Hotton, Nicholas. "E. C. Olson: The Other Side of the Medal. A Paleobiologist Reflects on the Art and Serendipity of Science." Journal of Vertebrate Paleontology 11, no. 2 (1991): 262–63. http://dx.doi.org/10.1080/02724634.1991.10011395.
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Dostal, Jack A. "Applying physics education research to teaching." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A118. https://doi.org/10.1121/10.0035307.
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A fundamental paper that guides my thinking about teaching is Lillian McDermott’s 2001 Oersted Medal Lecture entitled “Physics Education Research - The Key to Student Learning.” It was published in AJP and given at the American Association of Physics Teachers meeting that year. It highlights the value of taking a scientific approach to improve student learning. It also demonstrates the benefits of active engagement in the classroom and the limits of traditional instruction. Teaching effectively can be trained; it is more than just an art. McDermott highlights core principles of physics education research and puts those principles in context of physics examples (simple electric circuits and single/double slit diffraction). Her phrase, “Teaching by telling is an ineffective mode of instruction for most students,” is a mantra that I have always kept in mind when making decisions about how to proceed in a course.
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Nizamov, Isomiddin G'iyos o'g'li Toshpulatova Maxbuba Shovkat qizi Nizomov Quddusxon G'iyos o'g'li. "UNDERSTANDING THE NOBEL PRIZE. THE WINNERS OF THE NOBEL PRIZE IN CHEMISTRY." INTERNATIONAL BULLETIN OF MEDICAL SCIENCES AND CLINICAL RESEARCH 2, no. 12 (2022): 39–43. https://doi.org/10.5281/zenodo.7471423.
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Award field Physics, chemistry, literature, peace , physiology or medicine and economy in the fields huge contribution and scientific discoveries for Organizer Sweden Academy, Sweden Kingdom Sciences Academy, Karolinska Institute, Norwegian Nobel Committee Country Sweden and Norway. The first Nobel prize was given in 1901. Official Foundation website was organized. (http://www.nobelprize.org/). The annual income of this fund is divided into 5 equal parts and is given for discoveries in the fields of physics, chemistry, physiology or medicine, works of art, friendship and peace between peoples, regardless of race, nationality, gender or religion. (In 1968, on the occasion of its 300th anniversary, the State Bank of Sweden established an additional Nobel Prize for achievements in the field of economics). The Nobel Prize consists of a gold medal with an image of Alfred Nobel, a diploma, and an amount depending on the income of the Nobel Foundation (usually between 30,000 and 70,000 dollars).
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Tostões, Ana. "João Luís Carrilho da Graça interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 84–86. http://dx.doi.org/10.52200/55.a.uk2y3ecv.
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On July 2016, Ana Tostões interviewed João Luís Carrilho da Graça, one of the main Portuguese contemporary architects, in order to discuss the riverside projects that he has been developing for the future of Lisbon. João Luís Carrilho da Graça was born in 1952, Portalegre, and studied architecture at the Lisbon School of Fine Art (1977). He was assistant lecturer at the Lisbon School of Fine Art (1977-1992), full professor at the Universidade Autónoma de Lisboa (2001-2010) and the University of Évora (2005-2013). He coordinated the departments of Architecture in both institutions until 2010, and was responsible for the creation of the PhD in Architecture at the latter institution, which he also directed (2011-2013). He was professor at the University of Navarra (2005, 2007, 2010, 2014) and at the College of Architecture, Art, and Planning of Cornell University, New York (2015). Since 2014, he has been full professor at the School of Architecture, University of Lisbon. He is the principle of the architectural office João Luís Carrilho da Graça Arquitectos with an extensive work built. He was nominated and selected for the Mies van der Rohe European Prize in Architecture (1990, 1992, 1994, 1996, 2009, 2011, 2013, 2015) and received several awards, such as the AICA (1992), the Secil (1994), the FAD (1999), the Valmor (1998), the Pessoa (2008), the Order of Merit of the Portuguese Republic (1999), the Chevalier des Arts et des Lettres from the French Republic (2010) and the Medal of the Académie d’Architecture of France (2012). In 2013, he received an Honorary Doctorate degree from the School of Architecture of the University of Lisbon and in 2015 the Royal Institute of British Architects International Fellowship.
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Ceastina, Alla. "Competitive works of A.V. Shchusev (1873-1949) and his participation in the international exhibitions." Arta 32, no. 1 (2023): 43–49. http://dx.doi.org/10.52603/arta.2023.32-1.06.
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On September 26, 2023, we will mark the 150th anniversary of the birth of the outstanding architect of the first half of the XX century A. V. Shchusev (1873-1949). Alekseу Viktorovich was born in 1873 in Chisinau on Leovskaya Street (today Shchusev Street, where the museum of this architect is located). During his 76 years of life, he managed to fully realize his talent in architecture, becoming the author of the masterpiece in the construction of the mausoleum on the Red Square in Moscow. He became a laureate of four Stalin Prizes, and educated more than one generation of talented architects. He also founded the State Museum of Russian Architecture. Researching the many-sided architectural creativity of Academician Shchusev, in the article the author presents only the most important works of this great master which entered in competition. After graduating in 1897 with a gold medal from the Higher Petersburg Art School, A. V. Shchusev was awarded the title of artist-architect with the rank of the 10th class having the right to engage in designing buildings independently. Thus, he took part in architectural competitions for the construction of a new St. Petersburg hospital (19011902), a branch of the state bank in Nizhniy Novgorod (1910-1911), Kazanskiy railway station in Moscow (1913), the Russian pavilion for the XI International art exhibition in Venice (1913 -1914), the shelter for the children of fallen soldiers near the city of Chisinau (1916), etc.
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Crossland, Ian. "John Edwin Harris. 2 June 1932 — 3 February 2009." Biographical Memoirs of Fellows of the Royal Society 56 (January 2010): 149–69. http://dx.doi.org/10.1098/rsbm.2010.0004.
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John Edwin (‘Jack’) Harris (1932–2009) was a metallurgist, born in Monmouthshire and trained at Birmingham University. His principal research interests were in the fields of creep, creep fracture, vacancy flow and oxidation-induced stress. Working for the Central Electricity Generating Board at Berkeley Nuclear Laboratories, he led a team that pointed the way to significant improvements in nuclear fuel endurance. This permitted a near-doubling of the energy extracted from ‘Magnox’ reactor fuel, for which he received the Royal Society's Esso Gold Medal for Energy Conservation in 1979. After retirement from the electricity supply industry in 1990 he turned increasingly to popular science writing, publishing hundreds of articles in Materials World , New Scientist , Science and Public Affairs and Physics World , among others. These beautifully written pieces reflected his wide range of interests, covering subjects such as nuclear power, non-proliferation of nuclear weapons, environmental issues, the decline of UK research, art appreciation and penal reform. Often they displayed his keen eye for curious facts and the ironies and vagaries of life.
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Omelchenko, Nikolai, and Lyubov Solovieva. "“Love Philosophy in Yourself, but Not Yourself in Philosophy”: Interview with Omelchenko Nikolai Viktorovich." Logos et Praxis, no. 4 (December 2023): 6–16. http://dx.doi.org/10.15688/lp.jvolsu.2023.4.1.
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The conversation with N.V. Omelchenko – Doctor of Sciences (Philosophy), Professor, Honorary Worker of Higher Professional Education of the Russian Federation (2006), Fulbright Scholar-in-Residence (Mansfield University, Mansfield, PA, USA, 2001–2002 academic year), awarded the Volgograd State University Medal of Merit (2012) – took place in February 2023. This interview marked the beginning of a series of events dedicated to the thirtieth anniversary of the opening of the specialty 'Philosophy' at Volgograd State University. The first reception of future philosophers was held in 1994. N.V. Omelchenko told about the circumstances of the opening of the specialty 'Philosophy' at Volgograd State University, about the idea, organization, and development of the international conference "The Human Being in Contemporary Philosophical Conceptions," and about the purpose of the educational project "Philosophical School 'Logos'." Omelchenko associates his introduction to philosophy with N.G. Chernyshevsky, whose work Aesthetic Relations of Art to Reality impressed him back in his school years. Dr. Omelchenko defends the thesis that every person is a philosopher. He also considers philosophical therapy as a perspective trend in contemporary philosophy.