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Mothers of Plaza de Mayo

The Mothers of Plaza de Mayo is an Argentine human rights association formed in response to the National Reorganization Process, the military dictatorship by Jorge Rafael Videla, with the goal of finding the desaparecidos, initially, and then determining the culprits of crimes against humanity to promote their trial and sentencing.

The Mothers began demonstrating in the Plaza de Mayo, the public square located in front of the Casa Rosada presidential palace, in the city of Buenos Aires, on 30 April 1977, to petition for the alive reappearance of their disappeared children. Originally, they would remain there seated, but by declaring a state of emergency, police expelled them from the public square.

In September 1977, in order to provide themselves with an opportunity to share their stories with other Argentinians, the mothers decided to join the annual pilgrimage to Our Lady of Luján, located 30 miles outside Buenos Aires. In order to stand out among the crowds, the mothers decided to wear their children's nappies (diapers) as headscarves. Following the pilgrimage, the mothers decided to continue wearing these headscarves during their meetings and weekly demonstrations at the Plaza. On them, they embroidered the names of their children and wrote “Aparición con Vida” (Alive reappearance).

During the years of the Dirty War, the name used by the military junta in Argentina from 1976 to 1983 as a part of Operation Condor, military and security forces and right-wing death squads in the form of the Argentine Anticommunist Alliance (AAA, or Triple A) hunted down political dissidents and anyone believed to be associated with socialism, left-wing Peronism or the Montoneros guerrillero movement. The Mothers constantly opposed the de facto government and suffered persecution, including kidnappings and forced disappearances, most notably in the cases of founders Azucena Villaflor, Esther Ballestrino, María Ponce de Bianco, and French nun supporters Alice Domon and Léonie Duquet, perpetrated by a group led by Alfredo Astiz, a former commander, intelligence officer, and naval commando who served in the Argentine Navy during the military dictatorship. The Argentine Forensic Anthropology Team, known for having found and identified the remains of Che Guevara, would later find their bodies to have been killed on a death flight and their bodies disposed of in the sea.

On the first days of December 1980, the first "March of Resistance" was held, consisting of marching around the public square for 24 hours.

Despite democracy being re-established in the 1983 general election, the movement continued to hold marches and demonstrations, demanding sentences for the military personnel that participated in the government that overthrew Isabel Perón in the 1976 coup d'état. This would eventually culminate in the Trial of the Juntas of 1985.

They have received widespread support and recognition from many international organizations, including being the first organization laureated by the Sakharov Prize for Freedom of Thought, and helping several human rights groups throughout their history. The 1980 Nobel Peace Prize recipient Adolfo Pérez Esquivel was an active supporter of the association, for which he was the subject of harassment by the dictatorship.

Since 1986 the Mothers of Plaza de Mayo have been divided into two factions, the majority group "Mothers of Plaza de Mayo Association" (presided by Hebe de Bonafini) and Mothers of the Plaza de Mayo-Founding Line. Ceremonially, every Thursday at 3:30 p.m the Mothers of Plaza de Mayo march around the May Pyramid at the central hub of Plaza de Mayo, and at 4:00 p.m they give speeches from the Equestrian monument to General Manuel Belgrano, where they opine over the current national and global situation.

Purpose
Women had organized to gather, holding a vigil, while also trying to learn what had happened to their adult children during the 1970s and 1980s. They began to gather for this every Thursday, from 1977 at Plaza de Mayo in Buenos Aires, in front of the Casa Rosada presidential palace, in public defiance of the government's law against mass assemblies. Wearing white headscarves to symbolize the diapers (nappies) of their lost children, embroidered with the names and dates of birth of their offspring, now young adults, the mothers marched in twos in solidarity to protest the denials of their children's existence or their mistreatment by the military regime. Despite personal risks, they wanted to hold the government accountable for the human rights violations which were committed in the Dirty War.

Activism and reaction
The Mothers of Plaza de Mayo were the first major group to organize against the Argentina regime's human rights violations. Together, the women created a dynamic and unexpected force, which existed in opposition to traditional constraints on women in Latin America. These mothers came together to push for information on their own children and this highlighted the human rights violations and the scale of the protest drew press attention, raising awareness on a local and global scale. Their persistence to publicly remember and try to find their children, the sustained group organisation, the use of symbols and slogans, and the silent weekly protests attracted reactive measures from those in power.

The military government considered these women to be politically subversive; the founder of the Mothers of the Plaza de Mayo, Azucena Villaflor De Vincenti, placed the names of 'the missing' in a newspaper in December 1977 (on International Human Rights Day), and was kidnapped, tortured and murdered (later found to have been killed on a 'death flight' and her body disposed of in the sea), along with French nuns Alice Domon and Léonie Duquet who also supported the movement. This was done at the command of Alfredo Astiz and Jorge Rafael Videla (who was a senior commander in the Argentine Army and dictator of Argentina from 1976 to 1981), both of whom were later sentenced to life in prison for their roles in the repression of dissidents during the Dirty War.

Esther Ballestrino and María Ponce de Bianco, two other founders of the Mothers of Plaza de Mayo, also "disappeared".

In 1983, former military officers began to reveal information about some of the regime's human rights violations. Eventually, the military has admitted that over 9,000 of those abducted are still unaccounted for, but the Mothers of Plaza de Mayo say that the number of missing is closer to 30,000. Most are presumed dead. Many of these prisoners were high school students, young professionals, and union workers who were suspected of having opposed the government. Those 'taken' were generally below the age of 35, as were the members of the regime who tortured and murdered them. There were a disproportionate number of Jewish "disappeared" as the military was anti-Semitic, as documented in Prisoner Without a Name, Cell Without a Number. This documented the testimony of Jacobo Timerman and his experience being arrested and tortured during this time.

It took until 2005 and DNA identification for many of the mass graves and human remains to be exhumed and cremated or buried; Azucena's ashes were interred in Plaza de Mayo itself.

Today, the Mothers are engaged in the struggle for human, political, and civil rights in Latin America and elsewhere.

Origins of the movement
On 30 April 1977, Azucena Villaflor de De Vincenti and a dozen other mothers walked to the Plaza de Mayo in Argentina's capital city.

The original founders of the group were Azucena Villaflor de De Vincent i, Berta Braverman, Haydée García Buelas; María Adela Gard de Antokoletz, Julia, María Mercedes and Cándida Gard (four sisters); Delicia González, Pepa Noia, Mirta Acuña de Baravalle, Kety Neuhaus, Raquel Arcushin, and Senora De Caimi.

When the disappearances began, each mother thought that their child's disappearance was a single unique case. Initially, the lack of media attention on the disappearances led the mothers to believe that they were alone in their plight. As each mother visited prisons, hospitals, and police stations searching for their children, they each began to notice other mothers who were also searching for their children. The women began to realize that these disappearances were systematic, organized, and planned. Most of the women came from traditional working-class backgrounds and had limited knowledge of political processes. These women banded together to confront the regime as a unified front of mothers seeking answers about their missing children.

These women shared the experience of each having had at least one child who had been 'taken' by the military government. The mothers declared that between 1970 and 1980, more than 8,500 individuals became "Desaparecidos" or "the disappeared." These people were erased from public records with no government traces of arrests or evidence of charges against them.

The women decided to risk a public protest, although gatherings of more than three people were banned, by linking arms in pairs, as if on a stroll just across the street from the presidential office building, the Casa Rosada (the Pink House). The mothers chose this site for its high visibility, and they were hoping for information on their whereabouts to recover imprisoned or to properly bury their children.

The "disappeared" were believed to have been abducted by agents of the Argentine government during the years known as the Dirty War (1976–1983). Those whose locations were found, often had been tortured and killed and their bodies disposed of in rural areas or unmarked graves.

Becoming a movement
As growing numbers joined weekly marches on Thursdays, the day the first few met, the Mothers also began an international campaign to defy the propaganda distributed by the military regime. This campaign brought the attention of the world to Argentina.

One year after the Mothers of Plaza de Mayo was founded, hundreds of women were participating, gathering in Plaza for weekly demonstrations. They found strength in each other by marching in public, and attracting some press. They made signs with photos of their children and publicized their children's names. They wore white headscarves embroidered with the names and dates of births of their lost children.

The government tried to trivialize their action calling them "las locas" (the madwomen).

As the number of disappeared grew, the movement grew, and the Mothers were getting international attention. They began to try to build pressure from outside governments against the Argentine dictatorship, by sharing the many stories of the "disappeared".

On 10 December 1977, International Human Rights Day, the Mothers published a newspaper advertisement with the names of their missing children. That same night, Azucena Villaflor (one of the original founders) was kidnapped from her home in Avellaneda by a group of armed men. She is reported to have been taken to the infamous ESMA torture centre, and from there on a "death flight" over the ocean. In-flight, the abducted were drugged, stripped, and flung into the sea or killed and thrown overboard.

Also an estimated 500 of the missing are the children who were born in concentration camps or prisons to pregnant 'disappeared' women; many of these babies were given in illegal adoptions to military families and others associated with the regime. Their birth mothers were generally believed to have been killed. The numbers are hard to determine due to the secrecy surrounding the abductions.

Global impact
In 1978, when Argentina hosted the World Cup, the Mothers' demonstrations at the Plaza were covered by the international press in town for the sporting event.

Later when Adolfo Scilingo spoke at the National Commission on Disappeared People, he described how many prisoners were drugged and thrown out of planes to their deaths in the Atlantic Ocean. For years following the regime, from early 1978 onwards, residents who lived along the Río de la Plata have found human remains of those abducted, murdered and dumped at sea.

Some of the movement's most prominent supporters' bodies were never found, such as French national Alice Domon. Domon and Léonie Duquet, both French nuns, were taken during the Dirty War. Their disappearance attracted international attention and outrage, with demands for a United Nations investigation of human rights abuses in the country. France demanded information on the women, but the Argentine government denied all responsibility for them.

In 2005, forensic anthropologists dug up some remains of bodies that had been buried in an unmarked grave after washing ashore (in late December 1977) near the beach resort of Santa Teresita, south of Buenos Aires. DNA testing identified among them Azucena Villaflor, Esther Careaga and María Eugenia Bianco, three pioneer Mothers of Plaza who had "disappeared," as well as Léonie Duquet. In December 2005, Azucena Villaflor's ashes were buried in Plaza de Mayo itself.

Divisions and radicalization
Never giving up their pressure on the regime, after the military gave up its authority to a civilian government in 1983, the Mothers of Plaza de Mayo rekindled hopes that they might learn the fates of their children, pushing again for the information.

Beginning in 1984, teams assisted by the American geneticist Mary-Claire King began to use DNA testing to identify remains, when bodies of the "disappeared" were found.

The government then conducted a national commission to collect testimony about the "disappeared", hearing from hundreds of witnesses. In 1985, it began the prosecution of men indicted for crimes, beginning with the Trial of the Juntas, in which several high-ranking military officers were convicted and sentenced.

The military threatened a coup to prevent a widening of prosecutions. In 1986, Congress passed Ley de Punto Final, which stopped the prosecutions for some years.

But in 2003, Congress repealed the Pardon Laws, and in 2005 the Argentine Supreme Court ruled them unconstitutional. During the Kirchner administration, the prosecution of war crimes was re-opened. Former high-ranking military and security officers have been convicted and sentenced in new cases. Among the charges is the stealing of babies of the disappeared. The first major figure, Miguel Etchecolatz, was convicted and sentenced in 2006. Most of the members of the Junta were imprisoned for crimes against humanity.

With the Grandmothers of Plaza de Mayo, a group set up in 1977, the Mothers have identified 256 missing children who were adopted soon after being born to mothers in prison or camps who later "disappeared". Seven of the identified children have died. At the beginning of 2018, 137 of those children, now grown adults, were found and were offered to meet their biological families. Some Mothers and Grandmothers suffered disappointments when the grandchildren, now adults, did not want to know their hidden history, or refused to be tested. Parents who were judged in court to be guilty of adopting – or "appropriating" – the children of the disappeared, while knowing the truth about their origins, were susceptible to imprisonment.

In 1986, the Mothers split into two factions. One group, called the Mothers of the Plaza de Mayo-Founding Line, focused on legislation, the recovery of the remains of their children, and bringing ex-officials to justice. Hebe de Bonafini continued to lead a more radical faction under the name Mothers of Plaza de Mayo Association. These mothers felt responsible for carrying on their children's political work and assumed the agenda that originally led to the disappearance of the dissidents. Unlike the Founding Line, the association refused government help or compensation. They pledged not to recognize the deaths of their children until the government would admit its fault.

A scholar of the movement, Marguerite Guzman Bouvard, wrote that the association faction wanted "a complete transformation of Argentine political culture" and "envisions a socialist system free of the domination of special interests". The Mothers Association is now backed by younger militants who support socialism.

In the wake of the September 11, 2001 attacks in the United States, Bonafini said "I was happy when I first heard the news, that for once they were the ones attacked, I'm not going to lie." and "being the U.S.A the most terrorist of all countries, throwing bombs everywhere around the world" but "felt bad for the innocent workers dead (because of the terrorist attack)." Her remarks led to some criticism in mainstream media.

Speaking for the Mothers, she rejected the investigations of alleged Iranian involvement in the 1994 AMIA Bombing (the terrorist attack on the AMIA Jewish community center), saying the CIA and Mossad were misleading the investigation; making a statement that they repudiate "the tragic attack, but respect for the victims and their families requires to investigate and do justice," without being "politically manipulated in the service of US interests."

'Final' March of Resistance

On 26 January 2006, members of the Madres de la Plaza de Mayo Association faction announced what they said was their final annual March of Resistance at Plaza de Mayo, saying "the enemy isn't in the Government House anymore." They acknowledged the significance of President Néstor Kirchner's success in having the Full Stop Law (Ley de Punto Final) and the Law of Due Obedience repealed and declared unconstitutional. They said they would continue weekly Thursday marches in pursuit of action on other social causes.

The Founding Line faction announced that it would continue both the Thursday marches and the annual marches to commemorate the long struggle of resistance to the dictatorship.

Social involvement and political controversies
The association faction remained close to Kirchnerism. They established a newspaper (La Voz de las Madres), a radio station, and a university (Popular University of the Mothers of Plaza de Mayo).

The association at one time managed a federally funded housing program, Sueños Compartidos ("Shared Dreams"), which it founded in 2008. By 2011, Sueños Compartidos had completed 5,600 housing units earmarked for slum residents, and numerous other facilities in six provinces and the city of Buenos Aires.

Its growing budgets, which totaled around US$300 million allocated between 2008 and 2011 (of which $190 million had been spent), came under scrutiny. There was controversy when the chief financial officer of Sueños Compartidos, Sergio Schoklender, and his brother Pablo (the firm's attorney) were alleged to have embezzled funds. The Schoklender brothers had been convicted in 1981 for the murder of their parents and served 15 years in prison. After gaining Bonafini's confidence, they were managing the project's finances with little oversight from the Mothers of Plaza de Mayo or the program's licensor, the Secretary of Public Works. Their friendship with the association ended in June 2011 after Bonafini learned of irregularities in their handling of the group's finances. Following an investigation ordered by Federal Judge Norberto Oyarbide, the Secretary of Public Works canceled the Sueños Compartidos contract in August 2011. The outstanding projects were transferred to the Undersecretary of Housing and Urban Development.

Gender and motherhood
Issues of gender and motherhood were embedded in this movement. From its inception, the Mothers has been a strictly women-only organization, as the mothers who lost their children were asserting their existence in the embroidery scarves, posters and demands for restoration. In the later political movement, the women felt it had to be women-only partly to ensure their voices and actions would not be lost in a male-dominated movement, and partly out of a belief that men would insist on a lengthy bureaucratic process rather than immediate action. They also believed that women were more tireless and had more emotional strength than men.

Gender separatism reaffirmed its status as a women's movement, although it also raised the question among some scholars of whether the movement truly challenged the notion of female passivity, and whether or not it would have sent a more powerful message to have had male family members involved as well.

The Mothers movement also raised questions of women in political space and the boundaries surrounding that space. The socially constructed gender roles prevalent in Argentine society restricted the arena of politics, political mobilisation, and confrontation to men. When the Mothers entered Plaza de Mayo, a public space with historical significance, they politicised their role as mothers in society and redefined the values associated with both politics and motherhood itself. Although they did not challenge the patriarchal structure of Argentine society, by crossing boundaries into the masculinised political sphere, they expanded spaces of representation for Argentine women and opened the way for new forms of civic participation.

The Mothers were committed to child-centred politics, symbolised by the white scarves they wore on their heads. The scarves were originally nappies, or to represent diapers, and were embroidered with the names of their disappeared children or relatives. These headscarves identified the Mothers and symbolised children, and thus life, as well as hope and maternal care. The colour white also symbolised their refusal to wear a black mantilla and go into mourning. Children were at the heart of the movement, as the Mothers fought for a system that would respect human life and honour its preservation. The Mothers of Plaza de Mayo politicised and gave new value to the traditional role of mothers. They used motherhood to frame their protest, demanding the rights inherent to their role: to conserve life. They protested not only what had been done to their children, but also to themselves as mothers by taking them away. The heart of the movement was always "women's feelings, mother's feelings", according to Hebe de Bonafini. She further stated that "it was the strength of women, of mothers, that kept us going." The women's identity as mothers did not restrict them from participating or making an impact in a masculinised political space.

Their public protests contradicted the traditional, private domain of motherhood, and by mobilising themselves, they politicised their consciousness as women. They restricted themselves to a conservative representation of motherhood, which avoided controversy and attracted the support of international media. They refuted the concept that to be taken seriously or to be successful, a movement either has to be gender-neutral, or masculine: femininity and motherhood was integral to the Mothers' protest.

Grandmothers
The Grandmothers of Plaza de Mayo (Asociación Civil Abuelas de Plaza de Mayo) is an organization which has the aim of finding the "stolen" babies, whose mothers were killed during the Junta's dictatorship in 1977. Its president is Estela Barnes de Carlotto. As of June 2019, their efforts have resulted in finding 130 grandchildren.

Awards and prizes

 * In 1992, all members of the Mothers' association were awarded the Sakharov Prize for Freedom of Thought.
 * In 1997, María Adela Gard de Antokoletz was awarded the Gleitsman International Activist Award by the Gleitsman Foundation.
 * In 1997, the organization was awarded the Geuzenpenning in Vlaardingen, Netherlands
 * In 1999, the organization was awarded the United Nations Prize for Peace Education.
 * On 10 December 2003, the Grandmothers' president, Estela Barnes de Carlotto, was awarded the United Nations Prize in the Field of Human Rights.

Representation in other media

 * The Official Story is a film related to the "stolen babies" cases.
 * Cautiva is another film related to the "stolen babies" cases.
 * An opera entitled Las Madres de la Plaza (2008) premiered in Leffler Chapel at Elizabethtown College in Pennsylvania. It was written in a collaboration of students, staff, and faculty of the school, headed up by James Haines and John Rohrkemper.
 * In an episode of Destinos set in Argentina, protagonist Raquel is told about the Mothers of the Plaza and sees a portion of a march.
 * On "Little Steven" Van Zandt's 1984 release, "Voice of America", he pays tribute to Las Madres de Plaza de Mayo with his song, "Los Desaparecidos".
 * Rock band U2 wrote a song, "Mothers of the Disappeared", inspired by, and in tribute to, their cause. The song appeared on their 1987 album The Joshua Tree.
 * The Mothers of Plaza de Mayo (Spanish: Las Madres de la Plaza de Mayo) is a 1985 Argentine documentary film directed by Susana Blaustein Muñoz and Lourdes Portillo about the Mothers of Plaza de Mayo. It was nominated for an Academy Award for Best Documentary Feature.
 * The documentary Los Desaparecidos (The Disappeared, 2008) relives the horrors of Argentina’s Dirty War. The film follows a child of the disappeared and his involvement in Los Madres is touched on throughout the documentary.

title: Mothers of Plaza de Mayo


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ken roberts the NY hit man from the 70's...disappeared. Some say under federal potection. He has a small scar above his left eye, 5"8", blue eyes, brown hair. Roberts is believed to have murdered over 30, cosa Nostra related deaths. A very dangerous man in his time but has been unheard from the last 37 years. He would now be 66yrs old. Government sources claim he still uses his real name.

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Welcome to Wikipedia, Cool blade.

I've sorry that I've had to revert your addition of text from http://www.wylde.com/sextoyguide/history.htm to the sex toy article; Wikipedia's copyright policy only allows you to add your own original material here, not copies of other people's material. This is in order to be able to keep our content free for everyone, under the terms of the GFDL licence. -- Karada 23:17, 17 Dec 2003 (UTC)

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Bright's disease

Bright's disease is a historical classification of kidney diseases that are described in modern medicine as acute or chronic nephritis. It was characterized by swelling and the presence of albumin in the urine, and was frequently accompanied by high blood pressure and heart disease.

Signs and symptoms
The symptoms and signs of Bright's disease were first described in 1827 by the English physician Richard Bright, after whom the disease was named. In his Reports of Medical Cases, he described 25 cases of dropsy (edema) which he attributed to kidney disease. Symptoms and signs included: inflammation of serous membranes, haemorrhages, apoplexy, convulsions, blindness and coma. Many of these cases were found to have albumin in their urine (detected by the spoon and candle-heat coagulation), and showed striking morbid changes of the kidneys at post-mortem. The triad of dropsy, albumin in the urine and kidney disease came to be regarded as characteristic of Bright's disease.

Subsequent work by Bright and others indicated an association with cardiac hypertrophy, which Bright attributed to stimulation of the heart. Frederick Akbar Mahomed showed that a rise in blood pressure could precede the appearance of albumin in the urine, and the rise in blood pressure and increased resistance to flow was believed to explain the cardiac hypertrophy.

It is today known that Bright's disease is caused by a wide and diverse range of kidney diseases; thus, the term Bright's disease is retained just for historical application. The disease was diagnosed frequently in diabetic patients; at least some of these cases would probably correspond to a modern diagnosis of diabetic nephropathy.

Treatment
Bright's disease was historically treated with warm baths, blood-letting, squill, digitalis, mercuric compounds, opium, diuretics, laxatives and dietary therapy, including abstinence from alcoholic drinks, cheese and red meat. Arnold Ehret was diagnosed with Bright's disease and pronounced incurable by 24 of Europe's most respected doctors; he designed The Mucusless Diet Healing System, which apparently cured his illness. William Howard Hay, had the illness and, it is claimed, cured himself using the Hay diet.

List of people diagnosed with Bright's disease

 * Alfred H. Terry, an important Union Major General and, later, commanding officer of Lt. Colonel George Armstrong Custer. Died December 16, 1890, New Haven, Connecticut.
 * Hall of Fame member and Detroit Tigers center fielder Ty Cobb was diagnosed with a list of ailments, including Bright's disease, in 1959.
 * Frederick William Faber, Catholic priest and author, died on 26 September 1863.
 * George-Étienne Cartier, Canadian Father of Confederation, died on 20 May 1873.
 * Rowland Hussey Macy Sr., an American businessman and founder of the department store chain R.H. Macy & Company, died on 29 March 1877 in Paris.
 * Sir Muthu Coomaraswamy, barrister and parliamentarian, died on 4 May 1879.
 * Tabeguache Ute chief Ouray died of Bright's disease on 24 August 1880.
 * Catherine Eddowes, victim of Jack the Ripper, was found to be in the advanced stages of Bright's disease when she died.
 * The famous dwarf Commodore Nutt died in New York on 25 May 1881.
 * Alice Hathaway Lee Roosevelt, first wife of Theodore Roosevelt, died on 14 February 1884 due to kidney failure caused by Bright's disease that was worsened due to pregnancy.
 * Gregor Mendel died on 6 January 1884 at the age of 61.
 * American tennis pioneer Mary Ewing Outerbridge died at the age of 34, on 3 May 1886.
 * Poet Emily Dickinson died 15 May 1886.
 * Chester A. Arthur, 21st President of the United States, died 18 November 1886.
 * Swedish-American mechanical engineer John Ericsson, most famous for designing USS Monitor, died on 8 March 1889.
 * American Major League Baseball pitcher, Larry Corcoran, died 14 October 1891.
 * Paul Anderson, American Olympic gold medallist weightlifter, died 15 August 1994. In 1961, he and his wife Glenda founded the Paul Anderson Youth Home in Vidalia, Georgia.
 * Charles H. Spurgeon, London pastor known as "The Prince of Preachers", died in 1892 at the age of 57 of Bright's disease.
 * Famed gunfighter Luke Short was diagnosed with Bright's disease in early 1893, but died on 8 September of that year due to edema.
 * Union general Francis C. Barlow, who had played an important role in the American Civil War, died on 11 January 1896.
 * Federal Judge Isaac C. Parker died on 17 November 1896, in Fort Smith, Arkansas.
 * Soldier and ornithologist Charles Bendire died in 1897.
 * Actress Caroline Miskel Hoyt, aged 25, died 2 October 1898, after childbirth.
 * Socialite Katherine Jane Chase, daughter of Supreme Court Chief Justice Salmon P. Chase, died 31 July 1899, at age 58.
 * John Crichton-Stuart, 3rd Marquess of Bute, the Victorian aristocrat and industrial magnate whose vast expenditure on buildings makes him the pre-eminent architectural patron of the 19th century. Diagnosed with Bright's disease and died after multiple strokes on 9 October 1900.
 * American bare-knuckle heavyweight champion Paddy Ryan died on 14 December 1900 in Green Island, New York. Bright's was not an entirely uncommon disease among early boxers who took frequent pounding to the abdomen in their careers.
 * 32nd Speaker of the US House of Representatives Thomas Brackett Reed (18 October 1839 – 7 December 1902), American politician from the state of Maine, died in Washington, D.C.
 * Roswell Eaton Goodell, American politician and businessman who died of Bright's disease on 9 October 1903, in Denver, Colorado.
 * Victorian actress Helena Modjeska, died on 8 April 1909.
 * North Dakota Senator Martin Nelson Johnson, died on 21 October 1909.
 * Old West lawman Bass Reeves' death in 1910 was attributed to this disease.
 * Charles Cotton, English footballer who died on 3 January 1910 after a five-week illness.
 * American illustrator Howard Pyle died 9 November 1911.
 * Warren S. Johnson, founder of Johnson Controls, died on 5 December 1911, at the age of 64.
 * James S. Sherman, Vice President of the United States from 1909 until his death in 1912.
 * Okakura Kakuzo, Japanese scholar, died on 2 September 1913.
 * Ellen Axson Wilson, first wife of Woodrow Wilson, died on 6 August 1914.
 * Richard Warren Sears, an American businessman and founder of the department store chain Sears, Roebuck and Company, died on 28 September 1914 in Waukesha, Wisconsin.
 * Woodsman Louis "French Louie" Seymour died on 28 February 1915.
 * John Bunny, comic star of the early motion picture era, died on 26 April 1915.
 * Australian cricketer Victor Trumper died at age 37, in June 1915.
 * Booker T. Washington, founder of Tuskegee University, died in November 1915.
 * Albert Carl "Al" Ringling (1852–1916), eldest of the Ringling brothers, died at the age of 63 in Wisconsin.
 * Charles Sumner Sedgwick, architect based in Minneapolis, Minnesota, died in 1922.
 * Baseball Hall of Famer Ross Youngs died on 22 October 1927.
 * 19th-century stage actress Alice Harrison died of Bright's disease in 1896.
 * Spanish composer Isaac Albéniz began suffering from Bright's disease in 1900, and died on 18 May 1909.
 * Robert Stroud "the birdman of Alcatraz" was diagnosed with Bright's disease in Leavenworth prison shortly after he began his original sentence.
 * James McHenry Jones, African American educator, school administrator, businessperson, and minister.
 * Billy Miske, American light heavyweight and heavyweight boxer, who once fought Jack Dempsey for the World Heavyweight Boxing title, died from Bright's disease on 1 January 1924 (aged 29).
 * Jimmy Sebring, played in the 1903 World Series with the Pittsburgh Pirates and was the first player in World Series history to hit a home run. He died of Bright's disease 22 December 1909 at the age of 27.
 * Kitty Kiernan, fiancée of Irish Revolutionary Michael Collins, died of complications thought to be related to Bright's disease on 25 July 1945.
 * Kate Shelley, railroad heroine and the first woman in the United States to have a bridge named after her, the Kate Shelley High Bridge, died of Bright's disease on 21 January 1912.
 * Henry Hobson Richardson, prominent North American architect, best known for his work in a style that became known as Richardsonian Romanesque, died of Bright's disease on 27 April 1886 (aged 47).
 * Wayne Munn, professional wrestler and collegiate football player, died of Bright's disease in 1931.
 * Mathew B. Brady, early American photographer, died of Bright's disease on 15 January 1896.
 * Marcus Daly, Irish immigrant, Copper King of Butte, Montana; discoverer of copper riches in Anaconda mine; founder of Anaconda, MT; first president of Amalgamated/Anaconda Copper Co.; died of Bright's disease 11/12/1900 in New York City.
 * Virgilio Tojetti, an Italian-American painter the son of Domenico Tojetti. He died of Bright's disease on 27 March 1901, and his death was reported in the New York Times the next day.
 * Lizzie Halliday, an Irish-American serial killer, died of Bright's disease on 28 June 1918 after spending nearly half her life in a mental asylum.
 * Henry Chapman Mercer, a famous tile-maker, archeologist, and collector from Doylestown, Pennsylvania died of Bright's disease on 9 March 1930.
 * Thomas Bowyer, who found the body of Mary Jane Kelly, a victim of Jack the Ripper, in 1888.
 * Sydney Greenstreet, a British actor, died of Bright's disease on 18 January 1954. He is remembered for The Maltese Falcon, Casablanca, and Passage to Marseille.
 * Winifred Holtby, a British writer, died of Bright's disease on 29 September 1935. She is remembered for South Riding, her biography of Virginia Woolf, and her journalism and feminist writings.

title: Bright's disease


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Henri Cartier-Bresson

Henri Cartier-Bresson (22 August 1908 – 3 August 2004) was a French artist and humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment.

Cartier-Bresson was one of the founding members of Magnum Photos in 1947. In the 1970s, he largely discontinued his photographic work, instead opting to paint.

Early life
Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother's family were cotton merchants and landowners from Normandy, where Henri spent part of his childhood. His mother was descended from Charlotte Corday.

The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. Since his parents were providing financial support, Henri pursued photography more freely than his contemporaries. Henri also sketched.

Young Henri took holiday snapshots with a Box Brownie; he later experimented with a 3×4 inch view camera. He was raised in traditional French bourgeois fashion, and was required to address his parents with formal vous rather than tu. His father assumed that his son would take up the family business, but Henri was strong-willed and also feared this prospect.

Cartier-Bresson attended École Fénelon, a Catholic school that prepared students for the Lycée Condorcet. A governess called "Miss Kitty" who came from across the Channel, instilled in him the love of - and competence in - the English language. The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him, "Let's have no disorder in your studies!". Cartier-Bresson said, "He used the informal 'tu', which usually meant you were about to get a good thrashing. But he went on, 'You're going to read in my office.' Well, that wasn't an offer he had to repeat."

Painting
He studied painting when he was just 5 years old, taking an apprenticeship in his uncle Louis' studio. After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter and winner of the Prix de Rome in 1910. But his painting lessons were cut short when uncle Louis was killed in World War I.

In 1927, Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor André Lhote. Lhote's ambition was to integrate the Cubists' approach to reality with classical artistic forms; he wanted to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche.

During that period, he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarmé, Freud, Proust, Joyce, Hegel, Engels and Marx. Lhote took his pupils to the Louvre to study classical artists and to Paris galleries to study contemporary art. Cartier-Bresson's interest in modern art was combined with an admiration for the works of the Renaissance masters: Jan van Eyck, Paolo Uccello, Masaccio, Piero della Francesca. Cartier-Bresson regarded Lhote as his teacher of "photography without a camera."

Surrealists photography influence
Although Cartier-Bresson became frustrated with Lhote's "rule-laden" approach to art, the rigorous theoretical training later helped him identify and resolve problems of artistic form and composition in photography. In the 1920s, schools of photographic realism were popping up throughout Europe but each had a different view on the direction photography should take. The Surrealist movement, founded in 1924, was a catalyst for this paradigm shift. Cartier-Bresson began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. He met a number of the movement's leading protagonists, and was drawn to the Surrealist movement's technique of using the subconscious and the immediate to influence their work. The historian Peter Galassi explains:

"The Surrealists approached photography in the same way that Aragon and Breton...approached the street: with a voracious appetite for the usual and unusual...The Surrealists recognized in plain photographic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, especially when uprooted from their practical functions, contain a wealth of unintended, unpredictable meanings."

Cartier-Bresson matured artistically in this stormy cultural and political atmosphere. But, although he knew the concepts, he couldn't express them; dissatisfied with his experiments, he destroyed most of his early paintings.

Cambridge and army
From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge, where he became bilingual. In 1930, he was conscripted into the French Army and stationed at Le Bourget near Paris, a time about which he later remarked: "And I had quite a hard time of it, too, because I was toting Joyce under my arm and a Lebel rifle on my shoulder."

Receives first camera
In 1929, Cartier-Bresson's air squadron commandant placed him under house arrest for hunting without a licence. Cartier-Bresson met American expatriate Harry Crosby at Le Bourget, who persuaded the commandant to release Cartier-Bresson into his custody for a few days. The two men both had an interest in photography, and Harry presented Henri with his first camera. They spent their time together taking and printing pictures at Crosby's home, Le Moulin du Soleil (The Sun Mill), near Paris in Ermenonville, France. Crosby later said Cartier-Bresson "looked like a fledgling, shy and frail, and mild as whey." Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931.

Escape to Africa
Two years after Harry Crosby died by suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken-hearted. During conscription he read Conrad's Heart of Darkness. This gave him the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa. He survived by shooting game and selling it to local villagers. From hunting, he learned methods which he later used in photography. On the Côte d'Ivoire, he contracted blackwater fever, which nearly killed him. While still feverish, he sent instructions to his grandfather for his own funeral, asking to be buried in Normandy, at the edge of the Eawy Forest while Debussy's String Quartet was played. Although Cartier-Bresson took a portable camera (smaller than a Brownie Box) to Côte d'Ivoire, only seven photographs survived the tropics.

Photography
Returning to France, Cartier-Bresson recuperated in Marseille in late 1931 and deepened his relationship with the Surrealists. He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika, this captured the freedom, grace and spontaneity of their movement and their joy at being alive. That photograph inspired him to stop painting and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant."

He acquired the Leica camera with 50 mm lens in Marseilles that would accompany him for many years. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed. He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography—the ability to capture the world in its actual state of movement and transformation. Restless, he photographed in Berlin, Brussels, Warsaw, Prague, Budapest and Madrid. His photographs were first exhibited at the Julien Levy Gallery in New York in 1933, and subsequently at the Ateneo Club in Madrid. In 1934 in Mexico, he shared an exhibition with Manuel Álvarez Bravo. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively.

In 1934, Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called "Chim" because his name was difficult to pronounce. Szymin later changed his name to David Seymour. The two had much in common culturally. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa.

United States exhibits
Cartier-Bresson traveled to the United States in 1935 with an invitation to exhibit his work at New York's Julien Levy Gallery. He shared display space with fellow photographers Walker Evans and Manuel Álvarez Bravo. Carmel Snow of Harper's Bazaar gave him a fashion assignment, but he fared poorly since he had no idea how to direct or interact with the models. Nevertheless, Snow was the first American editor to publish Cartier-Bresson's photographs in a magazine. While in New York, he met photographer Paul Strand, who did camerawork for the Depression-era documentary The Plow That Broke the Plains.

Filmmaking
When he returned to France, Cartier-Bresson applied for a job with renowned French film director Jean Renoir. He acted in Renoir's 1936 film Partie de campagne and in the 1939 La Règle du jeu, for which he served as second assistant and played a butler. Renoir made Cartier-Bresson act so he could understand how it felt to be on the other side of the camera. Cartier-Bresson also helped Renoir make a film for the Communist party on the 200 families, including his own, who ran France. During the Spanish Civil War, Cartier-Bresson co-directed an anti-fascist film with Herbert Kline, to promote the Republican medical services.

Photojournalism start
Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI and Queen Elizabeth, for the French weekly Regards. He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. His photo credit read "Cartier", as he was hesitant to use his full family name. Between 1937 and 1939, Cartier-Bresson worked as a photographer for the French Communists' evening paper, Ce soir. With Chim and Capa, Cartier-Bresson was a leftist, but he did not join the French Communist party.

Marriage
In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini. They lived in a fourth-floor servants' flat in Paris at 19, rue Neuve-des-Petits-Champs (now rue Danielle Casanova), a large studio with a small bedroom, kitchen, and bathroom where Cartier-Bresson developed film.

World War II service
When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the film and photo unit of the French Third Army. During the Battle of France, in June 1940 at St. Dié in the Vosges Mountains, he was captured by German soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the Nazis. He twice tried and failed to escape from the prison camp, and was punished by solitary confinement. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France. In France, he worked for the underground, aiding other escapees and working secretly with other photographers to cover the occupation and then the liberation of France. In 1943, he dug up his beloved Leica camera, which he had buried in Vosges farmland.

At the end of the war he was asked by the American Office of War Information to make a documentary, Le Retour (The Return) about returning French prisoners and displaced persons. His film spurred a retrospective of his work at the Museum of Modern Art (MoMA), that would later tour the country. The show debuted in 1947 accompanied by the publication of his first book, The Photographs of Henri Cartier-Bresson. Lincoln Kirstein and Beaumont Newhall wrote the book's texts.

Magnum Photos
In early 1947, Cartier-Bresson, with Robert Capa, David Seymour, William Vandivert and George Rodger founded Magnum Photos. Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Rodger, who had quit Life in London after covering World War II, would cover Africa and the Middle East. Chim, who spoke a variety of European languages, would work in Europe. Cartier-Bresson would be assigned to India and China. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment. Maria Eisner managed the Paris office and Rita Vandivert, Vandivert's wife, managed the New York office and became Magnum's first president.

Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last stage of the Chinese Civil War in 1949. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was being liberated by the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay. From China, he went on to Dutch East Indies (Indonesia), where he documented the gaining of independence from the Dutch. In 1950, Cartier-Bresson had traveled to the South India. He had visited Tiruvannamalai, a town in the Indian State of Tamil Nadu and photographed the last moments of Ramana Maharishi, Sri Ramana Ashram and its surroundings. A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry.

Magnum's mission was to "feel the pulse" of the times and some of its first projects were People Live Everywhere, Youth of the World, Women of the World and The Child Generation. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images.

The Decisive Moment
In 1952, Cartier-Bresson published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment, although the French language title actually translates as "images on the sly" or "hastily taken images",  Images à la sauvette included a portfolio of 126 of his photos from the East and the West. The book's cover was drawn by Henri Matisse. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from Volume 2 of the Memoirs of 17th century Cardinal de Retz, "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.").

Both titles came from Tériade, the Greek-born French publisher whom Cartier-Bresson admired. He gave the book its French title, Images à la Sauvette, loosely translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, translated Cartier-Bresson's French preface into English.

"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative", he said. "Oop! The Moment! Once you miss it, it is gone forever."

The photo Rue Mouffetard, Paris, taken in 1954, has since become a classic example of Cartier-Bresson's ability to capture a decisive moment. He held his first exhibition in France at the Pavillon de Marsan in 1955.

Later career
Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union. While traveling in China in 1958, Cartier-Bresson documented the construction of the Ming Tombs Reservoir. He became the first Western photographer to photograph "freely" in the post-war Soviet Union.

In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani (hosted by his friend Costantino Nivola), San Leonardo di Siete Fuentes, and Cagliari.

Cartier-Bresson withdrew as a principal of Magnum (which still distributes his photographs) in 1966 to concentrate on portraiture and landscapes.

He was also close friends with brothers Alberto Giacometti and Diego Giacometti in Paris.

In 1967, he was divorced from his first wife of 30 years, Ratna (known as "Elie"). In 1968, he began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970. The couple had a daughter, Mélanie, in May 1972.

Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing, mainly using pencil, pen and ink, and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in 1975.

Death and legacy
Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France) on 3 August 2004, 19 days before his 96th birthday. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin and was survived by his wife, Martine Franck, and daughter, Mélanie.

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish Civil War, the liberation of Paris in 1944, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May 1968 events in Paris, the Berlin Wall. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare Saint-Lazare, are of seemingly unimportant moments of ordinary daily life.

Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed. In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.

Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.

In 2003, he created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy. In 2018, the foundation relocated from the Montparnasse district to Le Marais.

The highest price reached by one of his photographs was when Behind the Gare Saint-Lazare sold at Christie's, on 17 November 2011, by $590,455.

Cinéma vérité
Cartier-Bresson's photographs were also influential in the development of cinéma vérité film. In particular, he is credited as the inspiration for the National Film Board of Canada's early work in this genre with its 1958 Candid Eye series.

Technique
Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye."

He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand."

He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints be left uncropped so as to include a few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture.

Cartier-Bresson worked exclusively in black and white, other than a few experiments in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw:

"Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing."

He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.

Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon.

"In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv."

Publications

 * 1947: The Photographs of Henri Cartier-Bresson. Text by Lincoln Kirstein. New York: Museum of Modern Art.
 * 1952: The Decisive Moment. Texts and photographs by Cartier-Bresson. Cover by Henri Matisse. New York: Simon & Schuster. French edition
 * 2014: Göttingen: Steidl. ISBN 978-3869307886. Facsimile edition. First edition, 2014. Third edition, 2018. Includes booklet with an essay by Clément Chéroux, "A Bible for Photographers".
 * 1954: Les Danses à Bali. Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Paris: Delpire. German edition.
 * 1955: The Europeans. Text and photographs by Cartier-Bresson. Cover by Joan Miró. New York: Simon & Schuster. French edition.
 * 1955: People of Moscow. London: Thames & Hudson. French, German and Italian editions.
 * 1956: China in Transition. London: Thames & Hudson. French, German and Italian editions.
 * 1958: Henri Cartier-Bresson: Fotografie. Prague and Bratislava: Statni nakladatelstvi krasné. Text by Anna Farova.
 * 1963: Photographs by Henri Cartier-Bresson. New York: Grossman Publisher. French, English, Japanese and Swiss editions.
 * 1964: China. Photographs and notes on fifteen months spent in China. Text by Barbara Miller. New York: Bantam. French edition.
 * 1966: Henri Cartier-Bresson and the Artless Art. Text by Jean-Pierre Montier. Translated from the French L'Art sans art d'Henri Cartier-Bresson by Ruth Taylor. New York: Bulfinch Press.
 * 1968: The World of HCB. New York: Viking Press. French, German and Swiss editions. ISBN 978-0670786640
 * 1969: Man and Machine. Commissioned by IBM. French, German, Italian and Spanish editions.
 * 1970: France. Text by François Nourissier. London: Thames & Hudson. French and German editions.
 * 1972: The Face of Asia. Introduction by Robert Shaplen. New York and Tokyo: John Weatherhill; Hong Kong: Orientations. French edition.
 * 1973: About Russia. London: Thames & Hudson. French, German and Swiss editions.
 * 1976: Henri Cartier-Bresson. Texts by Cartier-Bresson. History of Photography Series. History of Photography Series. French, German, Italian, Japanese and Italian editions.
 * 1979: Henri Cartier-Bresson Photographer. Text by Yves Bonnefoy. New York: Bulfinch. French, English, German, Japanese and Italian editions. ISBN 978-0821207567
 * 1983: Henri Cartier-Bresson. Ritratti = Henri Cartier-Bresson. Portraits. Texts by André Pieyre de Mandiargues and Ferdinando Scianna, "I Grandi Fotografi". Milan: Gruppo Editoriale Fabbri. English and Spanish editions.
 * 1985:
 * Henri Cartier-Bresson en Inde. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson. Text by Yves Véquaud. Paris: Centre national de la photographie. English edition.
 * Photoportraits. Texts by André Pieyre de Mandiargues. London: Thames & Hudson. French and German editions.
 * 1987:
 * Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. New York: Museum of Modern Art. French edition. ISBN 978-0870702624
 * Henri Cartier-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson, texts by Yves Véquaud. London: Thames & Hudson. French edition.
 * 1989:
 * L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Paris: Centre National de la Photographie.
 * Line by Line. Henri Cartier-Bresson's drawings. Introduction by Jean Clair and John Russell. London: Thames & Hudson. French and German editions.
 * 1991:
 * America in Passing. Introduction by Gilles Mora. New York: Bulfinch. French, English, German, Italian, Portuguese and Danish editions.
 * Alberto Giacometti photographié par Henri Cartier-Bresson. Texts by Cartier-Bresson and Louis Clayeux. Milan: Franco Sciardelli.
 * 1994:
 * A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. London: Thames & Hudson. French, German and Japanese editions. ISBN 978-0821220641
 * Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens: Le Nyctalope. French and English editions.
 * Mexican Notebooks 1934–1964. Text by Carlos Fuentes. London: Thames & Hudson. French, Italian, and German editions.
 * L'Art sans art. Text de Jean-Pierre Montier. Paris: Editions Flammarion. English, German and Italian editions.
 * 1996: L'Imaginaire d'après nature. Text by Cartier-Bresson. Paris: Fata Morgana. German and English editions'
 * 1997: Europeans. Texts by Jean Clair. London: Thames & Hudson. French, German, Italian and Portuguese editions.
 * 1998: Tête à tête. Texts by Ernst H. Gombrich. London: Thames & Hudson. French, German, Italian and Portuguese editions.
 * 1999: The Mind's Eye. Text by Cartier-Bresson. New York: Aperture. French and German editions.
 * 1999: Henri Cartier-Bresson: A Biography. Text by Pierre Assouline, translated by David Wilson. London: Thames and Hudson.
 * 2001: Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. London: Thames & Hudson. French, German and Italian editions.
 * 2003: The Man, the Image and the World. Texts by Philippe Arbaizar, Jean Clair, Claude Cookman, Robert Delpire, Jean Leymarie, Jean-Noel Jeanneney and Serge Toubiana. London: Thames & Hudson, 2003. German, French, Korean, Italian and Spanish editions.
 * 2005:
 * Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers, Aperture; 1st edition. ISBN 978-0893818753
 * Henri Cartier-Bresson: Masters of Photography Series, Aperture; Third edition. ISBN 978-0893817442
 * 2006: An Inner SIlence: The portraits of Henri Cartier-Bresson, New York: Thames & Hudson. Texts by Agnès Sire and Jean-Luc Nancy.
 * 2010: Henri Cartier-Bresson: The Modern Century, The Museum of Modern Art, New York; Reprint edition. ISBN 978-0870707780
 * 2015: Henri Cartier-Bresson: The Decisive Moment, Steidl; Pck Slp Ha edition. ISBN 978-3869307886
 * 2017: Henri Cartier-Bresson Fotógrafo. Delpire.

Films directed by Cartier-Bresson
Cartier-Bresson was second assistant director to Jean Renoir in 1936 for La vie est à nous and Une partie de campagne, and in 1939 for La Règle du Jeu.

 * 1937: Victoire de la vie. Documentary on the hospitals of Republican Spain: Running time: 49 minutes. Black and white.
 * 1938: L’Espagne Vivra. Documentary on the Spanish Civil War and the post-war period. Running time: 43 minutes and 32 seconds. Black and white.
 * 1938 Avec la brigade Abraham Lincoln en Espagne, Henri Cartier-Bresson ja Herbert Kline. Running time 21 minutes. Black and white.
 * 1944–45: Le Retour. Documentary on prisoners of war and detainees. Running time: 32 minutes and 37 seconds. Black and white.
 * 1969–70: Impressions of California. Running time: 23 minutes and 20 seconds. Color.
 * 1969–70: Southern Exposures. Running time: 22 minutes and 25 seconds. Color.

Films compiled from photographs by Cartier-Bresson

 * 1956: A Travers le Monde avec Henri Cartier-Bresson. Directed by Jean-Marie Drot and Henri Cartier-Bresson. Running time: 21 minutes. Black and white.
 * 1963: Midlands at Play and at Work. Produced by ABC Television, London. Running time : 19 minutes. Black and white.
 * 1963–65: Five fifteen-minute films on Germany for the Süddeutscher Rundfunk, Munich.
 * 1967: Flagrants délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire production, Paris. Running time: 22 minutes. Black and white.
 * 1969: Québec vu par Cartier-Bresson / Le Québec as seen by Cartier-Bresson. Directed by Wolff Kœnig. Produced by the Canadian Film Board. Running time: 10 minutes. Black and white.
 * 1970: Images de France.
 * 1991: Contre l'oubli : Lettre à Mamadou Bâ, Mauritanie. Short film directed by Martine Franck for Amnesty International. Editing : Roger Ikhlef. Running time: 3 minutes. Black and white.
 * 1992: Henri Cartier-Bresson dessins et photos. Director: Annick Alexandre. Short film produced by FR3 Dijon, commentary by the artist. Running time: 2 minutes and 33 seconds. Color.
 * 1997: Série "100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color.

Films about Cartier-Bresson

 * "Henri Cartier-Bresson, point d'interrogation" by Sarah Moon, screened at Rencontres d'Arles festival in 1994
 * Henri Cartier-Bresson: L'amour Tout Court (70 mins, 2001. Interviews with Cartier-Bresson.)
 * Henri Cartier-Bresson: The Impassioned Eye (72 mins, 2006. Late interviews with Cartier-Bresson.)

Exhibitions

 * 1933 Cercle Ateneo, Madrid
 * 1933 Julien Levy Gallery, New York
 * 1934 Palacio de Bellas Artes, Mexico City (with Manuel Alvarez Bravo)
 * 1947 Museum of Modern Art, New York, Martin-Gropius-Bau, Berlin, Germany; Museum of Modern Art, Rome, Italy; Dean Gallery, Edinburgh; Museum of Modern Art, New York City; Museo Nacional de Bellas Artes, Santiago, Chile
 * 1952 Institute of Contemporary Arts, London
 * 1955 Retrospektive – Musée des Arts décoratifs, Paris
 * 1956  Photokina, Cologne, Germany
 * 1963 Photokina, Cologne, Germany
 * 1964 The Phillips Collection, Washington
 * 1965–1967 2nd retrospective, Tokyo, Musée des Arts Décoratifs, Paris, New York, London, Amsterdam, Rome, Zurich, Cologne and other cities.
 * 1970 En France – Grand Palais, Paris. Later in the US, USSR, Australia and Japan
 * 1971 Les Rencontres d'Arles festival. Movies screened at Théatre Antique.
 * 1972 Les Rencontres d'Arles festival. "Flagrant Délit " (Production Delpire) screened at Théatre Antique.
 * 1974 Exhibition about the USSR, International Center of Photography, New York
 * 1974–1997 Galerie Claude Bernard, Paris
 * 1975 Carlton Gallery, New York
 * 1975 Galerie Bischofberger, Zurich, Switzerland
 * 1980 Brooklyn Museum, New York
 * 1980 Photographs, Art Institute of Chicago
 * 1980 Portraits – Galerie Eric Franck, Geneva, Switzerland
 * 1981 Musée d'Art Moderne de la Ville de Paris, France
 * 1982 Hommage à Henri Cartier-Bresson – Centre National de la Photographie, Palais de Tokyo, Paris
 * 1983 Printemps Ginza – Tokyo
 * 1984 Osaka University of Arts, Japan
 * 1984–1985 Paris à vue d’œil – Musée Carnavalet, Paris
 * 1985 Henri Cartier-Bresson en Inde – Centre National de la Photographie, Palais de Tokyo, Paris
 * 1985 Museo de Arte Moderno de México, Mexico
 * 1986 L'Institut Français de Stockholm
 * 1986 Pavillon d'Arte contemporanea, Milan, Italy
 * 1986 Tor Vergata University, Rome, Italy
 * 1987  Museum of Modern Art, Oxford, UK (drawings and photography)
 * 1987 Early Photographs – Museum of Modern Art, New York
 * 1988 Institut Français, Athen, Greece
 * 1988 Palais Lichtenstein, Vienna, Austria
 * 1988 Salzburger Landessammlung, Austria
 * 1988 Group exhibition: "Magnum en Chine" at Rencontres d'Arles, France.
 * 1989 Chapelle de l'École des Beaux-Arts, Paris
 * 1989  Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)
 * 1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)
 * 1989 Printemps Ginza, Tokyo, Japan
 * 1990 Galerie Arnold Herstand, New York
 * 1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)
 * 1992 Centro de Exposiciones, Saragossa and Logrono, Spain
 * 1992 Hommage à Henri Cartier-Bresson – International Center of Photography, New York
 * 1992 L'Amérique – FNAC, Paris
 * 1992 Musée de Noyers-sur-Serein, France
 * 1992 Palazzo San Vitale, Parma, Italy
 * 1993 Photo Dessin – Dessin Photo, Arles, France
 * 1994 "Henri Cartier-Bresson, point d'interrogation" by Sarah Moon screened at Rencontres d'Arles festival, France.
 * 1994 Dessins et premières photos – La Caridad, Barcelona, Spain
 * 1995 Dessins et Hommage à Henri Cartier-Bresson – CRAC (Centre Régional d’Art Contemporain) Valence, Drome, France
 * 1996 Henri Cartier-Bresson: Pen, Brush and Cameras – The Minneapolis Institute of Arts, US
 * 1997 Les Européens – Maison Européenne de la Photographie, Paris
 * 1997 Henri Cartier-Bresson, dessins – Musée des Beaux-Arts, Montreal
 * 1998 Galerie Beyeler, Basel, Switzerland
 * 1998 Galerie Löhrl, Mönchengladbach, Germany
 * 1998 Howard Greenberg Gallery, New York
 * 1998 Kunsthaus Zürich, Zurich, Switzerland
 * 1998 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
 * 1998 Line by Line – Royal College of Art, London
 * 1998 Tête à Tête – National Portrait Gallery, London
 * 1998–1999 Photographien und Zeichnungen – Baukunst Galerie, Cologne, Germany
 * 2003–2005 Rétrospective, Bibliothèque nationale de France, Paris; La Caixa, Barcelona; Martin Gropius Bau, Berlin; Museum of Modern Art, Rome; Dean Gallery, Edinburgh; Museum of Modern Art, New York; Museo Nacional de Bellas Artes, Santiago, Chile
 * 2004 Baukunst Galerie, Cologne
 * 2004 Martin-Gropius-Bau, Berlin
 * 2004 Museum Ludwig, Cologne
 * 2008 Henri Cartier-Bresson's Scrapbook Photographs 1932–46, National Media Museum, Bradford, UK
 * 2008 National Gallery of Modern Art, Mumbai, India
 * 2008 Santa Catalina Castle, Cadiz, Spain
 * 2009 Musée de l'Art Moderne, Paris
 * 2010 Museum of Modern Art, New York
 * 2010 The Art Institute of Chicago, Chicago
 * 2011  Museum of Design Zürich
 * 2011  High Museum of Art, Atlanta, GA
 * 2011  Maison de la Photo, Toulon, France
 * 2011  Kunstmuseum Wolfsburg, Germany
 * 2011  Queensland Art Gallery, Brisbane, Australia
 * 2011-2012 KunstHausWien, Vienna, Austria
 * 2014  Centre Georges Pompidou, Paris.
 * 2015  Palacio de Bellas Artes, Mexico City
 * 2015  Ateneum, Helsinki
 * 2017 Leica Gallery, San Francisco.
 * 2017 Museo Botero/Banco de la Republica, Bogota Colombia
 * 2018 International Center of Photography, New York
 * 2021 Le Grand jeu, Bibliothèque Nationale de France, Paris, France
 * 2022 Cina 1948-49/1958, MUDEC, Milan, Italy
 * 2022 L'expérience du paysage, Fondation Henri Cartier-Bresson, Paris, France

Public collections
Cartier-Bresson's work is held in the following public collections:
 * Bibliothèque Nationale de France, Paris, France
 * De Menil Collection, Houston, Texas, US
 * Foundation Henri Cartier-Bresson, Paris, France
 * University of Fine Arts, Osaka, Japan
 * Victoria and Albert Museum, London, United Kingdom
 * Maison Européenne de la Photographie, Paris, France
 * Musée Carnavalet, Paris, France
 * Museum of Modern Art, New York City
 * The Art Institute of Chicago, Illinois, US
 * Jeu de Paume, Paris, France
 * J. Paul Getty Museum, Los Angeles
 * Institute for Contemporary Photography, New York City
 * The Philadelphia Art Institute, Philadelphia, Pennsylvania, US
 * The Museum of Fine Arts, Houston, US
 * Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan
 * Museum of Modern Art, Tel Aviv, Israel
 * Moderna Museet, Stockholm, Sweden
 * International Photography Hall of Fame, St.Louis, Missouri

Awards

 * 1948: Overseas Press Club of America Award
 * 1953: The A.S.M.P. Award
 * 1954: Overseas Press Club of America Award
 * 1959: The Prix de la Société française de photographie
 * 1960: Overseas Press Club of America Award
 * 1964: Honorary Fellowship of the Royal Photographic Society
 * 1964: Overseas Press Club of America Award
 * 1967: The Cultural Award from the German Society for Photography (DGPh), with Edwin H. Land
 * 1981: Grand Prix National de la Photographie
 * 1982: Hasselblad Award
 * 2003: Lifetime Achievement Award from the Lucie Awards
 * 2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook

title: Henri Cartier-Bresson


text:
Eclipse (disambiguation)

An eclipse is an astronomical event.

Eclipse may also refer to:

Places

 * Eclipse Island (Queensland), Australia, an island of the Great Palm Island group
 * Eclipse Island (Western Australia), a barren island near Albany

Films

 * Eclipse (1934 film), by Hiroshi Shimizu
 * Eclipse (1962 film), by Michelangelo Antonioni
 * Eclipse (1994 film), by Jeremy Podeswa
 * The Eclipse, or the Courtship of the Sun and Moon (1907), a film by Georges Méliès
 * The Eclipse (2009 film), a 2009 film by Conor McPherson
 * The Twilight Saga: Eclipse (2010), a film adaptation of the Meyer novel

Television

 * Eclipse (TV series), a Mexican telenovela
 * The Eclipse (TV series), a 2022 Thai television series
 * Eclipse Music TV, an Australian music television show
 * "The Eclipse" (Heroes), a 2008 television episode
 * "Eclipsed" (The Penguins of Madagascar episode)
 * "The Day of Black Sun Part 2: The Eclipse", an Avatar: The Last Airbender episode

Fictional entities

 * Chief Eclipse, a character in the anime series Kiddy Grade
 * Eclipse, a Star Destroyer, spaceship in the Star Wars universe
 * Eclipse, a caste in the roleplaying game Exalted

Music

 * Eclipse Records, a record label
 * Eclipse (Takemitsu), a composition by Japanese composer Toru Takemitsu
 * Eclipse (band), a Swedish rock band
 * ESP Eclipse, an electric guitar model
 * The Eclipse (club), a nightclub formerly in Coventry, England
 * Eclipse, a pseudonym of the Italian duo Bini & Martini

Albums

 * Eclipse (Amorphis album)
 * Eclipse (Autumn Tears album)
 * Eclipse (CANO album), 1978
 * Eclipse (Five Star album), 2001
 * Eclipse (G.G.F.H. album)
 * Eclipse (Glorium album), 1997
 * Eclipse (Journey album)
 * Eclipse (Smokie album)
 * Eclipse (Twin Shadow album)
 * Eclipse (Veil of Maya album)
 * Eclipse (Violeta de Outono album), 1995
 * Eclipse (Yngwie Malmsteen album), 1990
 * Esenciales: Eclipse, by Maná
 * The Twilight Saga: Eclipse (soundtrack)
 * Eclipse (EP), an EP by EXID
 * Eclipsed (album), a 2016 album by Fellowship Creative

Songs

 * "Eclipse" (Pink Floyd song), from the 1973 album The Dark Side of the Moon
 * "Eclipse" (Hardwell song), 2015
 * "Eclipse", from the 1974 album Back Home Again by John Denver
 * "Eclipse", from the 2000 album Made Me Do It by The Haunted
 * "Eclipse", from the 2000 album Welcome to Earth by Apoptygma Berzerk
 * "Eclipse", from the 2005 album Robyn by Robyn
 * "Eclipsed", from the 2011 album Edge of the Earth by Sylosis
 * "Eclipse", from the 2013 album Apocalyze by Crossfaith
 * "Eclipse", from the 2017 single album Kim Lip by Loona
 * "Eclipse", from the 2019 Spinning Top (EP) by Got7
 * "Eclipse", from the 2019 album Alien by Northlane
 * "Eclipse", from the 2020 album Libra by Lali
 * "Eclipse", from the 2020 EP Dark Side of the Moon by Moonbyul

Publications

 * Eclipse Comics, an American comic book publisher
 * Eclipse Magazine, a black-and-white anthology published by Eclipse Comics
 * Eclipse Monthly, a full-color anthology published by Eclipse Comics
 * L'Éclipse, a 19th-century French newspaper

Books

 * Eclipse (Trumbo novel), a 1935 novel by Dalton Trumbo
 * Eclipse, a 1977 novel by Dirk Wittenborn
 * Eclipse, a 1986 novel by William Stevenson
 * Eclipse, a 1983 novel by Cynthia Felice
 * Eclipse, a 1994 novel by Louise Cooper, the second installment in the Star Shadow trilogy
 * Eclipse (Banville novel), a 2000 novel by John Banville
 * Eclipse, a 2002 novel by Cate Tiernan, the 12th installment in the Sweep series
 * Eclipse, a 2002 novel by Richard S. Wheeler
 * Eclipse (Judge Dredd novel), a 2004 novel by James Swallow, based on the comics character from 2000 AD
 * Eclipse (Bedford novel), a 2005 science fiction novel by K. A. Bedford
 * Eclipse, a 2006 novel by Andrea Cheng
 * Eclipse (Meyer novel), a 2007 novel by Stephenie Meyer, the third installment in the Twilight series
 * Eclipse, a 2008 novel in the Warriors: Power of Three series by Erin Hunter
 * Eclipse, a 2009 novel by Richard North Patterson
 * Eclipse Trilogy, a 1985-90 series of science fiction novels by John Shirley
 * Eclipses, a 1983 novel by Cynthia Felice
 * The Eclipse (James Fenimore Cooper), an 1869 autobiographical vignette by James Fenimore Cooper
 * The Eclipse: A Memoir of Suicide, a 2003 memoir by Antonella Gambotto-Burke

Games

 * Eclipse (board game), a strategy board game
 * Eclipse: New Dawn for the Galaxy (video game), a 2013 video game
 * Eclipse (play-by-mail game), a 1980s space-based play-by-mail game

Other arts

 * Eclipse (Sebastian), a 2003 sculpture by Jill Sebastian

Brands and enterprises

 * Eclipse (breath freshener), a Wrigley brand of chewing gum and breath mint
 * Eclipse (car electronics), a Japanese car audio and navigation brand
 * Eclipse (cigarette), an American cigarette brand
 * Eclipse (DVD brand), a line of DVD sets from the Criterion Collection
 * Eclipse, a French film production company founded in 1906 by Charles Urban
 * Eclipse Machine Company, Elmira, New York, an early partner of the Bendix Corporation

Computing

 * Eclipse (software), a software development platform
 * Eclipse Foundation, a nonprofit organization to develop Eclipse (software) projects
 * ECLiPSe, a constraint logic programming system
 * Alias Eclipse, a professional image-editing application
 * Data General Eclipse, a line of minicomputers
 * Eclipse ERP, distribution management software
 * Eclipse Internet, an Internet service provider

Greyhound and horse racing

 * Eclipse (greyhounds), a greyhound racing competition
 * Eclipse (horse), an 18th-century racehorse
 * Eclipse Award, a horse racing award
 * Eclipse Stakes, a horse race

Sporting grounds

 * Eclipse Park (Milwaukee), a former baseball ground in Wisconsin, US
 * Eclipse Park, the name of two former baseball grounds in Kentucky, US

Teams

 * Louisville Eclipse, a professional baseball team
 * Phoenix Eclipse, a professional basketball team

Aircraft

 * Eclipse Aviation, a defunct jet manufacturer based in Albuquerque, New Mexico, US
 * Eclipse 400, a very light jet aircraft developed but never produced
 * Eclipse 500, a very light jet aircraft produced from 2006 to 2008
 * Eclipse Aerospace, a now-defunct predecessor company to Eclipse Aviation
 * Eclipse 550, a very light jet aircraft produced from 2014 to 2017
 * Phase 3 Eclipse, ultralight aircraft
 * Sol Eclipse, a Brazilian paraglider design

Land vehicles

 * Mitsubishi Eclipse, a compact sports car
 * Mitsubishi Eclipse Cross, a compact crossover SUV, not related to the Mitsubishi Eclipse sports car
 * Wright Eclipse, a bus body

Watercraft

 * Com-Pac Eclipse, an American sailboat design
 * Eclipse (yacht), owned by Russian billionaire Roman Abramovich
 * Eclipse, a trimaran sailboat designed by Robert B. Harris
 * Celebrity Eclipse, a 2010 cruise ship
 * Eclipse-class cruiser, a 19th-century class of British Royal Navy cruisers
 * HMS Eclipse, the name of several British Royal Navy ships
 * USS Eclipse (SP-417), a United States Navy patrol vessel in commission from 1917 to 1919

Other uses

 * Eclipse (Ferris wheel), in Thorpe Park, Surrey, UK
 * Eclipse plumage, a phase in the coloring of some birds
 * Eclipse, a characteristic of light patterns in navigation

title: Eclipse (disambiguation)


text:
Tracy Hickman

Tracy Raye Hickman (born November 26, 1955) is an American fantasy author and designer of games and virtual reality (VR) experiences. He co-authored the original Dragonlance novels with Margaret Weis as well as numerous other books. He also designed and created role playing game material while working for TSR and has cowritten novels with his wife, Laura Hickman. He is the author or co-author of over 60 books.

Early life
Tracy Hickman was born and raised in Salt Lake City, Utah. His parents instilled in him a love of reading; he recalls visiting the local bookmobile with them. Hickman took a particular interest in the science fiction genre. He graduated from Provo High School in 1974. His major interests were drama, music, and Air Force JROTC. In 1975, Hickman began two years of service as a missionary for the Church of Jesus Christ of Latter-day Saints (LDS Church). He served in Hawaii for six months while awaiting visa approval for travel to Indonesia, where he served in Surabaya, Djakarta, and the mountain city of Bandung until 1977.

Within four months of his return to the United States, Hickman married his high school sweetheart, Laura Curtis. Laura first introduced him to Dungeons & Dragons (D&D) shortly after they were married. She gave him the game that year for his birthday. Speaking on his discovery of D&D, Hickman said, "I spent part of my student loan money to buy game materials. It turned out to be the best career investment any of that money was ever used for." Laura was also the inspiration for Tracy's character Lauralanthalasa (Laurana) Kanan. Hickman attended Brigham Young University. In an interview, he stated that he "nearly failed [his] creative writing course" in college.

Career
Hickman had many jobs before joining TSR, Inc. (the publisher of Dungeons & Dragons) in 1982, including working as a supermarket stocker, a movie projectionist, a theater manager, a glass worker, a television assistant director, and a drill press operator in a genealogy center.

TSR
Together, Tracy and Laura wrote the original versions of the adventure modules Rahasia and Pharaoh, publishing them privately. Pharaoh was originally published by DayStar West Media in 1980. In 1981, Tracy entered into a business arrangement to produce an arcade immersion game, but his associate disappeared, leaving the Hickmans with $30,000 in debt. Tracy approached TSR with the modules Rahasia and Pharaoh, "literally so that I could buy shoes for my children". TSR bought the modules, and wanted to hire Tracy as well. Tracy recalls, "They said it would be easier to publish my adventures if I was part of the company. So, we made the move from Utah to Wisconsin. It was a terrifying experience. We had no money. My parents begged us not to venture into such foreign territory to pursue such a bizarre career. My father wrote that there was a secure job as a fry cook in Flagstaff (where my parents were living), and he pleaded with me to come take it." When Tracy and Laura Hickman came to TSR, they brought Pharaoh with them. It was published as the first part of TSR's Desert of Desolation series (1982–1983). Ravenloft (1983) was also written by Tracy and Laura Hickman. Hickman also wrote two supplements for TSR's Gangbusters role-playing game. Tracy and Laura Hickman's contributions to the D&D module portfolio are credited with initiating a fundamental shift in the RPG module design sensibilities, away from pure dungeon crawl and towards more "cerebral" adventures centered on intriguing plots.

Dragonlance
As he was traveling from Utah to Wisconsin to join TSR, Hickman thought of the idea for a setting in which dragons would be fearsome once again. At TSR he found other creators who were interested in his project, which was dubbed "Project Overlord". Harold Johnson was the first to join the project and brought it to upper management, and talked Hickman into expanding further upon his idea of only a trilogy of three adventures. Soon after, TSR management announced its intention to develop Hickman's series of dragon-based role-playing adventures. Hickman's proposal resulted in the Dragonlance Chronicles, which led to his association with Margaret Weis. Jean Black, the managing editor of TSR's book department, assigned Hickman and Weis to write first the novel Dragons of Autumn Twilight and then continue with the rest of the Dragonlance Chronicles series. This was the first project TSR had undertaken that would include adult novels as well as games, calendars, and other spin-off products. It was also Hickman's first novel writing experience. The original Dragonlance team was formed under Hickman's leadership. The project began with a novel and three game modules. It eventually expanded a trilogy of books (written by Weis and Hickman) and 15 companion modules. After completing the Dragonlance Chronicles, Hickman and Weis next wrote the Dragonlance Legends trilogy, which was published in 1986. Dragonlance eventually expanded to include dozens of books, many written by other authors. By 1987, the Dragonlance project had sold two million books and half a million adventure modules. It garnered "a large and engaged fan base". Hickman and Weis developed a system of co-writing in which Weis is the writer and Hickman is the "storyteller and world builder" for the project. The last Dragonlance books to be published were released in 2007.

In March 2019, Hickman and Weis were contracted by Wizards of the Coast, the new publisher of Dungeons and Dragons, to write another installment of the Dragonlance series. A new trilogy of books was planned to be published by Random House. Wizards of the Coast reportedly approved the first manuscript in the beginning of 2020, and Hickman and Weis had also finished the draft for the sequel. Wizards of the Coast then put a stop to the project, and Hickman and Weis responded by suing the publisher for breach of contract on October 16, 2020, requesting $10 million in compensation. The authors later dropped the lawsuit in December 2020 and announced that Del Rey Books would publish the new Dragonlance trilogy, with a publication date to be announced. Hickman and Weis see the new trilogy as "the capstone to their life's work". In December 2021, it was announced that the first novel of the new series, Dragonlance: Dragons of Deceit, is scheduled for release on August 9, 2022.

Gaming fiction
Hickman left TSR in 1987. He has published more than 30 novels with Margaret Weis. Together they wrote the Darksword trilogy and The Death Gate Cycle, and collaborated on the Rose of the Prophet series (1988-1989). Weis and Hickman later returned to TSR to write more new fiction, although TSR turned their intended trilogy into a single novel, Dragons of Summer Flame, published in 1995.

Tracy and Laura Hickman have been publishing game designs together for over 30 years, including the popular and innovative Dungeons & Dragons Ravenloft module in 1983. The Hickmans originally developed Ravenloft as a way to entertain their friends every Halloween. Says Hickman of the original module, and its 1986 sequel, Ravenloft II: The House on Gryphon Hill, "I still believe the original Ravenloft modules were perhaps the best that ever had my name on them." Ravenloft was revived with the release of the Hickmans' Curse of Strahd module in 2016.

For the Starshield Project, Hickman and Weis produced the Del Rey Books-published novels Sentinels (later retitled Mantle of Kendis-Dai) and Nightsword. Hickman also wrote a story set in the Starshield universe for Dragon #250 called "Dedrak's Quest". Of his and Weis's fictional setting, he said, "Starshield is a universe where a society of dragons can confront blaster-armed spacemen or wizards wielding magic staves with computer targeting", and that the Starshield Project "grew out of [his] desire to share the creation process with all [their] fans." According to Hickman, Starshield's ultimate purpose, and his biggest dream, was to finance a permanent colony on the planet Mars by 2010. Readers were able to freely download both the first novel in the series and the Starshield roleplaying game from Hickman's website.

In the late 1990s, Larry Elmore asked Weis and Hickman to write novels for his fantasy world of Loerem, and they agreed to produce the Sovereign Stone trilogy. With encouragement from Peter Adkison, Wizards of the Coast published a new trilogy of Dragonlance novels by Weis and Hickman called War of Souls, beginning with Dragons of a Fallen Sun (2000).

In 1999, Pyramid magazine named Tracy Hickman one of The Millennium's Most Influential Persons, "at least in the realm of adventure gaming". The magazine stated that Tracy Hickman and Margaret Weis were "basically responsible for the entire gaming fiction genre". Hickman was inducted into the Origins Hall of Fame in 2002, recognized in part for "one game line turned literary sensation: Dragonlance". Tracy and Laura Hickman wrote the adventure Out in the Black (2006) for the Serenity Role Playing Game for Margaret Weis Productions.

In 2009, Hickman released XDM: X-Treme Dungeon Mastery, a guide for DMs based on his years of experience in the trade. Written with his son Curtis Hickman and illustrated by online comic artist Howard Tayler, the book calls itself "the cure for the common game". The Hickmans have hosted "Killer Breakfasts", popular role-playing game experiences, at Gen Con conventions in various locations.

Miscellaneous writing
In spring 1996, Hickman's first two solo novels, Requiem of Stars and The Immortals, were published. The Immortals is a science fiction novel about "AIDS concentration camps in Utah". Of the novel, Hickman said: "I was absolutely driven to write that book. I was able to say many things that I felt strongly about and still do. It is perhaps my finest work." Tracy and Laura Hickman published their first joint novel, Mystic Warrior, in 2004.

Hickman then released two new fantasy series: the four-book Dragonships of Vindras series (co-written with his longtime writing partner Margaret Weis), and the three-book Annals of Drakis series (co-written with his wife, Laura).

In 2010, Tracy and Laura Hickman launched a direct-to-internet serialized fantasy series, "Dragon's Bard", which merged serial publishing techniques (such as those employed with Charles Dickens' A Tale of Two Cities) with modern internet distribution. Eventide, the first book in the Tales of the Dragon's Bard series, was subsequently published by Shadow Mountain Publishing in 2012. Hickman has said that Eventide was his favorite project to work on.

While primarily known for his work in epic fantasy, Hickman once wrote a Batman novel for DC Comics titled Wayne of Gotham (June 2012). The book explores the characters of Bruce Wayne's parents.

Other work
Tracy and Laura Hickman produced their DragonHearth podcast until about December 2010. Hickman founded the Parsec Awards alongside Mur Lafferty and Michael Mennenga in 2006.

Hickman wrote the screenplay for, produced, and edited the first science-fiction film shot completely in space, Apogee of Fear. In August 2008, it was announced that Hickman would travel to the International Space Station, where his digitized DNA and samples of his writing would be stored in a capsule as part of "Operation Immortality", sponsored by NCSoft. Game developer Richard Garriott gathered information from people around the world (contributed through a website) to store in the capsule. On the topic of the project, Hickman said, "I have lived my entire life dreaming of space. 'Operation Immortality' is essentially a celebration of that same adventuring spirit and an offering of hope for the future. I am deeply honored to participate."

On March 15, 2013, Hickman joined Richard Garriott's team as lead story designer for Shroud of the Avatar: Forsaken Virtues. Shroud of the Avatar is the "spiritual successor" to Garriott's previous work in the fantasy role-playing genre, the Ultima series of video games.

On March 16, 2016, Hickman announced that he had become the Director of Story Development at The Void, a virtual reality gaming experience franchise, working with his son Curtis in designing interactive adventures.

Personal life
Hickman married Laura Curtis in 1977, and together they have four children. In addition to the books he has co-written with his wife, Hickman has collaborated with her on ideas for his works since the beginning of his career. The two have worked closely together on numerous projects. Tracy and Laura Hickman have appeared together at multiple conferences and conventions, including the Writing and Illustrating for Young Readers conference.

On his website Hickman states that he is a devout member of the LDS Church. He has stated that he likes writing in the fantasy genre because it "is about ethical and moral choices—the questions of good and evil" and because it reflects "the story of all of us on our journey through mortality and our seeking to return home to Christ". Hickman has said that his faith often inspires his work. As of 1998, the family resides in St. George, Utah.

title: Tracy Hickman


text:
Talk:Nepetalactone

Untitled
Do the aphids synthesize the nepetalactone or do they obtain it from the plants they feed on?

Do the aphids synthesize nepetalacetone or do they obtain it from plants that they feed on?

Pharmacology
Mechanism of action? Miserlou 03:55, 4 December 2007 (UTC)

Toxicology
Is the compound toxic to humans? —Preceding unsigned comment added by Sciphysorganicchem (talk • contribs) 23:54, 25 July 2009 (UTC)

Inconsistency with other page
This page states that about 75% are affected, while this page (which Catnip redirects to) states 2 out of 3. Nearyan (talk) 16:02, 23 June 2010 (UTC)

All cats or just domestic Breeds?
68.188.25.170 (talk) 23:38, 10 April 2011 (UTC)
 * All species of the cat family (Felidae) are attracted to catnip. Mountain lions (cougars), lynx, tigers, lions, and domesticated cats will roll over, rub their faces, extend their claws, and twist their bodies in a patch of catnip. There is a video on line which demonstrates these species, in a sanctuary, "getting baked"... er, demonstrating a strong response to catnip. http://www.youtube.com/watch?v=tklx3j7kgJY&feature=related The lion in this video didn't demonstrate the response; however, this may have been an individual response as lions in other instances have been variably affected. A video taken at the Lions, Tigers and Bears Sanctuary showed 2 lions that were offered catnip-spiked pumpkins for the first time. These lions showed a very, very strong response-- even jumping into water to retrieve a pumpkin. http://www.youtube.com/watch?v=t7UYDBONb0Y

 * From my own experience, my 3 housecats all respond but the strength of the response seems to be dependent on their mood. Not all domestic cats (Felis catus) are genetically programmed to respond. Maybe this lion just wasn't in the mood, or he doesn't have the genetic code to respond to nepetalactone. kf9as108.217.49.112 (talk) 22:44, 17 August 2012 (UTC)

Template produces poor PDF output
PDF output using Google Chrome's built-in distiller produces poor results with this page. (Use the Ctrl P command in Chrome to preview). Issue may be with the template used or (more likely) the the way content was entered (coded) and saved by the contributor. For example, when printing this article with Google's PDF printer, the info-box content exceeds 100% of the printed page's width, and information is cut off. The info-box column should not exceed 50% on a portrait layout (45% appears nicer and looks closer to a WYSIWYG web page view), Note that the font size should not dynamically scale up or down to fit a page; font size of the main-body text content should be about 12 points on outputted PDF page(s); it is the images and table cells that should dynamically scale up or down to fit the info box in order to maintain the two-column Wikipedia layout. NOTE: I ran across many chemical-related articles having this issue. Printchecker (talk) 05:13, 23 September 2014 (UTC)

title: Talk:Nepetalactone