Eva Zeisel, Hungarian-born American ceramic artist and designer, died she was 105.

Eva Striker Zeisel^[2] was a Hungarian-born American industrial designer known for her work with ceramics, primarily from the period after she immigrated to the United States died she was 105.. Her forms are often abstractions of the natural world and human relationships.^[4] Work from throughout her prodigious career is included in important museum collections across the world. Zeisel declared herself a "maker of useful things".^[4]

^{(born Éva Amália Striker,[3] November 13, 1906 – December 30, 2011)}

Early life and family

She was born in Budapest, Hungary in 1906^[5] to a wealthy, highly educated assimilated Jewish family. Her mother, Laura Polanyi Striker, a historian, was the first woman to get a PhD from the University of Budapest. Laura's work on Captain John Smith's adventures in Hungary added fundamentally to our understanding and appreciation of his reliability as a narrator. Laura's brothers, Karl Polanyi, the sociologist and economist, and Michael Polanyi, the physical chemist and philosopher of science, are also very well known.^[6] Despite her family's intellectual prominence in the field of science, Eva Striker always felt a deep attraction towards art. At 17, Zeisel entered Budapest's Magyar Képzőművészeti Akadémia (Hungarian Royal Academy of Fine Arts)^[7] as a painter.^[5] However, to support her painting, she eventually decided to pursue a more practical profession and apprenticed herself to Jakob Karapancsik, the last pottery master in the medieval guild system. From him she learned ceramics from the ground up. After graduating as a journeyman she found work with German ceramic manufacturers.^[5]

Early career, imprisonment, and emigration

In 1928 Eva Striker became the designer for the Schramberger Majolikafabrik in the Black Forest region of Germany where she worked for about two years creating many playfully geometric designs for dinnerware, tea sets, vases, inkwells and other ceramic items. Her designs at Schramberg were largely influenced by modern architecture. In addition, she had just learned to draft with compass and ruler and was proud to put them to use. In 1930, Eva moved to Berlin, designing for the Carstens factories.
After almost two years of a glamorous life among intellectuals and artists in decadent Berlin, Eva decided to visit Russia at the age of 26 (1932).^[5] She stayed for 5 years.
At the age of 29, after several jobs in the Russian ceramics industry—inspecting factories in the Ukraine as well as designing for the Lomonosov^[5] and Dulevo factories —Zeisel was named artistic director of the Russian China and Glass industry. On May 26, 1936, while living in Moscow, Zeisel was arrested. She had been falsely accused of participating in an assassination plot against Joseph Stalin.^[5] She was held in prison for 16 months, 12 of which were spent in solitary confinement.^[4] In September, 1937, Zeisel was expelled and deported to Vienna, Austria. Some of her prison experiences form the basis for Darkness at Noon, the well known anti-Stalinist novel written by a childhood friend, Arthur Koestler.^[5] It was while in Vienna that Zeisel re-established contact with her future husband Hans Zeisel, later a noted legal scholar, statistician, and professor at The University of Chicago. A few months after her arrival in Vienna the Nazis invaded, and Eva took the last train out. She and Hans met up in England where they married and sailed for the U.S. with $67 between them.

Later career to present day

Zeisel's career in design continued to develop in the United States. In addition to designing for companies such as Hall China, Rosenthal China, Castleton China, Western Stoneware, Federal Glass, Heisey Glass and Red Wing Pottery, Zeisel developed and taught the first course in Ceramics for Industry at the Pratt Institute in New York.^[5] In 1946, Zeisel was given her first one-woman show "Eva Zeisel: Designer for Industry", at the Museum of Modern Art in New York.
Zeisel stopped designing during the 1960s and 1970s, to work on American history writing projects, returning to work in the 1980s.^[8] Many of her recent designs have found the same success as her earlier designs. Zeisel’s recent designs have included porcelain, crystal and limited-edition prints for KleinReid, glasses and giftware for Nambé, a teakettle for Chantal, furniture and gift-ware for Eva Zeisel Originals, rugs for The Rug Company, one of Crate and Barrel’s best selling dinner services "Classic-Century" and a coffee table and stoneware / dinnerware set for Design Within Reach,.^[9] "Classic-Century" is an updated version of the Hallcraft sets, most of the pieces made from the original molds (dishwasher safe).
In addition, a bone china tea set, designed in 2000, is being manufactured by the Lomonosov Porcelain factory in St. Petersburg, Russia, her new designs for a line of glass lamps (pendant, wall and table lamps) was introduced in 2012 by Leucos USA, and in 2013 her designs for dimensional wall tiles and space dividers will be launched by Cumulus Design Group.
Eva released two designs in 2010 through EvaZeiselOriginals.com: Eva Zeisel Lounge Chair and Eva Zeisel Salt & Pepper Shakers. The Lounge Chair was featured in the February 2010 issue of O Magazine and The S&P shakers were featured in the April 2010 issues of O Magazine.
Reproduction of earlier designs have been sold at MoMa, Brooklyn Museum and Neue Gallery, as well as other museum gift shops.
Eva Zeisel’s designs are made for use. The inspiration for her sensuous forms often comes from the curves of the human body. Zeisel’s more organic approach to modernism most likely comes as a reaction to the Bauhaus aesthetics that were popular at the time of her early training. Her sense of form and color, as well as her use of bird themes, show influence from the Hungarian folk arts she grew up with.^[9] Most of Zeisel’s designs, whether in wood, metal, glass, plastic or ceramics, are designed in family groups. Many of her designs nest together creating modular designs that also function to save space.
Zeisel describes her designs in a New York Sun article: “I don’t create angular things. I’m a more circular person—it’s more my character….even the air between my hands is round.” ^[10]
Among her most collected shapes are the eccentric, biomorphic "Town and Country" dishes, produced by Red Wing Pottery, in 1947.^[11] This set includes the iconic "mother and child" salt and pepper shakers.

Personal life

Eva raised two children with Hans: son, John Zeisel and daughter, Jean Richards. Jean, was born in 1940 and John was born in 1944. In the documentary Throwing Curves: Eva Zeisel, John and Jean comment on their parents' tempestuous relationship in the 1940s and 50s when the children were young. In the film John claims, that both Hans and Eva had dominant personalities, and that this often led to "a collision of forcefields".^[12]

Museums and exhibitions

Zeisel’s works are in the permanent collections of the Metropolitan Museum; Brooklyn Museum; New-York Historical Society, Cooper-Hewitt Design Museum and The Museum of Modern Art, New York; the British Museum;The Victoria and Albert Museum, London; Bröhan Museum, Germany; as well as Dallas, Chicago, Atlanta and Milwaukee museums and others in the US and abroad.
In the 1980s a 50 year retrospective exhibit of her work organized by Musée des Arts Décoratifs and the Smithsonian Institution traveled through the US, Europe and Russia. In 2004, a significant retrospective exhibition "Eva Zeisel: The Playful Search for Beauty" was organized by the Knoxville Museum of Art, which subsequently traveled to the Milwaukee Art Museum, the High Museum, Atlanta, and the Hillwood Museum & Gardens, Washington D.C.
On December 10, 2006, The Mingei International Museum in Balboa Park, San Diego, opened a major centenary retrospective exhibit "Eva Zeisel: Extraordinary Designer at 100", showing her designs from Schramberg (1928) through to current designs for Nambe, Chantal, Eva Zeisel Originals and others (2006). The show ran through August 12, 2007. In the same year, the Pratt Institute Gallery also organized an Exhibition celebrating her centenary.

Awards

In 2005, Zeisel won the Lifetime Achievement award from the Cooper-Hewett National Design Museum.^[13] She has also received the two highest civilian awards from the Hungarian government, as well as the Pratt Legends award and awards from the Industrial Designers Society of America and Alfred University. She is an honorary member of the Royal Society of Industrial Designers, and has received honorary degrees from Parsons (New School), Rhode Island School of Design, the Royal College of Art, and the Hungarian University of the Arts.

Publications

• Eva Zeisel on Design by Eva Zeisel, Overlook Press 2004
• Eva Zeisel: The Playful Search for Beauty by Lucie Young, Chronicle Books 2003
• Eva Zeisel, Designer for Industry, 1984. (Out of print. Available through EvaZeiselForum)
• Eva Zeisel: Throwing Curves 2002 (documentary film, Canobie Films, Director: Jyll Johnstone
• Regular Bulletins from EvaZeiselForum
• Available as enhanced iBook (iPad, iPhone, iPod: including photos, audio and video); also for Kindle: Eva Zeisel: A Soviet Prison Memoir."

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Mirko Tremaglia, Italian politician, Minister without portfolio (2001–2006), died he was 85.

Mirko Tremaglia  was an Italian politician died he was 85..

(17 November 1926 – 30 December 2011)

He was a Minister without portfolio with specific responsibility for Italians abroad from 2001 to 2006.^[1][2] As a young man he fought for Italy in World War II. He was also a co-founder of the Italian Social Movement, and a former leader of the National Alliance. Tremaglia died at his home in Bergamo in northern Italy, after a long illness (Parkinson's disease)^[3]


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Eleanor Ross Taylor, American poet, died she was 91.

Eleanor Ross Taylor was an American poet who published six collections of verse from 1960 to 2009 died she was 91..^[1][2][3] Her work received little recognition until 1998, but thereafter received several major poetry prizes. Describing her most recent poetry collection, Kevin Prufer writes, "I cannot imagine the serious reader — poet or not — who could leave Captive Voices unmoved by the work of this supremely gifted poet who skips so nimbly around our sadnesses and fears, never directly addressing them, suggesting, instead, their complex resistance to summary."^[4]

^{(June 30, 1920 – December 30, 2011)}

Biography

Eleanor Ross was born in rural North Carolina in 1920. She enrolled at the Woman's College of the University of North Carolina, now the University of North Carolina at Greensboro, where she studied with the poets Allen Tate and Caroline Gordon.^[5] She graduated in 1940, and worked for a time as a high school English teacher. With the recommendation from Allen Tate, she was admitted to Vanderbilt University for master's work with Donald Davidson. There in 1943 she met Peter Taylor, whom she married after a six-week courtship, having broken off her engagement to another man.^[1][2] Panthea Reid has written of their marriage, "Like most women of her generation, Eleanor Ross assumed that marriage and a career were incompatible. Despite precocious beginnings, therefore, Eleanor Ross largely ceased to write when she married the major short story writer and novelist, Peter Taylor. Perhaps she did not want to compete with her husband; certainly she was too busy to follow a dedicated writing regime. She served as wife, mother, housekeeper, hostess, letter-writer, and also family packer, as Peter Taylor nomadically moved from one to another writer-in-residence post."^[6]

Poetry

In the 1950s, Peter Taylor was teaching at the University of North Carolina at Greensboro, along with the poet Randall Jarrell. Eleanor Taylor had been writing poems for some time, and Jarrell became her critic and sponsor.^[5] In 1960, her first poetry collection, A Wilderness of Ladies, was published; Panthea Reid has speculated that Jarrell "probably was behind the publication of Eleanor Taylor's first collection of poems",^[6] and Jarrell wrote an introduction for the volume.^[7] This first volume received a middling review from Geoffrey Hartman, who wrote, "That every poem is like to every other is not a fault, at least not in this volume. It is the price Mrs. Taylor pays for achieving a style with her first book. There is, miraculously, no pastiche. The fault I do find is related to her wish to write directly from the middle of other minds."^[8]
In 1972, her second book of poetry, Welcome Eumenides, was published by George Braziller, Inc.; Richard Howard, a poet who was then editing the Braziller poetry series, wrote a foreword for the volume.^[9] In her New York Times review, the poet Adrienne Rich commented that, "What I find compelling in the poems of Eleanor Taylor, besides the authority and originality of her language, is the underlying sense of how the conflicts of imaginative and intelligent women have driven them on, lashed them into genius or madness, ...".^[10]
Taylor's third collection, New and Selected Poems (1983), was published by a small press run by Stuart T. Wright,^[11] and apparently received very little distribution.^[12] Her next collection, Days Going, Days Coming Back (1991), was chosen by Dave Smith for the University of Utah Press poetry series. In his review of this volume, Richard Howard summarized Taylor's poetry, "Eleanor Ross Taylor devised, in her startling first poems over thirty years ago, and practices still, for all the modesty of her address, a tough modernist poetics of fragmentation and erasure, the verse rarely indulging in recurrent pattern or recognizable figure, the lines usually short and sharp in their resonance, gists and surds of a discourse allusive to the songs and sayings of a largely southern community dispersed among Virginia, North Carolina, Tennessee, and Florida and readiest (or at least, most eloquent) to speak in the tongues of remembered or imagined Others."^[12]
Dave Smith subsequently selected both of Taylor's ensuing collections, Late Leisure: Poems (1999) and Captive Voices: New and Selected Poems, 1960–2008 (2009), for the "Southern Messenger" poetry series of the Louisiana State University Press.^[13]

Affinities and influences

Taylor's originality has been emphasized by several critics writing of her work; thus Lynn Emanuel writes of Captive Voices, "It is a complex and unexpected convergence of the influences of modernism and a wholly original, native genius. Reading it one suddenly realizes that one is in the presence of an American classic."^[14] In a 2002 interview with Taylor, Susan Settlemyre Williams proposed Emily Dickinson, Marianne Moore, and Elizabeth Bishop as possible influences, but Taylor herself acknowledged Edna St. Vincent Millay as the poet she had read enthusiastically as a student, and who had "made me feel that poetry was contemporary and could relate to me right now, in the way that you know that all those wonderful heroines of poetry and heroes do, ...".^[5]

Taylor's "southernness"

Erika Howsare discerns a regional quality to Taylor's verse. She associates Taylor with "a literary circle that includes figures such as Randall Jarrell, Robert Lowell, and Robert Penn Warren" and writes, "The southernness of her background makes her tend to rein in her formidable intellect and biting wit with an uneasy deference to form and convention. This tension may be witnessed in her use of both metrical and nonmetrical lines. Just when the organization of her poems seems on the verge of wavering, she returns to the restraint with which most of them begin."^[15]
Eric Gudas writes, "The importance of region in Taylor's work simply cannot be overstated. These poems are grounded in the consciousness of a woman whose familiarity with Southern history, culture, and landscape is profound."^[16] Gudas discerns a tension that "has everything to do with the history of white women in the male-dominated, white supremacist South; and it is embodied in the music and rhythms of the poems, wherein a restrained, almost genteel tone is shot through with "a passion always threatening to go undisciplined with the characteristic intensity of her native South" (in the aptly worded jacket copy of her last book)." He illustrates his point with a close reading of Taylor's poem, "Retired Pilot Watches Plane":

...the speaker observes her suburban neighbor on an early morning dog-walk "…stopped / midstreet looking up / The early NY flight / slowing for coming in:"

His head

turning with the plane a maze

of speeds and altitudes?

controls he is unleashing

there in the cockpit?

Half dizzy

I come down to

my yard yews my late

husband planted East and color

raying far no line between

earth's atmosphere

black space no oxygen

Critical studies

Jean Valentine edited a collection of essays about Taylor's poetry that was published in 2001.^[17] Eric Gudas has written a doctoral dissertation about Taylor's life and poetry, and is working on a related book.^[18][19]

Awards

In 1998, she was awarded the Shelley Memorial Award by the Poetry Society of America, which honors one or two poets each year "with reference to genius and need". She received the 2000 Aiken Taylor Award for Modern American Poetry, which honors a "substantial and distinguished career". In 2009, she was elected to the Fellowship of Southern Writers and was awarded the Carole Weinstein Poetry Prize. In March 2010, her volume Captive Voices: New and Selected Poems, 1960–2008 received the William Carlos Williams Award for the year's best volume of poetry from a small or a university press. On April 13, 2010 the Poetry Foundation announced that Taylor would receive the 2010 Ruth Lilly Poetry Prize, which honors poets whose "lifetime accomplishments warrant extraordinary recognition"; the prize was $100,000.^[20]

Family

Eleanor and Peter Taylor had two children, Katherine Baird (b. 1947) and Peter Ross (b. 1955). Peter Taylor died in 1994. Peter Ross Taylor is a poet himself; Katherine Baird Taylor died in 2001. After many years living in Charlottesville, Virginia, Eleanor Ross Taylor last resided in Falls Church, Virginia.^[21][20]

Poetry collections

• Taylor, Eleanor Ross; Jarrell, Randall (1960). Wilderness of Ladies. New York: McDowell, Obolensky.
• Taylor, Eleanor Ross; Howard, Richard (1972). Welcome Eumenides. George Braziller. ISBN 978-0-8076-0633-9.
• Taylor, Eleanor Ross (1983). New and Selected Poems. Winston-Salem: Stuart Wright Publishers. ISBN 978-0-913773-02-4.
• Taylor, Eleanor Ross (1991). Days Going/Days Coming Back. University of Utah Press. ISBN 978-0-87480-364-8.
• Taylor, Eleanor Ross (1999). Late Leisure: Poems. Louisiana State University Press. ISBN 978-0-8071-2355-3.
• Taylor, Eleanor Ross; Voigt, Ellen Bryant (2009). Captive Voices: New and Selected Poems, 1960–2008. Louisiana State University Press. ISBN 978-0-8071-3412-2.

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Vasily Starodubtsev, Russian politician, Governor of Tula Oblast (1997–2005), member of the Gang of Eight (1991), died he was 80.

Vasily Alexandrovich Starodubtsev ^[1] was a Soviet/Russian politician and governor of Tula Oblast from 1997 to 2005 died he was 80..^[2][3] He was also one of the GKChP members during the 1991 Soviet coup d'état attempt^[2] and was a leader of the Agrarian Party of Russia.

(Russian: Василий Александрович Стародубцев) (December 25, 1931, Volovchik village, Lipetsk Oblast - December 30, 2011, Novomoskovsk, Tula Oblast)

Starodubtsev graduated from Voronezh Agricultural Institute and All-USSR Correspondence Agricultural Institute. For many years he was a chairman of kolkhoz in Novomoskovsk district. Among his awards were Hero of Socialist Labour title, three Orders of Lenin, USSR State Prize, Order of the October Revolution, Order of the Badge of Honour. He had Candidate of Sciences degree in agriculture and was a corresponding member of VASKhNIL.
Starodubtsev was a member of the Federation Council of Russia (1993–96; also in 1997–2001 as a region governor) and of the State Duma (2007–11).
Starodubtsev was a member of the Communist Party of the Russian Federation.


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Doug Sellars, Canadian television executive (Fox Sports Media Group, CBC Sports), died from a heart attack he was 50.

Doug Sellars was a Canadian television executive who worked for the Canadian Broadcasting Corporation and Fox Sports died from a heart attack he was 50..

(1961 – December 30, 2011) 

Sellars, a native of Toronto, graduated from Ryerson University in 1985 and immediately went to work for CBC's Hockey Night in Canada. He was quickly promoted and produced his first Grey Cup at the age of only 27. By 1989, was in charge of all of CBC Sports productions, including several Olympic and Commonwealth Games, and went on to win multiple Gemini Awards.^[1]
Sellars worked at CBC Sports as a senior executive until 2000, when he left to join Fox. He started as a producer for Fox's regional sports network and was involved with National Hockey League and other professional sports broadcasts. In August 2010, Sellars was promoted to Executive Vice President, Production and Executive Producer of the Fox Sports Media Group in Los Angeles, where he was in charge of studio and event production for Fox Sports and its specialty channels.^[2][1]
Sellars was married to Barb and had two children, Tyler and Kelsey. On December 30, 2011, Sellars died at the age of 50 after suffering an apparent heart attack during a pick-up hockey game. Following his death, both Hockey Night in Canada and the NFL on Fox paid tribute to Sellars during their weekly pregame shows.^{[3] [2]}


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Ronald Searle, British cartoonist (St Trinian's School, Molesworth), died he was 91.

Ronald William Fordham Searle CBE, RDI was a British artist and satirical cartoonist died he was 91.. He is perhaps best remembered as the creator of St Trinian's School and for his collaboration with Geoffrey Willans on the Molesworth series.

(3 March 1920 – 30 December 2011)

Biography

Searle was born in Cambridge, England, where his father was a porter at Cambridge Railway Station. He started drawing at the age of five and left school at the age of 15. He trained at Cambridge College of Arts and Technology (now Anglia Ruskin University) for two years.
In April 1939, realizing that war was inevitable, he abandoned his art studies to enlist in the Royal Engineers. In January 1942, he was stationed in Singapore. After a month of fighting in Malaya, Singapore fell to the Japanese, and he was taken prisoner along with his cousin Tom Fordham Searle. He spent the rest of the war a prisoner, first in Changi Prison and then in the Kwai jungle, working on the Siam-Burma Death Railway. Searle contracted both beri-beri and malaria during his incarceration, which included numerous beatings, and his weight dropped to less than 40 kilograms. He was liberated in late 1945 with the final defeat of the Japanese. Immediately after the war, he served as a courtroom artist at the Nuremberg trials.
He married the journalist Kaye Webb in 1947; they had twins, Kate and Johnny. In 1961, he moved to Paris, leaving his family and later marrying Monica Koenig, a painter, theatre and jewellery designer.^[2] After 1975, Searle and his wife lived and worked in the mountains of Haute Provence.
Searle died on 30 December 2011, aged 91.

Early work as war artist

Although Searle published the first St Trinian's cartoon in the magazine Lilliput in 1941, his professional career really begins with his documentation of the brutal camp conditions of his period as a prisoner-of-war of the Japanese in World War II in a series of drawings that he hid under the mattresses of prisoners dying of cholera. Searle recalled, "I desperately wanted to put down what was happening, because I thought if by any chance there was a record, even if I died, someone might find it and know what went on." But Searle survived, along with approximately 300 of his drawings. Liberated late in 1945, Searle returned to England where he published several of the drawings in fellow prisoner Russell Braddon's The Naked Island. Another of Searle's fellow prisoners later recounted, "If you can imagine something that weighs six stone or so, is on the point of death and has no qualities of the human condition that aren’t revolting, calmly lying there with a pencil and a scrap of paper, drawing, you have some idea of the difference of temperament that this man had from the ordinary human being."^[3]
Most of these drawings appear in his 1986 book, Ronald Searle: To the Kwai and Back, War Drawings 1939-1945.^[4] In the book, Searle also wrote of his experiences as a prisoner, including the day he woke up to find a dead friend on either side of him, and a live snake underneath his head:

"You can’t have that sort of experience without it directing the rest of your life. I think that’s why I never really left my prison cell, because it gave me my measuring stick for the rest of my life... Basically all the people we loved and knew and grew up with simply became fertiliser for the nearest bamboo."

At least one of his drawings is on display at the Changi Museum and Chapel, Singapore, but the majority of his originals are in the permanent collection of the Imperial War Museum, London, along with the works of other POW artists. The best known of these are John Mennie, Jack Bridger Chalker, Philip Meninsky and Ashley George Old.

Magazines, books, and films

Searle produced an extraordinary volume of work during the 1950s, including drawings for Life, Holiday and Punch. His cartoons appeared in The New Yorker, the Sunday Express and the News Chronicle. He compiled more St Trinian's books, which were based on his sister's school and other girls' schools in Cambridge. He collaborated with Geoffrey Willans on the Molesworth books (Down With Skool!, 1953, and How to be Topp, 1954), and with Alex Atkinson on travel books. In addition to advertisements and posters, Searle drew the title backgrounds of the Sidney Gilliat and Frank Launder film The Happiest Days of Your Life.^[3]
After moving to Paris in 1961, he worked more on reportage for Life and Holiday and less on cartoons. He also continued to work in a broad range of media and created books (including his well-known cat books), animated films and sculpture for commemorative medals, both for the French Mint and the British Art Medal Society.^[5][6] Searle did a considerable amount of designing for the cinema, and in 1965, he completed the opening, intermission and closing credits for the comedy film Those Magnificent Men in Their Flying Machines as well as the 1969 film Monte Carlo or Bust. In 1975, the full-length cartoon Dick Deadeye, or Duty Done was released. It is based on the character and songs from H.M.S. Pinafore.^[7] Animated by a number of artists both British and French, it is considered by some to be his greatest achievement, although Searle himself detested the result.

Archives

In 2010, he gave about 2,200 of his works as permanent loans to Wilhelm Busch Museum Hannover (Germany), now renamed Deutsches Museum für Karikatur und Zeichenkunst. The ancient Summer palace of George 1st, this Museum holds Searle's archives.

Awards

Searle received much recognition for his work, especially in America, including the National Cartoonists Society's Advertising and Illustration Award in 1959 and 1965, the Reuben Award in 1960, their Illustration Award in 1980 and their Advertising Award in 1986 and 1987. Searle was appointed Commander of the Order of the British Empire in 2004.^[3] In 2007, he was decorated with one of France's highest awards, the Chevalier de la Légion d'honneur, and in 2009, he received the German Order of Merit.

Influence

His work has had a great deal of influence, particularly on American cartoonists, including Pat Oliphant,^[8] Matt Groening,^[9] Hilary Knight,^[10] and the animators of Disney's 101 Dalmatians.^[11]
He was an early influence on John Lennon's drawing style which featured in the books In His Own Write and A Spaniard in the Works.^[12]

Bibliography

St Trinian's

• Hurrah For St Trinians, 1948
• The Female Approach: The Belles of St. Trinian's and Other Cartoons, 1950
• Back To The Slaughterhouse, and Other Ugly Moments, 1951
• The Terror of St Trinian's, or Angela's Prince Charming, 1952 (with Timothy Shy (D. B. Wyndham-Lewis))
• Souls in Torment, 1953 (preface by Cecil Day-Lewis)
• The St Trinian's Story, 1959 (with Kaye Webb)
• St Trinian's: The Cartoons, 2007
• St. Trinian's: The Entire Appalling Business, 2008

Molesworth

• Down With Skool!: A Guide to School Life for Tiny Pupils and Their Parents, 1953 (with Geoffrey Willans)
• How to be Topp: A Guide to Sukcess for Tiny Pupils, Including All There is to Kno About Space, 1954 (with Geoffrey Willans)
• Whizz for Atomms: A Guide to Survival in the 20th Century for Fellow Pupils, their Doting Maters, Pompous Paters and Any Others who are Interested, 1956 (with Geoffrey Willans) Published in the U.S. as Molesworth's Guide to the Atommic Age
• Back in the Jug Agane, 1959 (with Geoffrey Willans)
• The Compleet Molesworth, 1958 (collection) Molesworth (1999 Penguin reprint)

Other works

• Forty Drawings (1946)
• White Coolie, 1947 (with Ronald Hastain)
• This England 1946-1949, 1949 (edited by Audrey Hilton)
• The Stolen Journey, 1950 (with Oliver Philpot)
• An Irishman's Diary, 1950 (with Patrick Campbell)
• Dear Life, 1950 (with H. E. Bates)
• Paris Sketchbook, 1950 (with Kaye Webb) (repr. 1958)
• A Sleep of Prisoners, 1951 (with Christopher Fry)
• Life in Thin Slices, 1951 (with Patrick Campbell)
• The Naked Island, 1952 (with Russell Braddon)
• It Must be True, 1952 (with Denys Parsons)
• London—So Help Me!, 1952 (with Winifred Ellis)
• The Diverting History of John Gilpin, 1953 (text by William Cowper)
• Looking at London and People Worth Meeting, 1953 (with Kaye Webb)
• The Dark is Light Enough, 1954 (with Christopher Fry)
• Patrick Campbells Omnibus, 1954 (with Patrick Campbell)
• The Journal Of Edwin Carp, 1954 (edited by Richard Haydn)
• Modern Types, 1955 (with Geoffrey Gorer)
• The Rake's Progress, 1955
• Merry England, Etc, 1956
• Anglo-Saxon Attitudes, 1956 (with Angus Wilson)
• The Big City or the New Mayhew , 1958 (with Alex Atkinson)
• The Dog's Ear Book, 1958 (with Geoffrey Willans)
• USA for Beginners, 1959 (with Alex Atkinson)
• Anger of Achilles: Homer's Iliad, 1959 (translation by Robert Graves)
• By Rocking Horse Across Russia, 1960 (with Alex Atkinson)
• Penguin Ronald Searle, 1960
• Refugees 1960: A Report in Words and Pictures, 1960 (with Kaye Webb)
• The Biting Eye of Andre Francois (1960)
• Which Way Did He Go?, 1961
• A Christmas Carol, 1961 (with Charles Dickens)
• The 13 Clocks and the Wonderful O, 1962 (with James Thurber)
• Searle In The Sixties, 1964
• From Frozen North to Filthy Lucre, 1964
• Haven't We Met Before Somewhere?, 1966
• Searle's Cats, 1967
• The Square Egg, 1968
• Take One Toad, 1968
• This Business of Bomfog, 1969 (with Madelaine Duke)
• Monte Carlo Or Bust, 1969 (with E. W. Hildick)
• Hello, where did all the people go?, 1969
• The Second Coming of Toulouse-Lautrec, 1969
• Secret Sketchbook, 1969
• The Great Fur Opera: Annals of the Hudson's Bay Company 1670-1970, 1970 (with Kildare Dobbs)^[13]
• Scrooge, 1970 (with Elaine Donaldson)
• Mr. Lock of St. James's Street, 1971 (with Frank Whitbourn)
• The Addict, 1971
• More Cats, 1975
• Dick Dead Eye, 1975 (after Gilbert and Sullivan)
• Paris! Paris!, 1977 (with Irwin Shaw)
• Zodiac, 1977
• Ronald Searle, 1978
• The King of Beasts & Other Creatures, 1980
• The Situation is Hopeless, 1980
• Winning the Restaurant Game, 1980 (with Jay Jacobs)
• Too Many Songs by Tom Lehrer With Not Enough Drawings by Ronald Searle, 1981
• Ronald Searle's Big Fat Cat Book, 1982
• The Illustrated Winespeak, 1983
• Ronald Searle in Perspective, 1983
• Ronald Searle's Golden Oldies 1941 - 1961, 1985
• Something in the Cellar, 1986
• To the Kwai and Back: War Drawings 1939-1945 (1986)
• Ronald Searle's Non-Sexist Dictionary, 1988
• Ah Yes, I Remember It Well...: Paris 1961-1975, 1988
• Slightly Foxed But Still Desirable: Ronald Searle's Wicked World of Book Collecting, 1989
• Marquis De Sade Meets Goody Two-Shoes, 1994
• The Tales of Grandpa Cat, 1994 (with Lee Wardlaw)
• The Hatless Man, 1995 (with Sarah Kortum)
• A French Affair : The Paris Beat, 1965-1998, 1999 (with Mary Blume)
• Wicked Etiquette, 2000 (with Sarah Kortum)
• Ronald Searle in Le Monde, 2001
• Railway of Hell: A Japanese POW's Account of War, Capture and Forced Labour, 2002 (with Reginald Burton)
• Searle's Cats, 2005 (New and Expanded Edition, all illustrations are new)
• The Scrapbook Drawings", 2005
• Cat O' Nine Tales: And Other Stories, 2006 (with Jeffrey Archer)
• Beastly Feasts: A Mischievous Menagerie in Rhyme, 2007 (with Robert Forbes)
• More Scraps & Watteau Revisited, 2008
• Let's Have a Bite!: A Banquet of Beastly Rhymes, 2010 (with Robert Forbes)
• What! Already?: Searle at 90, 2010
• Les Très Riches Heures de Mrs Mole, 2011

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Ricardo Legorreta, Mexican architect, UIA Gold Medal recipient, died from cancer he was 80.

Ricardo Legorreta Vilchis^[1] was a Mexican architect died from cancer he was 80.. He was a prolific designer of private houses, public buildings and master plans in Mexico, the United States and some other countries.^[2]
He was awarded the prestigious UIA Gold Medal in 1999,^[3] the AIA Gold Medal in 2000, and the Praemium Imperiale in 2011.

(May 7, 1931 – December 30, 2011)

Life and career

Ricardo Legorreta was born on May 7, 1931, in Mexico City. He studied architecture at the Universidad Nacional Autónoma de México, from where he graduated in 1953. After working for five years with José Villagrán García, he established his own office in 1963.^[2]

Architectural expression

Legorreta was a disciple of Luis Barragán and carried Barragan's ideas to a wider realm.^{[citation needed]} Barragan, in the 1940s and 1950s amalgamated tradition and the modern movement in architecture yet his work is mostly limited to domestic architecture.^{[citation needed]} Legorreta applied elements of Barragan's architecture in his work including bright colors, play of light and shadow, and solid Platonic geometric shapes.^{[citation needed]} One of the important contributions of Legorreta has been the use of these elements in other building types such as hotels, factories as well as in commercial and educational buildings.^{[citation needed]} His most famous works are the Camino Real Hotel in Mexico City, the IBM Factory in Guadalajara and the Cathedral of Managua.^{[citation needed]}

Works

Fountain in Pershing Square, Los Angeles

San Antonio Public Library, Texas, 1995

• Camino Real Hotel, 1965, (Col. Anzures, Mexico City, Mexico)
• Casa Lomas Altas, 1965, Mexico City
• Nissan Cuernavaca Plant1967
• Casa Montalbán, 1985 (Hollywood, California, United States)
• Tustin Market Place, 1988 (Tustin, California, United States)
• Children's Discovery Museum of San Jose, 1990 (San Jose, California, United States)
• Museo de Arte Contemporáneo de Monterrey, 1991 (Monterrey, Nuevo León, Mexico)
• Pershing Square, 1994 (Los Angeles, California, United States)
• Metropolitan Cathedral of the Immaculate Conception, 1994 (Managua, Nicaragua)
• The Tech Museum of Innovation, 1998 (San Jose, California, United States)
• Santa Fe University of Art and Design Visual Arts Center, 1999 (Santa Fe, New Mexico, United States)
• Max Palevsky Residential Commons, 2001 (Chicago, United States)
• San Antonio Public Library, 1995 (Texas, United States)
• Latino Cultural Center, 2003 (Dallas, Texas, United States)
• Keller Estate Winery, 2003 (Petaluma, California, United States)
• Fashion and Textile Museum, 2003 (Bermondsey, London, United Kingdom)
• Secretaría de Relaciones Exteriores (Torre Tlatelolco), (Mexico City, Mexico)
• Multiplaza Panamericana, 2004 (San Salvador, El Salvador)
• UCSF Mission Bay Bakar Fitness and Recreation Center, 2005 (San Francisco, California, United States)
• Hotel La Purificadora, 2006 Puebla, Puebla, Mexico
• Texas A&M University at Qatar, 2007 (Education City, Doha, Qatar)
• Carnegie Mellon University (Qatar), 2008 (Education City, Doha, Qatar)
• Casa Del Agua, 2009 (Jeju-do, South Korea)
• Davidka Square, 2010 (Jerusalem, Israel)

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