List of 19th-century Russian painters

This is a list of 19th-century Russian painters.

Abram Arkhipov, 1862–1930
Ivan Aivazovsky, 1817–1900
Nikolai Bogdanov-Belsky, 1868–1945
Alexander Golovin 1863–1930
Pavel Fedotov, 1815–1852
Nikolai Ge, 1831–1894
Alexander Ivanov 1806–1858
Vasily Kamensky 1866–1944
Nikolai Kasatkin 1859–1930
Orest Kiprensky 1782–1836
Konstantin Korovin 1861–1939
Alexei Korzukhin 1835–1894
Nikolay Koshelev 1840–1918
Evgraf Fedorovich Krendovsky, 1810–1870
Eugene Lanceray 1875–1946
Klavdiy Lebedev 1852–1916
Mikhail Lebedev 1811–1837
Anton Legashov 1798–1865
Dmitry Levitsky 1735–1822
Konstantin Makovsky 1839–1915
Nikolay Makovsky 1841–1886
Vladimir Makovsky 1846–1920
Vassily Maximov 1844–1911
Grigoriy Myasoyedov1834–1911
Mikhail Nesterov 1862–1942
Nikolai Nevrev 1830–1904
Ilya Ostroukhov 1858–1929
Vasily Perov 1834–1882
Vasily Polenov 1844–1927
Yelena Polenova 1850–1898
Illarion Pryanishnikov 1840–1894
Vasili Pukirev 1832–1890
Ilya Repin 1844–1930
Fyodor Rokotov 1736–1808
Andrei Ryabushkin 1861–1904
Konstantin Savitsky 1844–1905
Alexei Savrasov 1830–1897
Valentin Serov 1865–1911
Silvestr Schchedrin 1791–1830
Semion Shchedrin 1745–1804
Ivan Tarkhanov 1780–1848
Fyodor Tolstoy 1783–1873
Vasily Tropinin 1776–1856
Fyodor Vasilyev 1850–1873
Apollinary Vasnetsov 1856–1933
Viktor Vasnetsov 1848–1926
Vasily Vereshchagin 1842–1904
Konstantin Yuon 1875–1958

See also[edit]

List of 20th-century Russian painters


The Art of Avatar

Ahmad Kan Clalu Juzur

Lisa Fitzpatrick,
Peter Jackson (preface),
Jon Landau (foreword),
James Cameron (epilogue)

United States



2009 (Abrams Books)

Media type

108 pp.



The Art of Avatar: James Cameron’s Epic Adventure is a film production art book released on November 30, 2009, by Abrams Books.[1]


1 Overview
2 Reception
3 References
4 External links

The book is an official movie tie-in for the film Avatar and features some of the concept artwork used in the production of the film. The main author is Lisa Fitzpatrick. Producer Jon Landau wrote the foreword, James Cameron wrote the epilogue, and director Peter Jackson wrote the preface. It also contains illustrations from and interviews with the movie’s artists, including Robert Stromberg, Wayne Barlowe, Yuri Bartoli, Jordu Schell, and John Rosengrant.
The book contains over 200 full-color images including sketches, matte paintings, drawings, and film stills.[2] The book details the production phase of set designs for the vistas, landscapes, aerial battle scenes, bioluminescent nights, and creatures featured in the film. Throughout the book are different interviews with the various art directors, visual effects designers, animators, costume designers, and creature designers about their roles in the production and insight as to how the pre-production artwork process worked for the film.[3]
In December 2009, USA Today chose the book as their #1 gift book in the Pop Culture category for 2009.[4]

^ “The Art of Avatar”. Abrams Books. Retrieved 2010-02-08. 
^ “The Official Artbook Companion”. Lisa Fitzpatrick. Abrams Books. Retrieved 2010-02-15. 
^ “Book will reveal the art behind James Cameron’s Avatar”. SyFy. Retrieved 2010-02-08. 
^ “Great gift books”. USA Today. Retrieved 2010-02-15. 

External links[edit]

Official website


James Cameron’s Avatar


Soundtrack album

“I See You”

Video game
Art book
Toruk – The First Flight


Fictional universe

Pandoran biosphere

Na’vi language

Na’vi grammar


Pandora – The World of Avatar

Na’vi River Journey

Awards and honors
Box office records
Paul Frommer


Avatar Hallelujah Mountain
“Dances with Smurfs”
“Treehouse of Hor

Lovely Professional University

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Lovely Professional University


Seal of the Lovely Professional University[1]

Transforming Education, Transforming India.


2005 (2005)

Ashok Mittal[2]

Dr. Ramesh Kanwar[3]

Academic staff



Jalandhar, Punjab, India
31°15′13″N 75°42′13″E / 31.253609°N 75.70367°E / 31.253609; 75.70367Coordinates: 31°15′13″N 75°42′13″E / 31.253609°N 75.70367°E / 31.253609; 75.70367

Semi-urban 600 acres (2.4 km2)[4]


University Grants Commission (UGC), Association of Indian Universities (AIU), National Centre for Technology in Education (NCTE), Pharmacy Council of India (PCI), Council of Architecture (COA), Bar Council of India (BCI)


Lovely Professional University is a semi-residential university college in North India created under the Punjab State Private University Act 2005 and recognized by UGC[5] under Section 2(f) of UGC Act 1956.[6] LPU offers around 200 programmes and courses at diploma, undergraduate, graduate, postgraduate, and doctoral levels. The university has more than 30,000 students graduating every year.[7][8]
Situated on National Highway-1, at the entrance to Jalandhar City, the university offers separate residential facilities for male and female students. It has connections with universities and institutes in the USA, UK, Germany,UAE,China, MIT,Australia, Canada, Singapore, Brazil, Poland, and Ghana for twinning programmes and student exchanges.
The university has received the recognition, approval and membership of the national statutory bodies UGC,[9] NCTE, PCI,[10] IAP, COA, BCI, AIU[11] and intern

Hercules, Samson and Ulysses

Hercules, Samson and Ulysses

Italian poster for Hercules, Samson and Ulysses

Directed by
Pietro Francisci

Produced by
Joseph Fryd[1]

Written by
Pietro Francisci[1]

Music by
Angelo Francesco Lavagnino[1]

Silvano Ippoliti[1]

Edited by
Pietro Francisci[1]

Release date

1964 (1964)


Hercules, Samson and Ulysses, (Italian: Ercole sfida Sansone) is a 1964 Italian peplum film directed by Pietro Francisci.[2][3]


1 Cast
2 Release
3 References
4 External links


Kirk Morris: Hercules
Iloosh Khoshabe: Samson
Enzo Cerusico: Ulysses
Liana Orfei: Delilah
Diletta D’Andrea: Leria
Fulvia Franco: Ithaca Queen
Aldo Giuffrè: Seren
Pietro Tordi: Azer

Hercules, Samson and Ulysses opened in Rome, Italy on March 1964.[3]

^ a b c d e f Brennan, Sandra. “Ercole Sfida Sansone”. Allmovie. All Media Guide. Retrieved April 5, 2014. 
^ Roberto Chiti; Roberto Poppi; Enrico Lancia; Mario Pecorari. Dizionario del cinema italiano. I film. Gremese Editore, 1992. ISBN 8876055932. 
^ a b The American Film Institute Catalog of Motion Pictures Produced in the United States, Volume 1, Part 1. University of California Press. 1997. p. 474. ISBN 0520209702. Retrieved April 6, 2014. 

External links[edit]

Hercules, Samson and Ulysses at the Internet Movie Database





Zeus (father)
Alcmene (mother)
Deianira (wife)
Heracleidae (children)


Italian series

Hercules (1957)
Hercules Unchained (1959)
Goliath and the Dragon (1960)
The Loves of Hercules (1960)
Hercules and the Conquest of Atlantis (1961)
Hercules in the Haunted World (1961)
Hercules in the Valley of Woe (1961)
The Fury of Hercules (1962)
Hercules, Samson and Ulysses (1963)
Hercules the Invincible (1964)
Hercules Against Rome (1964)
Hercules Against the Sons of the Sun (1964)
Samson and His Mighty Challenge (1964)
Hercules and the Tyrants of Babylon (1964)
Hercules and the Princess of Troy (1965)
Hercules the Avenger (1965)

Other films

The Warrior’s Husband (1933)
Herakles (1962)
The Three Stooges Meet Hercules (1962)
Jason and the Argonauts (1963)
Hercules Against the Moon Men (1964)
Hercules in New York (1970)
Hercules (1983)
The Adventures of Hercules (1985)
Hercules (1997)
The Amazing Feats of Young Hercules (1997)
Hercules: Zero to Hero (1998)
Hercules and Xe

Art and World War II

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War is a common theme in art and has inspired great works of art. Throughout history, most representations of war depict military achievements and often show significant battle scenes. However, in the 19th century a “turn” in the visual representation of war became noticeable. Artists started to show the disastrous aspects of war instead of its glorified events and protagonists.[1] Such a perspective is best exemplified by Goya’s series, The Disasters of War (1810-1820, first published in 1863), and Otto Dix’s portfolio, Der Krieg (published in 1924). During World War II, both traditions are present. For instance, Paul Nash’s Battle of Britain (1941) represents a scene of aerial combat between British and German fighters over the English Channel. On the other hand, André Fougeron’s Street of Paris (1943) focuses on the impact of war and occupation on civilians.
In connection to World War II, the relations between art and war can be articulated around two main issues. First, art (and, more generally, culture) found itself at the centre of an ideological war. Second, during World War II, many artists found themselves in the most difficult conditions (in an occupied country, in internment camps, in death camps) and their works are a testimony to a powerful “urge to create”. Such creative impulse can be interpreted as the expression of self-preservation, a survival instinct in critical times.


1 The Fate of Art in Nazi Germany
2 Art as Ideology in Totalitarian and Democratic Regimes
3 War Art in Britain: A Liberal Patronage
4 Art and Artists in Occupied France: Collaboration, Resistance, and Escapism
5 German Artists in Exile
6 Art and the Holocaust
7 References

The Fate of Art i

Breakdance (ride)

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This article may be expanded with text translated from the corresponding article in German. (February 2009) Click [show] for important translation instructions. 

View a machine-translated version of the German article.
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Breakdance, Frankfurt Main – Germany

Breakdance is an amusement ride designed by HUSS Park Attractions in 1985.
Upon release, the ride design proved to be an instant hit, with HUSS now producing four varying designs, all of which can be acquired in transportable, semi-permanent, or permanent forms.[citation needed]


1 Design and operation
2 Variants

2.1 Similar rides

3 Appearances

3.1 Transportable
3.2 Theme parks

4 External links
5 References

Design and operation[edit]
Breakdance consists of a dodecagonal platform with a diameter of 20 meters, upon which are mounted four hubs, each bearing four two-person cars. The entire ride is on an incline of 7.5°. When the ride is activated, the platform rotates, the hubs rotate in the opposite direction to the platform. The combination of the platform slope, hub movement, and weight displacement within the cars cause them to rock back and forth, the oblique join mount and the motion of the ride allowing the cars to rotate through 360°. Huss recommends that riders be a minimum of 48″ tall with an adult and over 54″ tall to ride alone on all models except for the Rodeo/Breakdance 4 variant; on this model riders must be at least 42″ tall.
Breakdances incorporate backdrops, and the provision for sound systems, elaborate light displays, and special effects equipment is made. Controls for these additional systems can easily be routed through th

K-1000 battleship

Class overview

K-1000 Heavy Fleet Unit

 Soviet Navy (alleged)

General characteristics


36,000–56,000 tonnes (35,000–55,000 long tons) (est.)

25–33 knots (46–61 km/h) (est.)


6–9 × 410 mm (16 in) or 12 × 460 mm (18 in) guns
2 × missile domes
Other light armament (est.)

The K-1000 battleship was rumoured to be a type of advanced battleship produced by the Soviet Union at the beginning of the Cold War. Soviet intelligence agencies actively encouraged the circulation of rumours about the type, which were reprinted by several Western journals including Jane’s Fighting Ships.[1]
Accounts of the new Soviet battleships appeared in journals in France, Germany and the USA in the late 1940s and early 1950s. The rumours were unclear about the specifications of the ships. The main point of agreement between different descriptions was that the type carried guided missiles, mounted in distinctive domed turrets, in addition to a conventional heavy gun armament. The ships were often said to have been laid down in Siberian shipyards.[1]
The displacement stated varied between 36,000–56,000 tonnes (35,000–55,000 long tons), and their speed was said to be anything between 25 and 33 knots. The main armament was normally said to be six to nine 410 millimetres (16 in) guns, though sometimes twelve 460 millimetres (18 in) guns were alleged.[1]
The names assigned to the class were said to be:

Strana Sovetov
Sovetskaya Byelorossia
Krasnaya Bessarabiya
Krasnaya Sibir’
Sovietskaya Konstitutsia
Sovetskiy Soyuz

Many of the names were re-used from units of the authentic, but never completed, Sovetsky Soyuz class which were under construction when World War II broke out.
The Soviet Union actively perpetrated the hoax class of warships. A Soviet ‘fleet recognition manual’ planted in the West seemed to confirm the existence and general features of the K-1000 Heavy Fleet Unit Sovietskaya Byelorussia, and that she was in commission from 10 November 1953. The accompanying drawings, showing two missile domes, six heavy guns and a cluster of lighter armament, gave a further veneer of accuracy to the document. In fact the drawings were a direct copy of the 1949–50 edition of Jane’s Fighting Ships.[1]
In reality, the USSR was (like other naval powers) retiring and/or scrapping its existing battleships, which had seemingly been rendered usele

Orocrambus simplex

Orocrambus simplex

Scientific classification







O. simplex

Binomial name

Orocrambus simplex
(Butler, 1877)


Chilo simplex Butler, 1877

Orocrambus simplex is a moth in the Crambidae family. It was described by Butler in 1877.[1] It is found in New Zealand, where it has been recorded from Westland, Nelson Province, the central part of the North Island and the coastal area of southern Hawkes Bay. The habitat consists of tussock grasslands.
The wingspan is 25–33 mm.[2] Adults have been recorded on wing from November to February.
Larvae have been reared from Chionochloa rubra, Poa caespitosa and Poa annua.[3]

^ “global Pyraloidea database”. Retrieved 2014-07-15. 
^ New Zealand Journal of Zoology (Aug 1975)
^ Information on the life cycles of some New Zealand Crambini (Lepidoptera: Pyralidae: Crambinae)

This Crambinae-related article is a stub. You can help Wikipedia by expanding it.