"Place Man in relationship to Nature; that's where he developed and where he.
feels most at home!" "Richard Neutra.
A native of Vienna, Austria, Richard Joseph Neutra (1892-1970) had familial ties with the scions of the city's avant-garde community; Ernest Freud, son of the famed psychologist, was a childhood friend, and his parents knew the artist Gustav Klimt and Arnold Schonberg, the famed composer. Richard received his architectural training at the Technische Hochschule in Vienna, where he studied under Adolph Loos (graduating in 1917). His early work experiences included a brief stint in the office of Berlin architect Erich Mendelsohn (1921-22), and later, in the United States, with the Chicago firm of Holabird and Roche (1924). This professional training disposed him to design values associated with the machine aesthetic and the potential of technological innovation. Coupled with this perspective was a fascination with natural phenomenon, which was nurtured during brief employment (Summer 1919) at Otto Froebel's nursery and landscape firm located in Zurich. There, Richard came under the tutelage of Gustav Ammann, who encouraged an interest in botany, landscape and site planning, which the designer retained throughout his career. .
The young architect's attraction to the United States was closely linked with his fascination for the work of Frank Lloyd Wright, with whom he briefly worked in Taliesin (1924). He also received considerable encouragement to venture further west from his childhood friend and fellow Austrian architect, R.M. Schindler. In 1925, Richard and his wife, Dioné, moved to Los Angeles. Their arrival further strengthened the region's direct contact with Austrian and Germanic Modernism, which Schindler had initiated since his 1917 arrival in California as supervising architect on Frank Lloyd Wright's Hollyhock House. Richard and Dioné moved into the Schindler residence located on Kings Road (now West Hollywood).
In William Shakespeare's Richard II, Richard took these divine rights very seriously. ... then Richard emphasizes it by telling the men to "Arm, arm, my name". ... This relates to the biblical story because, "Richard at first is Cain. ... As Richard looks into the mirror he says, "No deep wrinkles yet? ... Richard's Christ like attitude eventually leads him to his fall from the thrown. ...
In what ways does a comparative study accentuate the distinctive contexts of Richard III and Looking for Richard? ... By studying the connections between Shakespeare's play Richard III and Pacino's adaptation "Looking for Richard", the change in context and respective values are made apparent. ... Thus, Shakespeare portrays Richard as an ambitious and evil character. ... Due to the significance of religion in the Elizabethan era, and Richard's subversion of religious conventions, Shakespearean audience were positioned to perceive Richard as an immoral and evil character. ... Sha...
Richard Serra Assignment Richard Serra is a sculptor whose work is highly criticized because of its simplistic nature. ... She highly encouraged his artwork and introduced Richard as "the Artist." Richard then continued testing his abilities and painted art pieces. ... A company in San Francisco, Richard's hometown, was closing and about to destroy its two tons of rubber; rather, Richard called the company and bought the rubber from them. ... Richard then realized that he needed to individual himself. ...
Richard Wilbur was born on March 1, 1921 in Manhattan, New York. ... Richard had a younger brother named Lawrence. ... Richard first ambition was to be a newspaper cartoonist. ... After the war Richard enrolled at Harvard with his G. ... World War II also had an impact on Richard's career. ...
But for his usurpation, there is much to commend in the career of Richard III, 1470-85." How far do you agree with this judgement of Richard? Richard III, a wicked tyrant, an unscrupulous murderer, a deformed hunchback. ... Some six weeks later, Richard, Duke of Gloucester, uncle of the two boys, proclaimed himself king as Richard III. ... Richard identified himself strongly with the law. ...
"Richard Cory" The poem "Richard Cory" is a poem that explains this world in the most mysterious way. ... The people in "downtown" and on the "pavement," were way underneath Richard's stature. ... Richard was a very wealthy man, but I do not think that he was what you would call "filthy rich," he was just a regular human being with more money in his pocket. ... I still would like to know the exact reason why Richard put a bullet through his head, but I can use my imagination to finish it myself. ... Everyone has a "Richard Cory" within them, they just might not show it off as...
Edwin Arlington Robinson's poem, Richard Cory, is a modern day Aesop fable. ... The people on the pavement were people who looked up to Richard Cory. This is because Richard Cory was a well-distinguished businessman. ... It is in this area of his life that I believe Richard Cory was poor. ... It may have been that Richard Cory had only money as his friend. ...
Tudor propaganda created a monster and named him Richard. ... That rise-fall pattern is clearly seen in King Richard III. In the first three acts a charismatic Richard successfully removes anyone who stands in his way to kingship. ... There is no subplot or conventional romantic interest, for all events are part of Richard's rise and fall. ... Those events are dramatised in the plays that precede King Richard III. ...
Richard Hamilton Richard Hamilton was born in 1922. ... Richard Hamilton was one of an independent group who wanted his art to be "of the moment", rather than above it. With inspiration from artist Eduardo Paolozzi, Richard Hamilton did various collaborations with other artists that shared his beliefs in art as well as created much of his own using popular culture. ... This type of art was popular with British pop musicians as well, and when asked to do some work, Richard Hamilton jumped at the chance to create art for the Beatles on their white album in 1967. ... In closing, I feel...
