 |
|
|
| |
|
Artists click on a letter |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|
 |
|
|
| |
|
|
| |
Abildgaard, Nicolai Abraham (1743-1809)
Danish leading neo-classicist
painter and architect. He was born in Copenhagen, and he died in his house Spurveskjul
in Frederiksdal. His
paintings revealed both Neo-classical and Romantic interests and include
history paintings as well as literary and mythological works. In
addition to painting, he produced decorative works, sculptures and
furniture. Abildgaard was
commissioned the responsibility for
modernizations in French Empire style in King Christian VIII's
Palace (one of the four royal
palaces in the
Amalienborg complex in
Copenhagen). The Liberty Memorial in Copenhagen
(1792-97) was erected in memory of the
abolition of the adscription in 1788, and Abildgaard was the
artistic leader and designer. The Liberty Memorial is an obelisk
made of sandstone from the Danish island Bornholm, and its base is
made of Norwegian marble. The four allegorical statues ("Loyalty",
"Hard
Work",
"Bravery"
and "Civic Virtue")
were executed
by
Wiedewelt, Weidenhaupt and
Dajon and two relief's "Justice"
and "Liberation" by Wiedewelt and Weidenhaupt. The
Liberty Memorial was renovated in 1999. |
| |
 |
Spurveskjul (Sparrow-shelter) nearby Virum north
of Copenhagen. Spurveskjul was a modest country house when Abildgaard bought
it in 1805. During his journeys to Italy Abildgaard got influenced by the architecture of the houses in Northern Italy,
he designed the present
two-storeyed house, which was build next to the elder
buildings, in
Neo-Classical style. Today Spurveskjul is
still a private house. |
|
|
| |
Portrait of Abildgaard, 1772, executed by
Jens Juel |
|
|
|
|
|
|
|
The Liberty Memorial in
Copenhagen, 1797.
Click
here
for full size images |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
The
Liberty Memorial. The Relief "Justice"
executed by Johannes Wiedewelt,
based on Abildgaard's drawings |
|
2 |
The Liberty Memorial. The
Relief "Liberation" executed by
Andreas Weidenhaupt |
|
3 |
The
Liberty Memorial, the allegorical statue "Civic
Virtue", executed by Nikolaj Dajon. |
|
4 |
The
Liberty Memorial, the allegorical statue "Bravery"
by Nikolaj Dajon.
The lion symbolizes strength, the flag wrapped
around the stick symbolize the virtues of the
nation, liberty and unity.
|
|
5 |
The
Liberty Memorial, the allegorical statue "Loyalty",
by Johannes Wiedewelt. The dog is a symbol of loyalty. |
|
6 |
The
Liberty Memorial, the
allegorical statue by
Andreas Weidenhaupt "Hard
Work" symbolized with a plough and a
cornucopia. |
|
|
|
|
 |
| |
"The wounded
Philoctetes", 1775. The Danish
National Gallery.
There are some
similarities between Philoctetes
and Michelangelo's High
Renaissance figures on the
Sistine Chapel ceiling. The
painting shows physical pain.
The archer Philoctetes was
bitten on his foot by a snake on
his way to the siege of Troy.
His life became an endless round
of shrieking agonies. His
comrades abandoned him alone on
an island, and sailed on.
"Philoctetes
Wounded And Other Plays" by Elsa
Gress, published 1969,
Decenter, Åsø Gl. Skole (Glumsø). |
|
|
|
|
|
|
1 |
"The Girl
From Andros 2", 1802. To the right
Abildgaard's dog Iordano. The Danish
National Gallery. |
|
2 |
"Ymer
Sucks at the Cow Audumbla's Udder", 1775.
The Danish
National Gallery. Ymer was the giant in The Nordic Mythology, from whose
single parts of the body the world was created. Ymer lived of the milk
from the cow Audumbla. |
|
3 |
Ymer's
Well, Faaborg's main street, the original
by Kai Nielsen, 1913, is placed in Faaborg
Museum, Funen, Denmark. |
|
4 |
"Theology.
Allegorical Figure". 1800. The Danish
National Gallery. |
|
5-6 |
Paintings.
The Danish National Gallery. |
|
7-8 |
"Temple of Fortune", 1875, painted on a
fire screen and Abildgaard's
illustration to the Danish poet Johannes
Ewald's short story "Temple of Fortune",
1764. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Agam, Yaacov
(1928).
Israeli Painter and Sculptor, son of a Russian rabbi and author.
Although
his religion was against drawing and painting, he was not forbidden
to do so by his family, who acknowledged his talent.
In 1946 he became a student at "Bezalel Academy of Arts and
Design" in Jerusalem. In 1950 he went to Zurich and became a
student of
Johannes Itten at the "Art and Craft School",
where he met Frank Lloyd Wright and Siegfried Giedion, whose ideas
about the time-dimension in art and architecture impressed him.
In
1951 he went to Paris, where
his
works were admired by
the
surrealistic painters.
His first exhibition in "Galerie Craven" in Paris in
1953 shows kinetic art and became a success.
|
|
| |
| |
|
Max Ernst
the famous surrealist painter, was
the first to buy one of his works.
Agam became the leading exponent of
optical and kinetic art, and is best
known for his three-dimensional
paintings and sculptures.
(Op
art) |
|
| |
|
1 |
"Festival"? |
|
2 |
Israel 35
Years of Independence
|
|
3 |
Fountain, La Défense, Paris |
|
4 |
Fountain, 2005, Dizengoff Square, Tel
Aviv |
|
|
|
|
| |
| |
| |
| |
Alechinsky, Pierre (1927). Belgian artist born in Brussels of Russian parents. In the period
1944-46 he studied book illustration and graphic techniques at "l’Ecole
Nationale Supérieure d’Architecture et des Arts Décoratifs" in
Brussels. In 1947 he became member of a group of Avant-Garde Artists
"La Jeune Peinture Belge", formed on the initiative of Robert
L. Delevoy, an art critic, and René Lust, a lawyer - promoting young
contemporary artists through exhibitions, this was their intention. The
same year Alechinsky had his first solo-exhibition in Brussels at "Galerie
Lou Cosyn". He was one of the
founders
and the youngest member of the
CoBrA
movement. With a number of colleagues he set up a type of research
centre and meeting-place in Brussels - "Les Ateliers du
Marais". |
|
|
|
| |
He was also active in the CoBrA
publications. CoBrA dissolved in 1951,
Alechinsky moved to Paris where he still
lives. In 1955 he went to Japan to study the
art of calligraphy, and adopted the Oriental
manner of painting - paper spread on the
floor and the artist leans over the work
holding the bottle of ink. In 1956 he made
the film "Calligraphie japonaise".
Alechinsky paints with his left hand "the
one that has known only liberty and
pleasure".
He participated in international festivals,
such as: The VII Sao Paulo Biennale, 1963,
The Venice Biennale, 1967 and 1972, received
the award for engraving at the Krakow
Biennale, 1967.
Selected Exhibitions:
1958
Institute of Contemporary Arts, London.
1959
Kunsthalle Bern, Switzerland, with Tapies and
Messagier.
1961 Stedelijk
Museum in Amsterdam, with Reinhoud.
1964-87
Galerie Birch, Copenhagen.
1967
Museum of Fine Arts, Houston, Texas.
1969
Palais
des Beaux-Arts,
Brussels.
Louisiana Museum of Modern Art,
Humlebaek, Denmark.
1970
Israel Museum, Jerusalem.
1974
Mathildenhoehe, Darmstadt, Germany.
North Jutland Museum of Art, Aalborg,
Denmark.
1977
Carnegie Museum of Art in Pittsburgh,
Pennsylvania.
1978
Art Gallery of Ontario, Toronto.
Centre
national d'art et de culture Georges
Pompidou, Paris.
1979
Musée d'Ixelles, Brussels, with
Karel Appel.
1980 Museo
de arte moderno, Mexico.
1981
Musée
des beaux-arts de Montréal.
Museum of Modern Art, New York.
1983
Museo
espafiol de Arte contemporaneo, Madrid, with
Alberto Gironella.
1987
a retrospective exhibition at
Solomon R. Guggenheim Museum,
New York.
1989
Centre culturel de la ville de
Tunis.
1992
Taipei Fine Arts Museum, Taiwan.
1994
Henie-Onstad Art Center, Hovikodden, Norway,
Silkeborg Museum of Art, Denmark.
(Abstract,
Cobra)
|
|
|
| |
| |
| |
| |
Crucifixion c 1520.
Click
here
for full size image |
|
|
| |
Altdorfer,
Albrecht (1480-1538). German
painter, engraver, architect and leading member of the "Danube
School" of German painting.
His graphic style was
influenced by the German painter and engraver
Albrecht
Dürer.
Altdorfer was considered as one
of the first painters of landscapes in European art. He became city
architect and member of the city council in Regensburg in Northern Germany,
where he spent most of his life.
His painting was expressive
ranging from the playful to the
grandiose and from the picturesque to the incredible. His most
famous work was the altarpiece from 1518 for the Austrian
monastery St. Florian in which he used night scenes, rarely seen
at that time. Of
the German "Little Masters",
Altdorfer was the
earliest, the "Little Masters" were known for designs on
a small scale. The corpus of Altdorfer's works
comprises more than 50 panels, over 100 drawings together with woodcuts,
engravings, etchings, paintings on parchment and fragments from a
mural for the bathhouse of the Kaiserhof in Regensburg.
"The Danube Valley near Regensburg" (1510). "The Battle
of Alexander" (1529). "Loth and his daughters" (1537).
(Renaissance)
. |
|
|
|
1 |
"The Battle of Alexander at Issus", 1529 |
|
2 |
"St
George and the Dragon", 1510 |
|
3 |
|
|
|
|
| |
| |
|
|
| |
| |
| |
"The Sick Girl",
1882, The Danish National Gallery.
Click
here for full size image |
|
|
| |
Ancher,
Michael
Peter (1849-1927). Danish Skaw painter. Born on the island of
Bornholm. From 1871-75 educated at the
The
Royal Danish Academy of Fine Arts in Copenhagen, where he met e.g. the art historian
Karl
Madsen, who later became the first curator of the Skaw
Museum.
In 1874 he visited the Skaw and the following
year he went to live there permanently. He got married to the daughter of
the hotel proprietor the painter Anna Kirstine Ancher, née Broendum,
who gave birth to a daughter, Helga. In the 80s he
traveled to Vienna, Paris and Italy. In 1887 he
received the
Eckersberg Medal. Ancher was among the
first Skaw painters, to whose inhabitants and
nature he was closely attached. He pictured the family
life and everyday life of the fishermen in an earnest
realism. He was influenced by the Dutch
painters.
.
 |
The
artists' colony at Skagen/The Skaw Painters
The Skaw is a little town in Jutland on the very top of Denmark
where light and water from two seas, Kattegat and Skagerak,
break above the northernmost tip Grenen. The Skaw was known
for its |
very special light that attracted painters in the late 1800's. The painters found their motifs
among fishermen and peasants. The Hotel Broendum became the
centre of the artists' colony. The artists who visited the
hotel had donated their portraits of each other, mounted in
a frieze under the ceiling, to hotel proprietor Degn
Broendum, the big brother to Anna Ancher.
. |
|
Michael Ancher,
Anna
Ancher, Marie Triepcke who married
Peder
Severin Kroeyer (Norwegian-born),
Viggo
Johansen,
Carl Locher,
Laurits Tuxen,
Christian
Krogh (Norwegian),
Eilif Petersen (Norwegian),
Christian
Skredsvig (Norwegian,
Oscar Bjoerck (Swedish),
Holger
Drachmann (poet and painter).
(Realism) |
|
|
|
| |
| |
|
1 |
"Girl
with Sunflowers", 1885, The Danish National Gallery. |
|
2 |
"Anna
Ancher
returns home from field", 1902, Skagen's Museum. |
|
3 |
"Redningsbåden køres gennem klitterne",
1883,
The Danish National Gallery. |
|
4 |
Michael
and Anna Ancher's house has been converted to a
museum.
Photo: Birgitte
Desirée Pettersen |
|
5 |
Hotel
Broendum. |
|
|
|
| |
| |
| |
|
|
|
|
|
|
|
|
|
|
1.
Poster designed by
Peder
Stougaard
and used with his permission. The
artist is director
of the
Danish
Postermuseum
situated in Aarhus.
2.
H.C. Andersen reading "The Ugly
Duckling", Central Park, New
York. 3.
Henry Luckow-Nielsen's bronze
statue of H.C. Andersen, 1961, Copenhagen's Town Hall Square.
4.
Andy Warhol, H.C. Andersen.
5.
Andersen at Louis Tussaud Wax Museum,
Copenhagen. 6.-7.
Andersen's house and Museum in Odense. |
|
|
|
.
Andersen, Hans Christian
(1805-1875).
Danish papercutter and world-famous fairytale
writer - he often sat, surrounded by children,
cutting out human, animal or other figures from
paper. H.C. Andersen left about 1500
papercuttings. |
 |
|
|
|
| |
|
|
|
1-12 |
Paper-cuttings. |
|
13-21 |
ARoS, Andersen and Andy Warhol.
The exhibition "FAIRY TALES
FOREVER", 2005, ARoS, Aarhus Museum of
Art. |
|
|
|
|
|
|
|
|
| |
| |
| |
| ... |
Andersen,
Mogens Helge Thestrup (1916-2003). Danish painter, graphics artist and writer.
Born in Copenhagen. From 1933-39 he studied painting at P. Rostrup Boeyesen's art school, which he later became the
head of. In 1935 he had his first exhibition at "The
Autumn Exhibition for Painters" in Copenhagen. He was
co-founder and member of "Boelleblomsten"
(1942-50), an art union where the artists arranged and took
part in exhibitions held in "The Free Exhibition
Building" in Copenhagen. Member of "Salon de
Mai" in Paris (1950-67), and member of the art union
"Groenningen" in Copenhagen (1953-65). In 1955 he
traveled to Italy and Greece. He settled in France in 1959
and returned to Denmark in 1965. Since 1961 he was a member of
"Salon Des Réalités Nouvelles", Paris, and member of "The Free Exhibition",
Copenhagen (1967-71). In 1968 he was the Danish participant
of the Venice Art Biennale. In 1970 he became guest
professor of "The
Royal Danish Academy of Fine Art" in Copenhagen. In 1971 and 1978
he visit Japan.
His
painting was characterized by dark often black colors and he
mastered the Abstract and Nonfigurative idioms.
From 1964 he worked together with the Danish tapestry
weaver Lise Warburg. He decorated e.g. the council |
|
|
chamber
of the city hall of Gentofte, Denmark (1971), the Copenhague
Restaurant in Paris (1973) and Museum Bochum, Germany,
(1981).
He was an art critic at "Arbejderbladet" (The
Daily Worker) (1937-39), and had published the book
"Modern French Painting"
(1948). In 1981 he illustrated "Moya. Seven Japanese
songs opus 57 for singing and piano" written by the
musician Vagn
Holmboe.
(Abstract)
.
*Danish "Stamp
Art", issued October 15, 1998. The motifs are made
for stamps by four Danish artists - the stamps themselves
are the works of art.
Mogens Andersen
("Alfa"/"Alpha"),
Per
Kirkeby ("Dansk efteraar"/"Danish
Autumn"),
Ejler
Bille ("Billedtegn"/"Painting
idioms") and
Carl-Henning
Pedersen ("Himmelhest"/"Heaven
Horse").
Engraver: Arne Kühlmann (the work of Per Kirkeby).
Typography: Austin Grandjean |
|
|
|
| |
| |
| |
| |
"Frog with Umbrella",
2001, The Hague |
|
|
| ... |
Appel,
Karel (1921). Dutch abstract expressionist painter, graphic designer,
illustrator, sculptor and ceramic artist. Born in Amsterdam in the
Netherlands. Trained at the "Rijksakademie van Beeldende Kunsten" in
Amsterdam, 1940-43. His first solo exhibition was held in 1946 at
Beerenhuis in Groningen.
Appel was influenced by
Picasso,
Matisse
and later
Dubuffet.
He was a member of "Nederlandse Experimentele Groep", the authors,
editors, and publishers of the journal Reflex. He was one of the
founders of the
CoBrA
movement and put his signature to the manifesto in Paris in 1948
together with e.g.
Constant
and
Corneille. In
1949 he completed a fresco for the restaurant of the city hall of
Amsterdam, which generated great polemic and was covered up the next
10 years. He moved to Paris in 1950, where the writer Hugo Claus
introduced him to Michel Tapié, the organizer of many exhibitions
including exhibitions of Appel's works. |
|
|
In 1954 he received the UNESCO Prize at the
Venice Biennale and was commisioned to execute a mural for the
restaurant og the Stedelijk Museum in 1956. The following year
he traveled to Mexico and the USA and won a graphic prize at the
Ljubljana Biennial in Yugoslavia (nov The Republic of Slovenia).
In the late 60s he moved to the Château de Molesmes southeast of
Paris. During the 50s and 60s he executed a great number of
murals for official buildings. In 1972 he traveled in South
America, Mexico, India, Nepal, Indonesia and Japan. In 1974 he
tested various materials such as plastic foam.
In 1976 a
collaboration
with
Pierre Alechinsky
led to a series of works on paper which were published along
with poems by Hugo Claus in the book entitled "Two Brush
Paintings". In the 80s Appel executed a series of stained glass
paintings. In 1987,
after many years of exploring
nudity in
painting and drawings, Appel worked with live models, instead of
deriving his forms from the fantasy.
His third period of sculptural production began in
the early 90s where architecture, painting and sculpture were
combined, the result was a total work of art or Gesamtkunstwerk
(a Baroque-term).
Together with the Japanese dancer and choreographer
Min Tanaka Appel had created scenic concepts for opera
performances in France and the Netherlands e.g. Mozart's "The
Magic Flute".
From 1997 Appel lived by turns in Toscana, Italy,
where he painted landscapes, and in the US continuing his work
with sculptures.
His works has
been exhibited in all major museums of modern art in the world.
In 2004 he solo-exhibited at Herning Museum of Art, Denmark.
(Abstract,
Cobra) |
|
|
|
|
| |
| |
| |
| |
"Avalanche",
1990, Tel Aviv |
|
|
| ... |
|
Arman
(Armand
Pierre Fernandez)
(1928). He later dropped the "d" in
his name, the result of a catalogue mistake. French-American
artist born in Nice. In 1972 he took American citizenship. His
first lessons in painting were given him by his father, an antique
dealer. From 1946-49 he was studying painting at "École
Nationale d'Art Décoratif in Nice. In 1949, he became a student
at École du Louvre, where he was studying archaeology and
oriental art, his paintings at this time were influenced by the
surrealist painters. In the period 1951-53 he organized events and
Happenings with
Yves
Klein, with whom he since 1947 had been discussing subjects such as Zen
Buddhism and astrology. He completed his military service as a medical orderly in the Indo-Chinese War
(1946-1954). His neo-dadaist style and stamp imprints, the Cachets, were
influenced by a
Kurt Schwitters
exhibition in Paris in 1954. |
|
|
In 1956 his first solo exhibitions were
held in London and Paris. In 1957 he traveled in Persia, Turkey and Afghanistan. In 1959 he did his first
"Destructions" e.g. violins he smashed and recomposed on wood panels,
his Accumulations and Poubelles (Dustbins). The Accumulations were assemblages
of everyday objects. The Poubelles were similar, but used collections of
rubbish. In 1960 he became a founding member of the Nouveaux Réalistes. In
1963 he started his Combustions (burned objects). In 1964 he had his first
retrospectives at the Walker Art Center, Minneapolis, and at the Stedelijk
Museum, Amsterdam. Polyester now became his most important material. In 1967 he
initiated a collaboration between art and industry with the French automobile
company Renault and represented France at "Expo '67" in Montreal.
From 1967-68 he was instructor at the University of California in Los Angeles.
In 1970 he began his Accumulations in concrete and exhibited at the World's
Fair in Osaka. In 1971 he began a series with organic garbage embedded in
plastic. In 1974 he toured with a retrospective exhibition through five North
American cities. Since 1975 he lived alternately in New York and Paris.
Awards: International Biennale of Prints Tokyo, 1964. Premio Marzotto, Italy,
1966. (Dadaism,
Happenings,
Pop
Art) |
|
|
|
|
| |
| |
| |
| |
"Cupulate
Fruit", 1960, placed behind The Church of
Our Lady, Copenhagen. |
|
|
| |
Arp, Hans/Jean
(1886-1966)
(Christian name Hans). French sculptor, painter and writer,
a pioneer of abstract art. From 1905-07 he studied at
the Academy in Weimar. In 1908 he went to Paris, where he
attended the Académie Julian. In 1909 he moved to
Switzerland, and in 1911 he was the founder of the artists'
union "Moderner Bund". In 1912, after meeting
Wassily
Kandinsky in Munich, Arp exhibited with the Blue
Rider group, and in 1913 he participated in the first Autumn
Salon in Berlin at the gallery "Der Sturm". After
returning to Paris in 1914, he became acquainted with
Guillaume Apollinaire, Max Jacob,
Max Ernst,
Robert
Delaunay,
Amadeo
Modigliani
and
Pablo Picasso and became influenced by Picasso's cubist
paintings.
In
1915, he moved to Zurich, where he executed collages and
tapestries in collaboration with Sophie Taeuber, later his wife
and
Sophie
Taeuber-Arp. In 1916 Arp was one of the founders
of the Dada group, which held its meetings at the Cabaret Voltaire
in Zurich. Arp continued his involvement with Dada after moving to
Cologne in 1919. In 1922, he participated in the "Kongress
der Konstruktivisten und Dadaisten" in Weimar and the
"Exposition Internationale Dada" at Galerie Montaigne in Paris. He wrote in magazines e.g. "Merz",
"Mécano", "De Stijl" and in 1925 to "La
Révolution surréaliste". In 1925 his work appeared in the
first exhibition of the Surrealist group at the "Galerie
Pierre" in Paris. In 1926, he settled in Meudon,
France. In 1949 he had a solo exhibition at Curt Valentin’s Buchholz
Gallery in New York. He received the Grand Prize for Sculpture at
the Venice Biennale in 1954. Retrospective exhibitions of his work
were held at the Museum of Modern Art, New York, 1958, and
at the Musée National d’Art Moderne, Paris, 1962.
(Dadaism)
. |
| |
|
|
|
"Cloud Shepherd", 1953, The
University City of Caracas, Venezuela.
.
|
|
|
|
|
|
"la danseuse"
(The Dancer), 1925.
.
. |
|
|
|
|
|
Sculpture, Museum of Modern Art, New York.
.
. |
|
|
|
|
|
| |
| |
| |
| ... |
Audubon,
John James (1785-1851) (he was christened Jean Jaques). American
self-taught nature painter and ornithologist, he devoted
his life to painting all the American birds and other animals.
Audubon was born in the French colony of Santo Domingo (today Haiti) as
the son of a French sailor and his mistress, who died when he was six
months old, and he got a stepmother. Audubon was brought up in Nantes in
France, and he learned to love nature at an early age and began to draw.
In 1803, at the age of 18, he immigrated to the USA to Mill Grove, the
Audubon estate northwest of Philadelphia, to escape conscription into
Napoleon's army.
In Mill Grove he lived a carefree life, later he
married Lucy Bakewell, they became parents to four children, two sons and
two daughters, the two daughters died.
Audubon collected all kinds of wildlife specimens, which he both
preserved and sketched. He taught himself to wire the dead birds in lifelike positions to enable
accurate sketching and drawing. In 1810 he met the ornithological
illustrator Alexander Wilson, a meeting which convinced Audubon that
he should continue with his bird drawings.
Unable to find support in the US, he went to England and France where
his paintings made an impression. In Liverpool, England, he exhibited his watercolors in an
effort to raise interest in his "Birds of America-project". He had secured
an agreement with William Lizars in Edinburgh for the engraving and
printing of his work. After only ten plates were finished Lizars resigned.
Audubon traveled to London where he employed the firm of R. Havell and
Son. Production of "Birds of America" began in earnest.
In
1829 he returned to the USA. Audubon was involved in some less successful financial affairs, he had
failed as a businessman - unlucky investments, sent him into bankruptcy.
To provide for his family he was doing charcoal portraits on commission.
He took
a job as a taxidermist and he decided to pursue his dream of
painting all the American birds, which became reality in "Birds of America" with its 435 life-size, elephant folio
engravings, done by a the craftsman, Robert Havell and "The
Viviparous Quadrupeds of North America". (Naturalism) |
|
|
|
White gerfalcons.
Click
here
for full size image |
|
|
|
|
|
|
| |
| |
| |
| |
| |
|
Artists click on a letter |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<<
>>
|
|
|
|
|
|
|
