NIE MOGE WIECEJ  PORAWIC TEKSTU BO ATAK NA LINII.
  ( MOZE SIE UDA UCIAC TO BARABARZYSTWO PORYWANIA
HITORYCZNYCH FIGUR TERAZ)

A CO SIE STALO Z INNYMI NIZ JAGILLONSKI UNIWERSYTETAMI MOCARTWA POLSKO
LITEWSKIGO PO INTERWENCJA 'SPEKTEROW' Z ANGLII? ( PRZESLEDZCIE WIECEJ
NIZ JA TU PODAJA).
    MOTYW OBECNYM MANIPULACJIA BY ODZYSKAC MOCATWO ANGIELSKIE I JAK
JEST UWIIKLANY W TE HISTORIE I NAWET POKAZUJE JAK SPEKTERADA WCIELA
SIE NIE TYLKO DO LUISIANY.

From Wikipedia, the free encyclopedia

Vytautas Magnus University
Vytauto DidĹžiojo universitetas

Established 1922

Rector Prof Zigmas Lydeka
Students 9000
Location Kaunas, Lithuania (EU)
Website http://www.vdu.lt/
Vytautas Magnus University (VMU) (Lithuanian: Vytauto DidĹžiojo
Universitetas(VDU)) is a public university in Kaunas, Lithuania. The
university was founded in 1922 during the interwar period as an
alternate national university.[1] Initially it was known as the
University of Lithuania, but in 1930 the university was renamed to
Vytautas Magnus University, commemorating 500 years of death of
Vytautas the Great, the Lithuanian ruler, well known for the nation's
greatest historical expansion in the 15th century.

It is one of the leading universities of Lithuania, has now about
8,700 students, including master and Ph.D. candidates. There are a
little less than 1000 employees, including approximately 70 professors.
[2]
......................

[edit] Relationship with Poland

Vytautas the Great monument in KaunasIn 1399 Jadwiga of Poland and her
newborn died in childbirth. Jogaila's power in Poland was jeopardised
as he was a foreigner king with no other ties to the throne but his
wife. Also, the defeat at Vorskla forced a re-evaluation of the
relationship between Poland and Lithuania. The result was the Union of
Vilnius and Radom in 1401. Vytautas was granted wide autonomy, but
after his death the title and powers of Grand Duke of Lithuania were
to be transferred to the king of Poland. In case Jagiełło died first
without an heir, the Polish nobility agreed not to elect a new king
without consulting Vytautas. The unique feature of this union was that
the Lithuanian nobility presented their own document: for the first
time somebody other than dukes played a role in the state matters.


Church of Vytautas the Great. Built around 1400 in KaunasVytautas was
one of the creators of the Union of Horodło with Poland in 1413.
According to the act of the union, the Grand Duchy of Lithuania was to
retain a separate Grand Duke and its own parliament. At the same time
both the Polish and Lithuanian Sejms were to discuss all the important
matters jointly. This union was important culturally as well as
politically because it granted Lithuanian Christian nobles the same
rights as the Polish szlachta. This act did not include Orthodox
nobles. This paved the way for more contacts and cooperation between
the nobles of Poland and of Lithuania.

In January of 1429 Vytautas already had received the title of King of
Lithuania with the backing of Sigismund, Holy Roman Emperor, but the
envoys who were transporting the crown were stopped by Polish magnates
in autumn of 1430. Another crown was sent, but Vytautas died in the
Trakai Island Castle several days before it reached Lithuania. He was
buried in the Cathedral of Vilnius. The knowledge about his remains
has been lost.

According to 1911 Encyclopaedia Britannica, Vytautas "was certainly
the most imposing personality of his day in Eastern Europe, and his
martial valour was combined with statesmanlike foresight."

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"Shahn was born in Kovno (Kaunas), Russian Empire, to Joshua Hessel
and Gittel (Lieberman) Shahn. His father was exiled to Siberia for
alleged revolutionary activities in 1902, at which point Shahn, his
mother, and two younger siblings moved to Vilkomir (Ukmergė). In 1906,
the family immigrated to the United States where they rejoined Hessel,
who had fled Siberia. They settled in the Williamsburg section of
Brooklyn, New York where two more siblings were born. Shahn began his
path to becoming an artist in New York, where he was first trained as
a lithographer. Shahn's early experiences with lithography and graphic
design is apparent in his later prints and paintings which often
include the combination of text and image. Shahn's primary medium was
egg tempera, popular among social realists.

Although Shahn attended New York University as a biology student in
1919, he went on to pursue art at City College in 1921 and then at the
National Academy of Design. After his marriage to Tillie Goldstein in
1924, the two traveled through North Africa and then to Europe, where
he made "the traditional artist pilgrimage."[1] There he studied great
European artists such as Henri Matisse, Raoul Dufy, Georges Rouault,
Pablo Picasso and Paul Klee. Contemporaries who would make a profound
impact on Shahn’s work and career include artists Walker Evans, Diego
Rivera and Jean Charlot.[1]

Shahn was dissatisfied with the work inspired by his travels, claiming
that the pieces were unoriginal.[1] Shahn eventually outgrew his
pursuit of European modern art; he, instead, redirected his efforts
toward a realist style which he used to contribute to social dialogue.
[2]

The 23 gouache paintings of the trials of Sacco and Vanzetti
communicated the political concerns of his time, rejecting academic
prescriptions for subject matter. The Passion of Sacco and Vanzetti
was exhibited in 1932 and received acclaim from both the public and
critics. This series gave Shahn the confidence to cultivate his
personal style, regardless of society’s art standards.[3]

[edit] Work during the Great Depression

Photograph by Ben Shahn, taken in Jackson Square, New Orleans,
1935.Shahn's subsequent series of California labor leader Tom Mooney
won him the recognition of Diego Rivera.[1] In May and June 1933, he
served as an assistant to Diego Rivera while Rivera executed the
infamous Rockefeller Center mural. Shahn had a role in fanning the
controversy, by circulating a petition among the workers. Also during
this period, Shahn met photojournalist Bernarda Bryson, who would
later become his second wife. Although this marriage was successful,
the mural, his 1934 project for the Public Works of Art Projects and
proposal for the Municipal Art Commission were all failures.[1]
Fortunately, in 1935, Shahn was recommended by Walker Evans, a friend
and former roommate, to Roy Stryker to join the photographic group at
the Farm Security Administration (FSA). As a member of the FSA group,
Shahn traveled and documented the American south alongside Walker
Evans, Dorothea Lange and other photographers. Like his earlier
photography of New York City, Shahn’s FSA work can be viewed as social-
documentary.[2] Similarly, Shahn’s New Deal art for the FSA and
Resettlement Agency exposed American living and working conditions. He
also worked for these agencies as a graphic artist and painter.
Shahn’s fresco mural for the community center of Jersey Homesteads is
among his most famous works, but the government also hired Shahn to
execute the Bronx Central Annex Post Office and Social Security murals.
[1] Curator Susan Edwards recognizes the influence of this art on the
public consciousness, writing, "The Roosevelt administration believed
[such] images were useful for persuading not only voters but members
of Congress to support federal relief and recovery programs… The art
he made for the federal government affirms both his own legacy and
that of the New Deal."[4]

[edit] World War II and beyond
During the war years of 1942-43, Shahn worked for the Office of War
Information (OWI), but his pieces lacked the preferred patriotism of
the day and only two of his posters were published.[1] His art's anti-
war sentiment found other forms of expression in a series of paintings
from 1944–45, such as Death on the Beach, which depicts the desolation
and loneliness of war.[5] He also did a series about the Daigo FukuryĹŤ
Maru, the Japanese fishing boat caught in the Bikini Atoll hydrogen
bomb blast, called Lucky Dragon.

Shahn also began to act as a commercial artist for CBS, Time, Fortune
and Harper's. His well-known 1965 portrait of Martin Luther King, Jr.
appeared on the cover of Time.[5] Despite Shahn's growing popularity,
he only accepted commissions which he felt were of personal or social
value.[3] By the mid-1950s, Shahn's accomplishments had reached such a
height that he was sent, along with Willem de Kooning, to represent
the United States at the 1954 Venice Biennale.[1] He was also elected
to the American Academy of Arts and Sciences, the National Institute
of Arts and Letters and the Academia dell' Arte e del Disegno in
Florence. The Art Directors Club Hall of Fame recognizes him as "one
of greatest masters of the twentieth century. Honors, books, and
gallery retrospectives continue to rekindle interest in his
work...years after his death."[6]

The artist was especially active as an academic in the last two
decades of his life. He received honorary doctorates from Princeton
University and Harvard University, and joined Harvard as a Charles
Eliot Norton professor in 1956. His published writings, including The
Biography of Painting (1956) and The Shape of Content (1960), became
influential works in the art world"

PROSZE TO ZLOZYC RAZEM; TE NONSENSY WEWNATRZ SIL SECURITY TERAZ JZU
PRAWIE ZA CALEGO KOSMOSU, ODNOSI SIEN DO TAKIEGU DUCHA , KTORY
KONSTRUUJE SOBIE HOSTORIE NAWET WIEKSZA NIZ KROLOWA ANGLII. TO ZRODLO
OBECNYCH ZASTOJOW I SZANTAZOW PRZE BRYTISH PETRTROLEM, TEZ BARDZO
NIEWINNE.