Constantine Calafateanu (1911-1978) is one of the most important Romanian painters of the twentieth century. He studied French literature at the Sorbonne, but he also regularly visited two painting studios: La Grande Chaumiere and Julien Academy. On returning to Romania he did some teaching work, therefore, he started exhibiting relatively late in life. His first solo exhibition took place in 1965. The creation of this painter highlights two phases: the first one lasted until 1965 and the second one lasted from 1968 to the end of the painter's life. Calafateanu mostly painted landscapes (fall and winter), flowers, still life, and nudes.
This paper discusses the life and work of Dima Todorovski, the founder of the Macedonian modern sculpture. Dimo Todorovski was born in Thessaloniki in 1910. He finished the Art School, the sculpture department, in Belgrade in 1935. He lived and worked in Skopje from 1942 until his death in 1983. During his career, he made an impressive number of sculptures among which are portraits, lovely female nudes, figures of men in motion, and other pieces related to the WWII. His best pieces include: The Portrait of the Artist's Mother, A Peasant Woman Portrait, The Pit, The Macedonian Pieta, A Girl, A monument in honour of Koco Racin, The Miladinov Brothers, St. Kliment Ohridski.
Ivan Rančić was born in the Kraljevo village, in eastern Serbia to a family of farmers on 19th, February, 1906. Very little data about him has been preserved, therefore, this paper is an attempt to make a reconstruction of his life and work. He attended primary school in his birth place, lower secondary school he finished in Knjazevac and Military Academy in Belgrade. After completing the National Academy in 1934, he was sent to Zagreb where he got his first post. He lived there with his wife and his son until the capitulation of the country in 1941. A few months after the collapse of the country, he was arrested and sent to Ljubljana and three months later to a concentration camp in Austria. He spent about fifteen months in that camp in during which time he intensively studied painting. He fled from the camp to Switzerland and stayed there until his death in 1987. According to some letters he sent to his wife in Nis, some of his paintings he created during his time in the camp, ne took to Switzerland where he eventually sold them. He did the toughest jobs there in order to survive and painted extensively. After World War II he graduated from the School of Fine Arts in Lausanne. Later on he had two exhibitions at the New Gallery of Modern Art. Ivan Rančić came a long way from an unknown beginner to a respected prominent artist. He left behind about 350 works, many of which he sold during his life, mainly landscapes and still life in oil, watercolor and pastel. He was neither concerned about styles and trends nor did he believe in the old and the new. If he came to a certain specific manner of painting, it is because at one point it was imposed on him as the only proper way of expression. The analysis of Rančić's paintings leads to the conclusion that his creation had gone through four phases. The first one (started in the concentration camp in Austria) during which he painted still lifes without full sketches, previous studies, and the use of linear perspective. This phase is characterized by the use of dark colors. This phase is followed by the one in which he painted flowers and vases with flowers. A considerable number of paintings from this period has been preserved, many of which were done in oil on canvas, while most of which were painted in oil on plywood or cardboard. A number of these paintings was painted in watercolor on paper. In the colorist sense, this stage was very different from the previous one. The next was the stage in which he painted landscapes. Some of his landscapes, mostly the ones which were painted using the combination of watercolor and pastel have a transparent atmosphere, bright and flickering light. The fourth stage was, in fact, a synthesis of all previous stages of development in which Rančić attempted to alleviate some of his artistic shortcomings. Almost all of his paintings were signed but none were dated , so t will be very difficult to determine the time of their creation. Ivan Rančić is a rare example of an artist who came a long way from realism through impressionism to expressionism. Rančić, as a man, wanted and succeeded to remain completely anonymous to us. As an artist, he could not prevent a number of Swiss art lovers from recognizing a talented artist in him. His painting represents the last page of a yet unwritten history of Serbian painting of the twentieth century. He died in a nursing home in Korbirijer on 26, January, 1987. The urn with his ashes is being kept in that place.
As for the nature and scope of the research, we emphasize that it included: the nature of the objects used in cases involving homicide; crime scene; family relationships between the perpetrator and the victim; measures taken by state authorities; analysis of the causes of depriving family members of their lives; the number of suicides following the cases of homicide, and types of homicides. The methods used include primarily the statistical method, at the level of descriptive statistics; case study method; content analysis method, and formal-logical method. It has been found that the application of the pre-crime concept gives certain positive results that are related to our research problem. They are reflected in the reduced number of victims deprived of their lives as a result of domestic violence. On the other hand, however, we notice a negative tendency of an increased number of homicides in the events involving perpetrators/repeat offenders who were previously reported due to domestic violence, which may bring into question the effectiveness in the acting of the competent state authorities.
Component: C 1.3 Support for Member States' implementation of Maritime Spatial Planning Sub‐component: C 1.3.1 Develop and propose a conceptual methodology for transboundary MSP in the Western MED, with operational details on selected aspects C 1.3.1.4 Relationship between LSI and ICZM This document aims to provide a methodological guideline for LSI analysis within MSP, also exploring how such analysis can be embedded in the wider ICZM context. In this perspective, this document intends to support MSP planners with a possible operative framework for the LSI analysis, identifying specific actions to be carried out in close connections with the maritime spatial planning process. Finally, with specific regard to addressing the MSP Directive requirements, the ultimate scope of this document is to provide some guidance on how to (re)organize topics, information and effort, including those eventually already available from formal or informal processes (e.g. ICZM). In addition to this introduction, the document includes other 5 chapters. Based on the analysis of the available literature, chapter 2 provides the description of some key concepts for LSI analysis, including its definition (section 2.1), different possible categorization of LSI typologies (section 2.2), and criteria that might delimitate the area of LSI analysis (section 2.3). Chapter 3 illustrates examples of LSI definitions included in the national legislation and of interactions considered particularly relevant in the countries participating to the SIMWESTMED project. Chapter 4 reflects on the step-by-step methodological guideline to perform LSI analysis within the MSP process, as proposed within SUPREME project. Links between LSI and MSP are in detail explored in chapter 5, which also discusses how outcome of the LSI analysis can be transferred in the ICZM context, referring in particular to the ICZM Protocol, as well as in other planning processes. Finally, chapter 6 provides some reflections on LSI analysis coming from the pilot cases implemented by ...
