Albert Reuss - Knowledge

112:, in former Hungary, now Slovakia, where their first three sons were born. In the late 1880s, the family moved to Vienna, where Albert was born, followed by a further six children, three of whom died in infancy, leaving seven surviving children in all. The family name Reisz was changed by the Austrian authorities to Reiss. From a young age, Albert became estranged from his family. A frail, sickly and vulnerable child, he seemed neither to fit into nor to belong to the family into which he was born. He suffered from ill-health and had considerable difficulties with social interaction throughout his life. He was introduced to the world of art by a rich uncle, Baron Andreas Ritter von Reisinger, who was married to his father's sister, and who appears to have instilled in the young boy a lifelong inferiority complex. Albert's artistic abilities emerged when he was only five years old, and at the age of 14, he applied, unsuccessfully, to the 547:(Star of David) Remembering Austrian Jewish Artist ALBERT REUSS and his devoted wife ROSA née FEINSTEIN who fled from Vienna to England in 1938 to escape the Nazi Holocaust. They moved to Mousehole in 1948. Because of Rosa's love and support Albert continued to paint until the end. Rosa died 1970 aged 78 Albert died 1975 aged 86 522:(AJR), U.K., on 30 January 2022. The Tree is one of the "80 Trees for 80 Years" campaign commemorating the AJR's 80th anniversary, and is in honour of the villagers of Mousehole and Paul who, in 1940, took in over 100 Jewish evacuee children from Jews' Free School in the East End of London, to help them and their families escape the bombing during World War Two. Following his death in 1975, Albert Reuss's remains were cremated and scattered to the sea. During the 1920s and 1930s, Reuss became an established artist in his native Austria, but following his exile to England in 1938, he lost some members of his family, all of his possessions, and his reputation as an artist, because of his Jewish heritage. In the U.K., he achieved some fame and recognition during his lifetime, but became forgotten following his death. The 2022 Remembering Stone was a joint effort by 257:. Here they established the ARRA Gallery. Two flats (one to rent out), together with a studio and gallery, had been built for them by painter Ruth Adams (1893–1948), whom they had first met in 1938 at Lanham's Gallery in St Ives. Ruth was an ardent admirer of Reuss and was determined to bring her friends back to Cornwall, but she died in an accident just four weeks after their arrival, having left ARRA to the Reusses in her will. This inevitably caused gossip, and the entire episode was a most inauspicious way for Albert and Rosa to begin their new life in the village. Whereas they had been well accepted in St Mawes and Cheltenham, here they were largely to remain outsiders, despite a number of important new friendships. Much to his chagrin, Reuss's attempts to join the 421:. She now inherited those paintings still remaining at ARRA, Reuss's studio and home in Mousehole, as well as those which had been transferred to Vienna. She was happy for the works in Vienna to remain there, as this had clearly been Reuss's wish, but resolved in June 1977 that she would also donate to the Newlyn Orion all the unsold works which she had inherited, both those in Vienna as well as those which had remained in England. However, in January 1979, Reuss's works still in Vienna were unexpectedly returned to Cornwall. John Halkes, the director at that time of the Newlyn Orion, was delighted with these new acquisitions, some of which were from Reuss's Vienna period. In an interview with 510: 118:. Unable to pursue his dream of becoming an artist, he was obliged, on leaving school, to assist his father as a butcher. Given his delicate disposition and artistic sensibilities, working at the butchery was not an effective fit. There followed a series of equally unsuitable jobs, including salesman, childminder and actor, all of which ended in dismissal. These repeated experiences of rejection only added to his lack of self-worth. He became determined to teach himself by copying the Old Masters in the Belvedere Gallery and managed to gain several commissions for these paintings, as well as some commissions to paint portraits. 413:

and probably thought that by sending the bulk of his works to Vienna, he was doing just that. Consequently, there was no specific clause in his will naming an heir for his artistic works, though he was clear concerning his other assets, having written his will some years earlier with Rosa. All his artwork therefore went to the named residuary beneficiary, Miss Norette Reed, who had been a friend of Albert and Rosa for many years, and was an ardent admirer of Reuss's work. Norette was not expecting this gift, and in fact had donated her own collection of 31 Reuss paintings to the Newlyn Orion Gallery (now

375:(1942–1947; Newlyn Art Gallery). After moving to Mousehole in 1948, bleak landscapes started to appear, with broken fences and walls, and trees stripped of foliage. The art critics of the 1950s commented in particular on the beauty and simplicity of these paintings, the economy of line, and the artist's considerable draughtsmanship. Some also saw in Reuss's work a certain spiritual quality. In later years, Reuss's paintings became ever more desolate, and the figures started to disappear. Where figures were present, these looked abandoned, like flotsam on the beach. This is particularly evident in 149:, where Albert established his studio, and in October 1922 they converted to Christianity. Also at this time, Albert started to use the surname "Reuss", though this change of name was not officially recognised until 1931. A young student, Sylvio Metzger, also moved into the apartment and developed a lifelong friendship with Albert and Rosa. A large body of correspondence between Sylvio and the couple has survived, and is stored, along with much other documentation, at "basis wien" in Vienna. 395:

its new environment. In Reuss's artwork, style and choice of subject-matter invoke an association with Surrealism. Dali and Chirico are but the two most important artists bring to mind Reuss's artwork. Reuss's depiction of people has a similarly estranged air about them as those of his objects. Taken out of context, of time, of place, the pictured people appear oddly strange. Melancholic and lonely, but also calm and gentle, Reuss's creations remind the viewer of the art of Josef Floch.

1949: 220:, the springboard of their future life in Cornwall. Now in their late forties, they were obliged to build a new life and career from scratch. This proved to be a struggle, despite the significant help and support they received from numerous benefactors. Two local female painters in St Mawes offered Reuss the use of their studio, and in October 1938, a first exhibition was held there, followed by another exhibition at Lanham's Gallery in 209:(1891–1954), they escaped from Vienna to England, where they arrived in Dover penniless and empty-handed in August 1938. They had with them 10 Reichsmark (equivalent at the time to about £1 sterling), the maximum cash allowed to emigrants by the German authorities. Some members of the Reiss family were not so fortunate: Albert's brother Julius and his family and his sister Ernestine and her husband Roman Torn were murdered in the 166:), and had his first solo exhibition at the Würthle Galerie in 1926. In 1930, a newspaper proprietor sponsored him to spend a year in Cannes, where he completed forty portraits and landscapes in oil, following which, he had a second solo exhibition at the Würthle Galerie in 1931. His exhibitions received good reviews in the Viennese press. Reuss subsequently became a member of the prestigious artists' association, the 363:(1932; private collection). This body of work was well received by the Viennese art critics of the 1930s, but following his exhibition in Vienna in 1975, his earlier work was described as "conventional", whilst he was thought to have "found himself" during his exile in England. Indeed, following his exile, there was an immediate change in Reuss's work into a style which could loosely be called 122: 19: 352:″Gateshead's Shipley Art Gallery ... includes pictures representing each of the three important stages through which Reuss's artistic life has passed from early pencil drawings, in which his striving after the essence of his subject was first observable, through the translation of this essence into oils, then to his later more uncompromising works.″ 53:’s annexation of Austria to the German Reich. In the process, Reuss lost many members of his family, and the reputation he had built up as an artist in Vienna. He continued to work as an exiled artist, but his style changed dramatically, reflecting the trauma he had suffered. Many public collections in Britain hold his work, most notably 437:

1984, Halkes gave Reuss's written estate to a young German art student, Lioba Reddeker (1961–2011), who intended to write a biography, but was unable to complete this. Following her death, the entire documentation, including Lioba's research papers, was passed to ″basis wien″, a database of Austrian artists which she had founded.

436:

John Halkes was keen to honour Norette Reed's expressed wishes to raise Reuss's artistic profile and to ensure that a biography would be written. True to his word, he mounted several exhibitions during the 1970s and 1980s, not only at the Newlyn Orion but also at galleries in Plymouth and Bristol. In

412:

During the last few months of Reuss's life, Dr Mussi urged the ailing artist to appoint an heir, and to make it clear to whom he wished to leave his life's work. He suggested the possibility of leaving it to a public collection in Austria. Frail and confused, Reuss did not understand what was needed,

394:

Reuss’s artistic output is very much informed by his biography. Objects, floating relinquished through space and having lost any foothold, predominate his imagery… Ripped out of their natural context, those objects tell the story of a voyage, of a kind of abandonment of an object that does not fit in

355:

His earlier linear work of the 1920s was characterised by drawings which used a few brief pencil strokes to invoke recognisable images. This gave way to detailed and colourful oil paintings of landscapes, still lifes and figures, influenced by the expressionist Carinthian school of painting. This was

294:

Once ARRA closed, and there were no further exhibitions in the provinces, the couple started to experience considerable financial difficulties. They managed to obtain compensation for victims of political persecution and a small pension from the Austrian Government. They received additional financial

298:

Albert and Rosa's last few years were also plagued by ill-health, with repeated hospital stays for both of them. In January 1970, Rosa died. She had spent her entire life caring for and supporting her husband and ensuring that he remained in touch with the outside world. Albert was inconsolable, but

449:

In recent years, there has been a renewed interest in the “lost generation” of emigrated artists, including Reuss, in Austria and Germany, and indeed there are a number of galleries in Vienna and Berlin which specialize in exiled artists. Reuss's work featured in two hugely successful exhibitions

1974:

Baum, Elfrieda, Catalogue for exhibition: Die uns verließen: Österreichische Maler und Bildhauer der Emigration und Verfolgung (The Ones Who Left Us: Austrian Painters and Sculptors of Emigration and Persecution), Österreichische Galerie im Oberen Belvedere in Wien (Belvedere Gallery in Vienna),

133:, he was obliged to undertake military service, but was allowed to do this in Vienna, due to his poor health, avoiding frontline duty. In 1915 he met his future wife, Rosa Feinstein (1891–1970), the daughter of Benjamin Feinstein, a merchant, and his wife Hinda née Prechner. Benjamin was born in 333:

Reuss was a complex individual. A tall, slim, handsome man, he could often appear aloof, even arrogant. Despite his Viennese elegance, he sometimes behaved irrationally, for example he wrote a number of highly inappropriate letters to the very people who were trying to help him. Yet despite his

302:

He entered into a lengthy correspondence with the Austrian Press Secretary and later Deputy Ambassador in London, Dr Ingo Mussi (1935–2012), who arranged, with Jacques O'Hana, for some of Reuss's works to be sent to international galleries in Vienna and Israel. Following O'Hana's death in 1974,

517:

In September 2022, a Remembering Stone for Albert and Rosa Reuss was placed in The Cholera Field, one of four cemeteries in the Cornish village of Paul, half a mile inland from the coastal village of Mousehole. The cemetery belongs to St Pol de Léon Church, Mousehole Lane, Paul, Penzance. The

137:, which was at that time under the rule of Imperial Russia, making him and his family technically Russian. Rosa offered Albert the acceptance and encouragement he so desperately needed. Their marriage lasted for 55 years, and throughout that time she acted, in effect, as his agent and manager. 334:

eccentricities, and at times his unacceptable behaviour, he could also be most charming and had a remarkable capacity to draw people to him, even those he offended. He and Rosa were genuinely loved by a large number of people who were prepared to go to great lengths to help and support them.

1999:

Nyburg, Anna, “‘Dein grosser Brief war ein Ereignis’: the private and professional correspondence of the refugee art historians Hilde and Otto Kurz", in Refugee Archives: Theory and Practice, Yearbook of the Research Centre for German and Austrian Exile Studies, Rodopi,

440:

Norette Reed died on 10 June 1991 and bequeathed one third of her residual estate to the Newlyn Orion. When John Halkes left the gallery in 1990, Reuss's works were put into storage and, apart from a further exhibition in 1992, were rarely seen for almost three decades.

330:, who was later to become Austrian Chancellor from 1983 to 1986. In his dying moments, Albert Reuss was finally able to experience success and recognition in his home country. He died on 4 November 1975 at the age of 86 years after a brief stay at a care home in Truro. 205:, the annexation of Austria to the German Reich in March 1938, the Reusses packed up all their possessions, including Reuss's artworks, into 38 crates and left these in storage, but almost everything was confiscated by the Nazis. With the help of Cornishman and Quaker, 319:). The bank actively sponsored the promotion of Austrian contemporary art and culture, and Albert Reuss's works were thus amongst the first to be exhibited by the Foundation, in full collaboration with the Socialist government of that time. The exhibition was called 399:

There can be no doubt that these works were an expression of Reuss's mental state, of the extreme melancholy and despair that he had suffered throughout his life, but most especially the trauma he had experienced as a consequence of his exile, culminating in the

236:, where they remained for the next eight years. A fourth solo exhibition took place in 1940 in Cheltenham, followed by a fifth in 1944, Reuss having produced over 200 paintings in the corner of his small living room. He also obtained a job as an art teacher at 144:

and spent 18 months in a sanatorium. He took advantage of his confinement by drawing portraits of fellow patients, from which he began to establish a reputation as a portrait artist. Once he had recovered, the couple moved to an apartment at Möllwaldplatz 3,

501:, an exciting nationwide arts festival planned for 2019 to celebrate the extraordinary contribution of refugees from Nazi Europe to British culture. There are plans to exhibit some of Reuss's work at a few galleries in Cornwall as part of this project. 284:. The gallery eventually closed in 1956. Between 1945 and 1956, Rosa also organised numerous solo exhibitions of her husband's work in municipal galleries throughout England, particularly in the North, where many galleries still hold his works. 185:, as well as a study of his wife Rosa, now in the Tel Aviv Museum of Art. Throughout this period, the couple developed a middle-class lifestyle, and filled their flat in Vienna with numerous books, artefacts and artworks, including two works by 429:... Meanwhile … we didn’t have storage ... so (the remainder) were steadily exhibited and sold over the years." The remaining works, available for sale, now became known as the Vienna Collection, which in later years was retitled the 303:

almost 200 works, including paintings, sculptures and drawings, remained in the London gallery. Ingo Mussi arranged, with the permission of the dying artist, for these to be sent to Vienna to be curated by an organisation called

157:

During the 1920s, Reuss gradually established himself as an artist, working initially in portraiture, then developing an individual style of line drawing, which he called his linear work. In 1922, he exhibited a portrait at the

477:

Gallery and Museum in Penzance, and in 2016 at the Tel Aviv Museum of Art, Israel. His work is also represented in Thomas B Schumann's large collection of exile art in Germany, and Herr Schumann used one of Reuss's paintings,

344:

During the early 1950s, when Reuss was exhibiting in galleries in the North of England, he occasionally gave talks in an attempt to explain his work. An article was published on 11 November 1951 (newspaper unknown) entitled

240:

an independent school in Cheltenham, which helped him to become more financially self-reliant, and to supplement his income as an artist. In 1947, Albert and Rosa Reuss were finally granted British nationality.

1990:

Cesarani, David & Kushner, Tony (eds.), The Internment of Aliens in Twentieth Century Britain, Routledge, 1993. See in particular chapter by Klaus E Hinrichsen, Visual Art Behind the Wire, pp. 188–209

1987:

Brinson, Charmian and Dove, Richard (eds.), German-speaking Exiles in the Performing Arts in Britain after 1933 (The Yearbook of the Research Centre for German and Austrian Exile Studies), Rodopi, 2013

1981:

Behr, Shulamith and Malet, Marian, Arts in Exile in Britain 1933–1945: Politics and Cultural Identity (The Yearbook of the Research Centre for German and Austrian Exile Studies), Brill/Rodopi, 2005

265:. Nevertheless, now 60 years of age, Reuss continued to paint for the rest of his life, supported by the many friends and admirers he and Rosa had made over their first few years in England. 2012:

Soyinka, Susan, From East End to Land's End. The Evacuation of Jews' Free School, London, to Mousehole in Cornwall during World War Two, DB Publishing, 2010, republished by Eliora Books, 2013

1971:

Aurenhammer, Hans and Gertrude, Das Belvedere in Wien: Bauwerk, Menschen, Geschichte (The Belvedere in Vienna, Building, People, History), Anton Schroll & Co., Vienna and Munich, 1971

1314: 1339: 367:; his oil paintings now became simplified and muted with much cooler colours. Figures often looked sad or listless, or were portrayed with their backs turned. Compare for example 311:

hosted an exhibition held on the premises of the Bawag Foundation, which had been established in 1974. Bawag was a bank which had close ties with the Social Democratic Party (

299:

struggled on alone for a further five years, still painting. He became concerned about his artistic heritage, fearing that his paintings could be destroyed after his death.

189:. Thus, by 1938, Reuss had become an established and relatively prosperous painter and sculptor in Vienna. However, this period coincided with the rise of Hitler and the 2117: 535: 1845: 383:(1967; Newlyn Art Gallery). Often random objects such as corrugated iron and boulders appeared in the landscape, and sometimes even penetrated into rooms, for example 1268: 287:

From 1953, Reuss held regular one-man shows at the renowned O’Hana Gallery in London. Jacques O'Hana was an international art dealer specializing in the French

181:. In 1934, he also started working as a sculptor, creating, among other things, portrait busts of the Viennese councillor Johann Grassinger and of the actress 417:) in June 1975, a few weeks before Reuss's death, specifying that this was to be kept as a permanent collection and not for sale. This became known as the 1798:

Die uns verließen: österr. Maler u. Bildhauer d. Emigration u. Verfolgung [95. Wechselausstellung d. Österr. Galerie, 28. Mai – 27. Juli 1980]

232:" in June 1940 at a detention centre in Shropshire, which greatly distressed him. Following his release in August 1940, Albert and Rosa moved to 1110: 425:, Reuss's biographer, in October 2016, he said: "I thought the sensible thing to do was to cream off some of the better ones and add them to the 2042: 2009:

Soyinka, Susan, A Silence That Speaks. A Family Story Through and Beyond the Holocaust, DB Publishing, 2012, republished by Eliora Books, 2013

1932: 1899: 1827: 1544: 1403: 1296: 940: 291:. He was a colourful, larger-than-life character, who became Reuss's friend and mentor for the next 20 years until O'Hana's death in 1974. 830: 70: 527: 509: 1984:

Bohm-Duchen, Monica and Dobson, Zuleika, Catalogue for exhibition: Art in Exile in Great Britain 1933–1945, Arkwright Arts Trust, 1986

1035: 1926: 1893: 1821: 1538: 1397: 1290: 934: 356:

a style he first developed during his period in Cannes, using a palette knife and “iridescent and opalescent colour”, for example

1618: 2112: 2107: 787: 519: 228:, Cornwall. However, after England's declaration of war against Germany in September 1939, Reuss was briefly interned as an " 268:

Whilst Albert painted, Rosa managed the ARRA Gallery together with their friend, Jeanne Day, and in collaboration with the

2102: 269: 1996:

Hardie, Melissa (ed.), 100 Years in Newlyn: Diary of a Gallery, Patten Press in Association with Newlyn Art Gallery, 1995

2032: 1796: 1191: 277: 1993:

Fraenkel, Josef, The Jews of Austria. Essays on their Life, History and Destruction, Vallentine Mitchell & Co, 1967

1283:

Anthony Grenville, Jewish Refugees from Germany and Austria in Britain, 1933–1970: Their Image in AJR Information, p. 4

2006:

Snowman, Daniel, The Hitler Émigrés: The Cultural Impact on Britain of Refugees from Nazism, Chatto & Windus, 2002

706: 114: 551:

Open to us the Gates of Mercy Jewish American Society for Historic Preservation

100:

Albert Reuss was the son of Hungarian Jews, Ignaz Reisz (1855–1911) and Sidonia née Freund (1861–1928). Ignaz was a

1978:

Barron, Stephanie, Exiles + Émigrés: The Flight of European Artists from Hitler, Angeles County Museum of Art, 1997

1060: 817: 66: 2003:

The Public Catalogue Foundation, Cornwall and the Isles of Scilly: Oil Paintings in Public Ownership, PCF, 2007

772: 461:, held in 1986 in several venues in Europe, including London. More recently, his works have featured in the 258: 849: 745: 82: 2022: 1953: 1768: 1140: 1243: 1118: 467:

Zwischen den Kriegen. Österreichische Künstler 1918–1938 (Between the wars: Austrian artists 1918-1938

2097: 2092: 206: 1656: 993: 793: 603: 390:

An apt description of Reuss's post-Vienna work appears on the Kunsthandel Widder Gallery's website

1839: 765: 414: 216:

After a brief stay in London, the Reusses were invited by John Sturge Stephens to his cottage in

54: 1957: 1948: 1860:"Edition Memoria | – der einzige in Deutschland ausschließlich Exilautoren publizierende Verlag" 1760: 295:

support from Reuss's younger brother, Max Reiss, with whom Albert had a difficult relationship.

193:, and by this time, it became clear that Albert and Rosa would have to flee their home country. 1922: 1889: 1817: 1534: 1393: 1286: 1262: 930: 781: 221: 74: 900: 662: 159: 1566: 1433: 1781: 693: 130: 2062: 958: 805: 462: 288: 281: 134: 62: 1886:

Deutsche Künstler im Exil 1933–1945: Werke aus der Sammlung Memoria Thomas B. Schumann

1085: 879:

She also interviewed people who had known Albert Reuss, including his niece in the USA

349:

where Reuss is quoted as having described three stages in the development of his art:

2086: 873: 523: 422: 327: 882:

Documents originally written in German were translated into English by Margret Vince

738: 474: 262: 186: 141: 50: 621:

1953, 1954, 1956, 1958, 1962, 1964, 1966, 1968, 1970, 1973: O'Hana Gallery, London

876:, carried out her research at the institutions listed in the external links below 273: 229: 1165: 140:

The couple were married in December 1916, but shortly after, Albert contracted

1592: 364: 233: 190: 121: 18: 2052: 224:, Cornwall in December 1938. A third exhibition took place in August 1939 in 1553:

Illustrates 69 paintings by Reuss owned by Newlyn Art Gallery, pp.82–87, 210

836: 669: 596:

1950: Public Library, Museum and Art Gallery, Darlington, North East England

250: 210: 202: 182: 167: 78: 46: 497:

exhibition, is in the process of organising a major national event called

1903: 1831: 1407: 1300: 944: 575:

1945: Royal Birmingham Society of Artists, New Street Gallery, Birmingham

531: 254: 217: 58: 38: 261:

were unsuccessful, as is evident in correspondence with founding member

1696: 1642: 109: 34: 30: 1936: 1548: 108:, a master butcher and meat trader. The couple at some stage moved to 2026: 1531:

Oil Paintings in Public Ownership in Cornwall and the Isles of Scilly

146: 42: 2057: 316: 312: 170:, with whom he exhibited on a number of occasions during the 1930s. 2047: 959:"Albert Reuss exhibition in The Picture Room at Newlyn Art Gallery" 717:

1962 to 1973: Yearly Christmas exhibitions, O’Hana Gallery, London

609:

1952: Public Library and Museum, South Shields, North East England

508: 225: 120: 17: 1582:

Illustrates 77 Reuss paintings owned by several English galleries

1722: 1009: 518:

Remembering Stone is adjacent to a Memorial Tree planted by the

2038:

Belvedere Museum Vienna - Art gallery & World Heritage Site

272:

of Great Britain, hosting local artists such as Mousehole-born

2072: 2037: 572:

1940, 1944: Cheltenham Art Gallery and Museum, Gloucestershire

213:. Reuss's remaining siblings emigrated to the United States. 2077: 1859: 1888:(in German). Hürth bei Köln: Edition Memoria. 6 April 2016. 624:

1974, 1979, 1980, 1983: The Newlyn Orion, Penzanze, Cornwall

177:(The Specialist Teaching Institute for the Clothing Industry 929:(Illustrated ed.). Newlyn: Patton Press. p. 156. 513:

Remembering Stone for Austrian Jewish Artist - Albert Reuss

2067: 593:

1950: Wolseley Room, Hove Public Library, Brighton, Sussex

197:

1938–1947: Flight from Vienna and first years in England

1658:

Recent Paintings by Albert Reuss [Londen, 1970]

1244:"100 First World War Stories | 100 Faces – 100 Stories" 578:

1945: Laing Art Gallery and Museum, Newcastle upon Tyne

711:

1968: Marc Serfaty Gallery, Los Angeles, United States

675:

1932: Chicago International Exhibition, United States

371:, a portrait of Rosa (1935; Newlyn Art Gallery) with 1340:"Central DB of Shoah Victims' Names – Ernstine Torn" 612:

1953: Victoria Park Museum, Keighley, West Yorkshire

587:

1948: Royal Cornwall Polytechnic, Falmouth, Cornwall

253:, a fishing village in Cornwall, three miles beyond 1315:"Central DB of Shoah Victims' Names – Julius Reiss" 1285:. Edgware: Vallentine Mitchell & Co Ltd. 2010. 1812:Bohm-Duchen, Monica & Dobson, Zuleika (1986). 590:1949, 1951, 1956: Studio ARRA, Mousehole, Cornwall 1533:. London: The Public Catalogue Foundation. 2007. 1166:"Departments – Israelitische Kultusgemeinde Wien" 536:Jewish American Society for Historic Preservation 1919:Albert Reuss in Mousehole: The Artist as Refugee 1623:Tutt'Art@ | Pittura * Scultura * Poesia * Musica 678:1940: Artists' International Association, London 615:1953: Batley Art Gallery, Batley, West Yorkshire 599:1951: Bankfield Museum, Halifax, West Yorkshire 1392:(Revised ed.). Bristol: Sansom & Co. 1141:"Albert Reuss: the artist as refugee | Art UK" 1025:Biography in English by Widder Gallery, Vienna 493:Monica Bohm Duchen, the organiser of the 1986 326:, and was opened by the Education Minister Dr 1645:American site illustrating 77 Reuss paintings 814:Royal Pavilion and Museums, Brighton and Hove 8: 1844:: CS1 maint: multiple names: authors list ( 728:Between the Wars: Austrian Artists 1918–1938 720:1978: New Arts Centre, Sloane Street, London 649:2017: Newlyn Art Gallery, Penzance, Cornwall 646:1992: Newlyn Art Gallery, Penzance, Cornwall 640:1985: Gallery Kuckucksmühle, Hilter, Germany 482:, on the cover of a book published in 2016, 1267:: CS1 maint: numeric names: authors list ( 569:1939: Gas Company Showroom, Truro, Cornwall 315:) and the Austrian Trade Union Federation ( 1956: by Susan Soyinka available under the 1712:Viennese gallery specialising in exile art 1061:"Albert Reuss (1889–1976) Austrian Artist" 584:1947: Turner House Gallery, Penarth, Wales 45:and fled to Britain in 1938 following the 29:(2 October 1889 – 4 November 1975) was an 2043:Cornwall Record Office - Cornwall Council 1801:(in German). Wien : Österr. Galerie. 771:Cheltenham Art Gallery & Museum, now 566:1938: Lanham's Gallery, St Ives, Cornwall 369:Woman Reading with Mother-In-Law's Tongue 2118:Austrian emigrants to the United Kingdom 1561: 1559: 987: 985: 983: 981: 979: 723:1997: Austrian Gallery Belvedere, Vienna 175:Fachlehranstalt für das Kleidungsgewerbe 1747: 1683: 1671: 1517: 1505: 1493: 1481: 1469: 1457: 1420: 1375: 1363: 1229: 1217: 995:Albert Reuss 1889-1976: An Introduction 927:100 Years in Newlyn: Diary of a Gallery 901:"Albert REUSS | Cornwall Artists Index" 892: 637:1982: City Art Gallery, Plymouth, Devon 484:Deutsche Künstler im Exil 1933 bis 1945 324:(Pictures of Loneliness – Albert Reuss) 173:From 1926 to 1938, Reuss taught at the 2078:The World Holocaust Remembrance Center 1837: 1777: 1766: 1260: 862:Cleveland Museum of Art, United States 488:(German Artists in Exile 1933 to 1945) 1814:Art in Exile in Great Britain 1933–45 963:Newlyn Art Gallery & The Exchange 634:1977: Preston Art Gallery, Lancashire 7: 2053:Mousehole Archive Society (facebook) 2023:77 artworks by or after Albert Reuss 1761:"Red Bulletin – July 2010 PP. 46–48" 1643:http://en.wahooart.com/@/AlbertReuss 1192:"basis wien – Nachlass Albert Reuss" 714:1971: Tel Aviv Museum of Art, Israel 668:1925, 1931, 1932, 1933, 1935, 1935: 581:1945: Salford Museum and Art Gallery 534:, with the financial support of the 321:Bilder der Einsamkeit – Albert Reuss 1567:"Albert Reuss (1889–1975) | Art UK" 1036:"Albert Reuss Biographical Details" 702:1956: Royal Academy of Arts, London 560:1926, 1931: Würthle Gallery, Vienna 2033:basis wien - Nachlass Albert Reuss 115:Akademie der bildenden Künste Wien 14: 2048:Israelitische Kultusgemeinde Wien 1248:www.100firstworldwarstories.co.uk 1170:Israelitische Kultusgemeinde Wien 831:Österreichische Galerie Belvedere 799:Birmingham Museum and Art Gallery 71:Österreichische Galerie Belvedere 1952: This article incorporates 1947: 1816:. London: Arkwright Arts Trust. 1697:"Kunsthandel Widder – Aktuelles" 1111:"Albert Reuss – Nick Waters Art" 125:Albert Reuss in his studio, 1918 96:1889–1922: Early years in Vienna 1921:. Bristol: Sansom and Company. 1388:Hall, Marshall (29 July 2005). 699:1956: St John's College, Oxford 618:1956: Heffer Gallery, Cambridge 387:(1971/72; Newlyn Art Gallery). 153:1922–1938: Artistic development 1608:Illustrates 27 Reuss paintings 788:Salford Museum and Art Gallery 520:Association of Jewish Refugees 457:, held in Vienna in 1980, and 249:In 1948, the Reusses moved to 245:1948–1975: The Mousehole years 1: 2068:Österreichisches Staatsarchiv 811:Fitzwilliam Museum, Cambridge 802:Bradford Museum and Galleries 643:1989: Ginger Gallery, Bristol 528:St Pol de Léon's Church, Paul 164:the Union of Austrian Artists 741:Gallery and Museum, Penzance 730:, Leopold Collection, Vienna 872:Albert Reuss's biographer, 755:Works in public collections 707:Academy of Fine Arts Vienna 685:, Leicester Gallery, London 683:Artists of Fame and Promise 2134: 2063:Newlyn Art Gallery Website 1434:"The Streams of St. Bride" 1390:The Artists of Northumbria 1242:Stories, 100 Faces - 100. 1208:The Estate of Albert Reuss 818:Victoria and Albert Museum 631:, Bawag Foundation, Vienna 526:, Reuss's biographer, and 67:Victoria and Albert Museum 1701:www.kunsthandelwidder.com 1438:www.ithellcolquhoun.co.uk 381:Self-Portrait in the Open 347:Artist Comes to ‘Explain’ 280:(1923–2002) of the 1738:Analysis of Reuss's work 1619:"Albert Reuss 1889-1976" 925:Hardie, Melissa (1995). 563:1938: St Mawes, Cornwall 129:At the beginning of the 81:both in Vienna, and the 1917:Soyinka, Susan (2017). 1593:"Albert Reuss | artnet" 808:, Print Cabinet, London 465:in the 2007 exhibition 445:The future of exile art 259:Penwith Society of Arts 2073:Tel Aviv Museum of Art 2058:Newlyn Archive Website 1795:Elfrieda Baum (1980). 1776:Cite journal requires 1655:Reuss, Albert (1970). 992:Reuss, Albert (1980). 850:Tel Aviv Museum of Art 778:Darlington Art Gallery 746:Tel Aviv Museum of Art 629:Pictures of Loneliness 514: 469:), in 2015 as part of 455:(The Ones Who Left Us) 402:Pictures of Loneliness 397: 361:(Die Kärntner Familie) 126: 83:Tel Aviv Museum of Art 23: 2113:People from Mousehole 2108:Sculptors from Vienna 1723:"Albert Reuss – Home" 1065:www.artistsandart.org 1010:"Albert Reuss – Home" 784:, Newcastle upon Tyne 512: 392: 377:Figure and Tree Stump 358:The Carinthian Family 307:. In September 1975, 124: 21: 2103:Painters from Vienna 1090:www.louisekosman.com 790:, Greater Manchester 404:of his final years. 207:John Sturge Stephens 22:Albert Reuss in 1915 1750:, pp. 187–196. 1686:, pp. 127–133. 1520:, pp. 183–186. 1508:, pp. 167–182. 1496:, pp. 159–166. 1484:, pp. 150–158. 1472:, pp. 134–149. 1460:, pp. 111–126. 905:cornwallartists.org 794:Shipley Art Gallery 604:Shipley Art Gallery 549:פותח לנו שערי רחמים 278:Alexander Mackenzie 102:Fleischhauermeister 1864:edition-memoria.de 1727:www.albertreuss.at 1674:, pp. 93–110. 1378:, pp. 76–186. 1344:yvng.yadvashem.org 1319:yvng.yadvashem.org 1014:www.albertreuss.at 768:, Newlyn, Penzance 766:Newlyn Art Gallery 735:The Bigger Picture 515: 499:Insiders/Outsiders 471:The Bigger Picture 427:Norette Collection 419:Norette Collection 415:Newlyn Art Gallery 379:originally titled 238:Dean Close School, 162:, (also known as 127: 55:Newlyn Art Gallery 24: 1661:. O'Hana Gallery. 1423:, pp. 76–87. 1366:, pp. 42–75. 1232:, pp. 27–41. 1220:, pp. 14–26. 1196:www.basis-wien.at 782:Laing Art Gallery 690:Friends of Israel 656:Group exhibitions 505:Remembering Stone 452:Die uns verließen 77:Gallery) and the 41:. He was born in 2125: 1951: 1940: 1908: 1907: 1882: 1876: 1875: 1873: 1871: 1856: 1850: 1849: 1843: 1835: 1809: 1803: 1802: 1792: 1786: 1785: 1779: 1774: 1772: 1764: 1757: 1751: 1745: 1739: 1737: 1735: 1733: 1719: 1713: 1711: 1709: 1707: 1693: 1687: 1681: 1675: 1669: 1663: 1662: 1652: 1646: 1640: 1634: 1633: 1631: 1629: 1615: 1609: 1607: 1605: 1603: 1589: 1583: 1581: 1579: 1577: 1563: 1554: 1552: 1527: 1521: 1515: 1509: 1503: 1497: 1491: 1485: 1479: 1473: 1467: 1461: 1455: 1449: 1448: 1446: 1444: 1430: 1424: 1418: 1412: 1411: 1385: 1379: 1373: 1367: 1361: 1355: 1354: 1352: 1350: 1336: 1330: 1329: 1327: 1325: 1311: 1305: 1304: 1279: 1273: 1272: 1266: 1258: 1256: 1254: 1239: 1233: 1227: 1221: 1215: 1209: 1207: 1205: 1203: 1187: 1181: 1180: 1178: 1176: 1162: 1156: 1155: 1153: 1151: 1137: 1131: 1130: 1128: 1126: 1117:. Archived from 1107: 1101: 1100: 1098: 1096: 1082: 1076: 1075: 1073: 1071: 1057: 1051: 1050: 1048: 1046: 1032: 1026: 1024: 1022: 1020: 1006: 1000: 999: 989: 974: 973: 971: 969: 955: 949: 948: 922: 916: 915: 913: 911: 897: 867:Acknowledgements 663:Vienna Secession 555:Solo exhibitions 431:Reuss Collection 276:(1918–1998) and 160:Vienna Secession 2133: 2132: 2128: 2127: 2126: 2124: 2123: 2122: 2083: 2082: 2019: 1968: 1966:Further reading 1943: 1929: 1916: 1912: 1911: 1896: 1884: 1883: 1879: 1869: 1867: 1858: 1857: 1853: 1836: 1824: 1811: 1810: 1806: 1794: 1793: 1789: 1775: 1765: 1759: 1758: 1754: 1746: 1742: 1731: 1729: 1721: 1720: 1716: 1705: 1703: 1695: 1694: 1690: 1682: 1678: 1670: 1666: 1654: 1653: 1649: 1641: 1637: 1627: 1625: 1617: 1616: 1612: 1601: 1599: 1591: 1590: 1586: 1575: 1573: 1565: 1564: 1557: 1541: 1529: 1528: 1524: 1516: 1512: 1504: 1500: 1492: 1488: 1480: 1476: 1468: 1464: 1456: 1452: 1442: 1440: 1432: 1431: 1427: 1419: 1415: 1400: 1387: 1386: 1382: 1374: 1370: 1362: 1358: 1348: 1346: 1338: 1337: 1333: 1323: 1321: 1313: 1312: 1308: 1293: 1281: 1280: 1276: 1259: 1252: 1250: 1241: 1240: 1236: 1228: 1224: 1216: 1212: 1201: 1199: 1189: 1188: 1184: 1174: 1172: 1164: 1163: 1159: 1149: 1147: 1139: 1138: 1134: 1124: 1122: 1121:on 12 June 2018 1115:Nick Waters Art 1109: 1108: 1104: 1094: 1092: 1084: 1083: 1079: 1069: 1067: 1059: 1058: 1054: 1044: 1042: 1034: 1033: 1029: 1018: 1016: 1008: 1007: 1003: 998:. Newlyn Orion. 991: 990: 977: 967: 965: 957: 956: 952: 937: 924: 923: 919: 909: 907: 899: 898: 894: 889: 869: 859: 846: 827: 762: 757: 694:Ben Uri Gallery 658: 557: 552: 544: 507: 447: 410: 340: 247: 199: 155: 131:First World War 98: 91: 69:in London, the 12: 11: 5: 2131: 2129: 2121: 2120: 2115: 2110: 2105: 2100: 2095: 2085: 2084: 2081: 2080: 2075: 2070: 2065: 2060: 2055: 2050: 2045: 2040: 2035: 2030: 2018: 2017:External links 2015: 2014: 2013: 2010: 2007: 2004: 2001: 1997: 1994: 1991: 1988: 1985: 1982: 1979: 1976: 1972: 1967: 1964: 1963: 1962: 1942: 1941: 1927: 1913: 1910: 1909: 1894: 1877: 1851: 1822: 1804: 1787: 1778:|journal= 1752: 1740: 1714: 1688: 1676: 1664: 1647: 1635: 1610: 1597:www.artnet.com 1584: 1555: 1539: 1522: 1510: 1498: 1486: 1474: 1462: 1450: 1425: 1413: 1398: 1380: 1368: 1356: 1331: 1306: 1291: 1274: 1234: 1222: 1210: 1182: 1157: 1132: 1102: 1086:"Albert Reuss" 1077: 1052: 1040:British Museum 1027: 1001: 975: 950: 935: 917: 891: 890: 888: 885: 884: 883: 880: 877: 868: 865: 864: 863: 858: 855: 854: 853: 845: 842: 841: 840: 834: 826: 823: 822: 821: 815: 812: 809: 806:British Museum 803: 800: 797: 791: 785: 779: 776: 769: 761: 758: 756: 753: 750: 749: 742: 731: 724: 721: 718: 715: 712: 709: 703: 700: 697: 686: 679: 676: 673: 666: 657: 654: 651: 650: 647: 644: 641: 638: 635: 632: 625: 622: 619: 616: 613: 610: 607: 600: 597: 594: 591: 588: 585: 582: 579: 576: 573: 570: 567: 564: 561: 556: 553: 546: 506: 503: 480:The Art Critic 463:Leopold Museum 446: 443: 409: 406: 339: 336: 289:Impressionists 282:St Ives School 246: 243: 201:Following the 198: 195: 154: 151: 135:Warsaw, Poland 106:Fleischhändler 97: 94: 90: 87: 63:British Museum 33:-born British 13: 10: 9: 6: 4: 3: 2: 2130: 2119: 2116: 2114: 2111: 2109: 2106: 2104: 2101: 2099: 2096: 2094: 2091: 2090: 2088: 2079: 2076: 2074: 2071: 2069: 2066: 2064: 2061: 2059: 2056: 2054: 2051: 2049: 2046: 2044: 2041: 2039: 2036: 2034: 2031: 2028: 2024: 2021: 2020: 2016: 2011: 2008: 2005: 2002: 1998: 1995: 1992: 1989: 1986: 1983: 1980: 1977: 1973: 1970: 1969: 1965: 1961: 1959: 1955: 1950: 1945: 1944: 1938: 1934: 1930: 1928:9781911408161 1924: 1920: 1915: 1914: 1905: 1901: 1897: 1895:9783930353354 1891: 1887: 1881: 1878: 1865: 1861: 1855: 1852: 1847: 1841: 1833: 1829: 1825: 1823:9780950553252 1819: 1815: 1808: 1805: 1800: 1799: 1791: 1788: 1783: 1770: 1762: 1756: 1753: 1749: 1744: 1741: 1728: 1724: 1718: 1715: 1702: 1698: 1692: 1689: 1685: 1680: 1677: 1673: 1668: 1665: 1660: 1659: 1651: 1648: 1644: 1639: 1636: 1624: 1620: 1614: 1611: 1598: 1594: 1588: 1585: 1572: 1568: 1562: 1560: 1556: 1550: 1546: 1542: 1540:9781904931300 1536: 1532: 1526: 1523: 1519: 1514: 1511: 1507: 1502: 1499: 1495: 1490: 1487: 1483: 1478: 1475: 1471: 1466: 1463: 1459: 1454: 1451: 1439: 1435: 1429: 1426: 1422: 1417: 1414: 1409: 1405: 1401: 1399:9780953260997 1395: 1391: 1384: 1381: 1377: 1372: 1369: 1365: 1360: 1357: 1345: 1341: 1335: 1332: 1320: 1316: 1310: 1307: 1302: 1298: 1294: 1292:9780853038528 1288: 1284: 1278: 1275: 1270: 1264: 1249: 1245: 1238: 1235: 1231: 1226: 1223: 1219: 1214: 1211: 1197: 1193: 1190:wien, basis. 1186: 1183: 1171: 1167: 1161: 1158: 1146: 1142: 1136: 1133: 1120: 1116: 1112: 1106: 1103: 1091: 1087: 1081: 1078: 1066: 1062: 1056: 1053: 1041: 1037: 1031: 1028: 1015: 1011: 1005: 1002: 997: 996: 988: 986: 984: 982: 980: 976: 964: 960: 954: 951: 946: 942: 938: 936:9781872229171 932: 928: 921: 918: 906: 902: 896: 893: 886: 881: 878: 875: 874:Susan Soyinka 871: 870: 866: 861: 860: 857:United States 856: 851: 848: 847: 843: 838: 835: 832: 829: 828: 824: 819: 816: 813: 810: 807: 804: 801: 798: 795: 792: 789: 786: 783: 780: 777: 774: 770: 767: 764: 763: 759: 754: 752: 747: 743: 740: 736: 732: 729: 725: 722: 719: 716: 713: 710: 708: 704: 701: 698: 695: 691: 687: 684: 680: 677: 674: 671: 667: 664: 660: 659: 655: 653: 648: 645: 642: 639: 636: 633: 630: 626: 623: 620: 617: 614: 611: 608: 605: 601: 598: 595: 592: 589: 586: 583: 580: 577: 574: 571: 568: 565: 562: 559: 558: 554: 550: 545: 542: 539: 537: 533: 529: 525: 524:Susan Soyinka 521: 511: 504: 502: 500: 496: 491: 489: 485: 481: 476: 472: 468: 464: 460: 456: 453: 444: 442: 438: 434: 432: 428: 424: 423:Susan Soyinka 420: 416: 407: 405: 403: 396: 391: 388: 386: 382: 378: 374: 373:Woman Reading 370: 366: 362: 359: 353: 350: 348: 342: 337: 335: 331: 329: 328:Fred Sinowatz 325: 322: 318: 314: 310: 306: 300: 296: 292: 290: 285: 283: 279: 275: 271: 266: 264: 260: 256: 252: 244: 242: 239: 235: 231: 227: 223: 219: 214: 212: 208: 204: 196: 194: 192: 188: 184: 180: 176: 171: 169: 165: 161: 152: 150: 148: 143: 138: 136: 132: 123: 119: 117: 116: 111: 107: 103: 95: 93: 88: 86: 84: 80: 76: 72: 68: 64: 60: 56: 52: 48: 44: 40: 36: 32: 28: 20: 16: 2025: at the 1958:CC BY-SA 3.0 1946: 1918: 1885: 1880: 1868:. Retrieved 1863: 1854: 1813: 1807: 1797: 1790: 1769:cite journal 1763:(in German). 1755: 1748:Soyinka 2017 1743: 1730:. Retrieved 1726: 1717: 1704:. Retrieved 1700: 1691: 1684:Soyinka 2017 1679: 1672:Soyinka 2017 1667: 1657: 1650: 1638: 1626:. Retrieved 1622: 1613: 1600:. Retrieved 1596: 1587: 1574:. Retrieved 1570: 1530: 1525: 1518:Soyinka 2017 1513: 1506:Soyinka 2017 1501: 1494:Soyinka 2017 1489: 1482:Soyinka 2017 1477: 1470:Soyinka 2017 1465: 1458:Soyinka 2017 1453: 1441:. Retrieved 1437: 1428: 1421:Soyinka 2017 1416: 1389: 1383: 1376:Soyinka 2017 1371: 1364:Soyinka 2017 1359: 1347:. Retrieved 1343: 1334: 1322:. Retrieved 1318: 1309: 1282: 1277: 1251:. Retrieved 1247: 1237: 1230:Soyinka 2017 1225: 1218:Soyinka 2017 1213: 1200:. Retrieved 1195: 1185: 1173:. Retrieved 1169: 1160: 1148:. Retrieved 1144: 1135: 1123:. Retrieved 1119:the original 1114: 1105: 1093:. Retrieved 1089: 1080: 1068:. Retrieved 1064: 1055: 1043:. Retrieved 1039: 1030: 1017:. Retrieved 1013: 1004: 994: 966:. Retrieved 962: 953: 926: 920: 908:. Retrieved 904: 895: 775:, Cheltenham 751: 739:Penlee House 734: 727: 689: 682: 652: 628: 548: 543: 541:Inscription 540: 516: 498: 495:Art in Exile 494: 492: 487: 483: 479: 475:Penlee House 470: 466: 459:Art in Exile 458: 454: 451: 448: 439: 435: 430: 426: 418: 411: 401: 398: 393: 389: 384: 380: 376: 372: 368: 360: 357: 354: 351: 346: 343: 341: 332: 323: 320: 308: 304: 301: 297: 293: 286: 270:Arts Council 267: 263:Peter Lanyon 248: 237: 215: 200: 187:Egon Schiele 178: 174: 172: 163: 156: 142:tuberculosis 139: 128: 113: 105: 101: 99: 92: 51:Adolf Hitler 27:Albert Reuss 26: 25: 15: 2098:1975 deaths 2093:1889 births 1866:(in German) 1198:(in German) 796:, Gateshead 606:, Gateshead 385:Interior II 274:Jack Pender 230:enemy alien 85:in Israel. 2087:Categories 1937:191140816X 1904:3930353350 1832:0950553255 1628:7 December 1549:1904931308 1408:0953260992 1301:085303852X 945:1872229174 887:References 773:The Wilson 365:Surrealism 234:Cheltenham 191:Nazi Party 1840:cite book 1571:artuk.org 1145:artuk.org 837:Albertina 670:Hagenbund 251:Mousehole 211:Holocaust 203:Anschluss 183:Maria Eis 168:Hagenbund 147:Vienna IV 79:Albertina 75:Belvedere 47:Anschluss 1960:license. 1870:22 March 1732:22 March 1706:22 March 1576:22 March 1349:22 March 1324:22 March 1263:cite web 1253:22 March 910:22 March 852:, Israel 839:, Vienna 833:, Vienna 820:, London 748:, Israel 696:, London 672:, Vienna 665:, Vienna 532:Penzance 309:Euro Art 305:Euro Art 255:Penzance 218:St Mawes 65:and the 59:Cornwall 39:sculptor 31:Austrian 1070:12 June 1045:12 June 1019:12 June 825:Austria 760:England 530:, near 473:at the 450:called 222:St Ives 110:Malacky 35:painter 2027:Art UK 1935: 1925: 1902: 1892: 1830: 1820: 1602:28 May 1547: 1537: 1443:28 May 1406: 1396: 1299: 1289: 1202:28 May 1175:28 May 1150:28 May 1125:28 May 1095:28 May 968:28 May 943: 933: 844:Israel 744:2016: 733:2015: 726:2007: 705:1963: 688:1955: 681:1950: 661:1922: 627:1975: 602:1951: 408:Estate 61:, the 43:Vienna 338:Works 226:Truro 73:(the 2029:site 2000:2007 1975:1980 1954:text 1933:ASIN 1923:ISBN 1900:ASIN 1890:ISBN 1872:2018 1846:link 1828:ASIN 1818:ISBN 1782:help 1734:2018 1708:2018 1630:2023 1604:2018 1578:2018 1545:ASIN 1535:ISBN 1445:2018 1404:ASIN 1394:ISBN 1351:2018 1326:2018 1297:ASIN 1287:ISBN 1269:link 1255:2018 1204:2018 1177:2018 1152:2018 1127:2018 1097:2018 1072:2018 1047:2018 1021:2018 970:2018 941:ASIN 931:ISBN 912:2018 104:and 89:Life 37:and 317:ÖGB 313:SPÖ 57:in 2089:: 1931:. 1898:. 1862:. 1842:}} 1838:{{ 1826:. 1773:: 1771:}} 1767:{{ 1725:. 1699:. 1621:. 1595:. 1569:. 1558:^ 1543:. 1436:. 1402:. 1342:. 1317:. 1295:. 1265:}} 1261:{{ 1246:. 1194:. 1168:. 1143:. 1113:. 1088:. 1063:. 1038:. 1012:. 978:^ 961:. 939:. 903:. 737:, 692:, 538:. 490:. 486:, 433:. 49:, 1939:. 1906:. 1874:. 1848:) 1834:. 1784:) 1780:( 1736:. 1710:. 1632:. 1606:. 1580:. 1551:. 1447:. 1410:. 1353:. 1328:. 1303:. 1271:) 1257:. 1206:. 1179:. 1154:. 1129:. 1099:. 1074:. 1049:. 1023:. 972:. 947:. 914:. 179:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.