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Jonah KinigsteinLarge Figurative Expressionist Oil Painting Rediscovered New York City Artistc.1950's
c.1950's
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About the Item
Jonah Kinigstein (b. 1923) is an American Postwar & Contemporary painter. He works in a figurative expressionist style. His works are featured in the Smithsonian American Art Museum, the National Academy of Design, the Whitney Museum of American Art, and the Museum of Modern Art in New York. He lives in New York City. Jonah Kinigstein was trained at Cooper Union Art School, The Grande Chaumiere in Paris; and Belle Arte in Rome. He has been a Fulbright Fellow. He has holdings at MOMA, the Ain Herod Museum in Tel Aviv; Smithsonian; the Albright-Knox Gallery and the Nelson Gallery of Art. He lived and worked in Brooklyn New York. Kinigstein was inducted as an Academician into the National Academy of Design in 1997.
Exhibits include: Young Americans at the Whitney Museum of American Art; the National Academy of Arts and Letters; ACA Gallery; Rittenhouse Gallery; the Washington Irving Gallery; and the Pindar Gallery.
Contemporary American Painting and Sculpture (CAPS) '59, University of Illinois, Arthur Okamura, Fred Farr, Jonah Kinigstein, Lawrence Calcagno, Reuben Tam and Rico Lebrun.
Jonatha Kinigstein attended The Cooper Union and Grand Chaumiere, Paris. He received a Fulbright scholarship to study in Rome, and has also received awards from the Butler Art Institute; American Academy of Arts and Letters; Silvermine Guild; and Louis Comfort Tiffany Foundation. Kinigstein has had solo shows at Galerie Bretau, Paris; Alan Gallery, Grippi Gallery, ACA Gallery, and Pindar Gallery, New York; Siembab Gallery, Boston; Rittenhouse Gallery, Philadelphia; among others. His work is in the collections of the Whitney Museum of American Art; Museum of Modern Art; Allentown Art Museum; Albright Art Gallery; Butler Art Institute; and more. He has taught at the Brooklyn Museum and National Academy of Design School of Fine Arts.
Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. A classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit. He was included in the MoMA show, Summer Exhibition: New Acquisitions; Recent American Prints, 1947–1953; Katherine S. Dreier Bequest; Kuniyoshi and Spencer; Expressionism in Germany; Varieties of Realism along with Alexander Archipenko, Francis Bacon, Balthus, Will Barnet, Leonard Baskin, Eugene Berman, Reg Butler, Lovis Corinth, Andre Derain, Otto Dix, Raoul Dufy, Max Ernst, Lucian Freud, George Grosz, Alexei Jawlensky, Oskar Kokoschka, Roberto Matta, Man Ray, Marcel Duchamp and more.
The most comprehensive collection of paintings by the noted satirist and cartoonist Jonah Kinigstein Unrepentant Artist features over a hundred paintings that “discover the most repulsive absurdities and abnormalities in the world as a whole — in human existence as such” (from Barry Schwabsky’s introduction). Kinigstein’s portrait and landscape paintings and satirical cartoons. An art-world pariah most of his life, he’s become an unlikely star at age 92, with an acclaimed exhibition of his savagely satirical cartoons at the Society of Illustrators in New York and a new book from comics powerhouse Fantagraphics that shares its title, “The Emperor’s New Clothes: The Tower of Babel in the ‘Art’ World. “ As that name attests, Kinigstein’s work rips into what he sees as the vapidity, pretension and inanity of 20th-century modern art, from institutions like MoMA to gallerists like Ilona Sonnabend to critics like Clement Greenberg. Sacred-cow abstract expressionist artists — Willem de Kooning, Jackson Pollock, Jasper Johns – don’t escape his poison pen, either. “I put the cartoons up on walls all over Soho,” he says. “I really gave these people the business. And I got a lot of pushback. Some people wanted to fight with me.” They’d have a tough adversary. Kinigstein was born in the Bronx and raised on East Tremont Avenue in one of the borough’s rougher sections. His family was Jewish, but not especially religious; “we had Passover Seders, things like that,” he says. He studied architecture and painting at Cooper Union, which was still free at the time for deserving students. After serving in the Army as a photographer, Kinigstein bolted for Paris and Rome, where he studied art on a Fulbright scholarship and exhibited his paintings.
Back in the U.S., Kinigstein’s figurative work found a following, until it didn’t; as more diffuse art forms took over, his style fell out of favor among art-world gatekeepers. “There was no interest in figurative art or what I had to say,” he remembers. To support himself, he launched a career in advertising and commercial illustration, drawing and painting on the side. “I’m really a painter. The cartoons came later,” he says. “I had to do something to clear the air.”
Eventually, Kinigstein sent his cartoons to Fantagraphics, where they lay in the office of publisher Gary Groth for five years. When Groth finally got around to opening Kinigstein’s mailing tube, he was blown away. “It was savage, contrarian work,” Groth says in the short film that accompanies Kinigstein’s MoCCA exhibition. The cartoons – which draw inspiration from classic satirical cartoonists like William Hogarth, James Gillray, and George Cruickshank — have been collected in a handsome 80-page volume that lands this month. Not everyone in the art world gets darts from Kinigstein. “I never lost interest in Picasso,” he says. “He was always figurative.” Kinigstein pointed to the packed walls of the Society of Illustrators’ gracious third-floor restaurant, where he spoke with the Forward. In the meantime, Kinigstein seems to be enjoying his belated moment in the sun. He’s even slated to lecture this spring at Parsons the New School for Design, the temple of art education in New York.
- Creator:Jonah Kinigstein (1923, American)
- Creation Year:c.1950's
- Dimensions:Height: 36 in (91.44 cm)Width: 60 in (152.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:good. needs new frame. this is being sold unframed.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38210470982
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By Jonah Kinigstein
Located in Surfside, FL
King and queen with clowns and jesters. Bold, colorful, expressionist masterful painting.
Jonah Kinigstein (b. 1923) is an American Postwar & Contemporary painter. He works in a figurative expressionist style. His works are featured in the Smithsonian American Art Museum, the National Academy of Design, the Whitney Museum of American Art, and the Museum of Modern Art in New York. He lives in New York City. Jonah Kinigstein was trained at Cooper Union Art School, The Grande Chaumiere in Paris; and Belle Arte in Rome. He has been a Fulbright Fellow. He has holdings at MOMA, the Ain Herod Museum in Tel Aviv; Smithsonian; the Albright-Knox Gallery and the Nelson Gallery of Art. He lived and worked in Brooklyn New York. Kinigstein was inducted as an Academician into the National Academy of Design in 1997.
Exhibits include: Young Americans at the Whitney Museum of American Art; the National Academy of Arts and Letters; ACA Gallery; Rittenhouse Gallery; the Washington Irving Gallery; and the Pindar Gallery.
Contemporary American Painting and Sculpture (CAPS) '59, University of Illinois, Arthur Okamura, Fred Farr, Jonah Kinigstein, Lawrence Calcagno, Reuben Tam and Rico Lebrun.
Jonatha Kinigstein attended The Cooper Union and Grand Chaumiere, Paris. He received a Fulbright scholarship to study in Rome, and has also received awards from the Butler Art Institute; American Academy of Arts and Letters; Silvermine Guild; and Louis Comfort Tiffany Foundation. Kinigstein has had solo shows at Galerie Bretau, Paris; Alan Gallery, Grippi Gallery, ACA Gallery, and Pindar Gallery, New York; Siembab Gallery, Boston; Rittenhouse Gallery, Philadelphia; among others. His work is in the collections of the Whitney Museum of American Art; Museum of Modern Art; Allentown Art Museum; Albright Art Gallery; Butler Art Institute; and more. He has taught at the Brooklyn Museum and National Academy of Design School of Fine Arts.
Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. A classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit. He was included in the MoMA show, Summer Exhibition: New Acquisitions; Recent American Prints, 1947–1953; Katherine S. Dreier Bequest; Kuniyoshi and Spencer; Expressionism in Germany; Varieties of Realism along with Alexander Archipenko, Francis Bacon, Balthus, Will Barnet, Leonard Baskin, Eugene Berman, Reg Butler, Lovis Corinth, Andre Derain, Otto Dix, Raoul Dufy, Max Ernst, Lucian Freud, George Grosz, Alexei Jawlensky...
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Diego Barboza was born the Carabobo street of Maracaibo, Venezuela on February 4, 1945. He was a Venezuelan Neo Figurative Painter who is among the most famous and influential figures in Venezuelan art history. Diego Barboza opened a new chapter in Latin America, beyond the surreal or the magical realism of the Modern Latin American Masters. He created a new language of dislocation and transgression. Personages became distorted to the point that was very exaggerated forms His figures twisted and contorted without losing their presence or their pull. Extremities muscles, and bones burst into an explosive compound of divergent and convergent lines. Through eruptive brushstrokes and fractured outlines. Barboza created a world of illusions.
Barboza was born into a upper-middle-class family. He stopped going to school at 12 years old, and he registered himself at the School of Visual Art in the City of Maracaibo Venezuela. Barboza studied at the School of Visual Arts in Caracas, Venezuela. Barboza began his training as an artist at age 12 in his native Maracaibo when he left formal education to enroll in the then School of Plastic Arts of Zulia, then Julio Arraga School of Plastic Arts, where he was a student in the modeling, collage and Drawing of Angelina Curiel. His first collages, in the sixties, show the influence of American Pop Art. In 1967 he exhibited at the Ateneo de Caracas his series 'Los Ratones', a proposal then 'criticized by critics as unprecedented in Venezuela'. In his tribute to the film "Nosferatu" Friedrich Murnau included 32 drawings as well as two-dimensional objects. In 1968 he moved to London where he studied at the London College of Printing. From that time is his '30 Girls with Nets', an action in which 30 students of the London College of Printing, dressed in black and covered by white nets, toured London public places, behaving naturally. His 'street expressions', which he later called 'poetic actions', symbolized a breakdown of social restraints through unusual behaviors that sought to provoke public reactions. Upon his return to Venezuela in 1973, Barboza continues with this line of work, being recognized as one of the initiators of Venezuelan conceptual art. In the 1980's Diego Barboza turned to painting, the New Venezuelan Figuration. Here belongings and the feminine figure fill the work of that time, in which he embodied his intimacy and daily life through scenes of furnishings and flowers that included objects from his workshop and home. His nudes were made from live model, then to follow the path of distortion resulting in their unmistakable females: a figure that represented their personal way of appreciating beauty. Barboza presented his first individual exhibition at the Centro de Bellas Artes of Maracaibo Venezuela. In 1963, he traveled to London when the Conceptual Art movement started, he had the support of the London New Art Lab Gallery. On March 7, 1970 Barboza displayed his first work on Conceptual Art, which he called Art of Action. In London with the performance of 30 Girls with nets (30 Muchachas con redes). His second work was Nets and Hats in markets and restaurants (Con sombreros y redes en mercados y restaurantes). In London UK. His third The Centerpiece (El Ciempies) and the fourth Expression on a laundry-mat (Expresiones en una lavandería)
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Diego has made numerous solo and group exhibitions, obtaining rewards since 1963. He is represented in the most important museums of Venezuela, as well as in England, Brazil, Colombia and Cuba. In 1986 he was awarded the Municipal Visual Arts Award of the Municipal Council of the Federal District and in 1997 he received the National Prize for Plastic Arts granted by the National Council of Culture, CONAC.
Select Group Exhibitions
1964 Ateneo de Caracas, Caracas, Venezuela
1965 Salón Arturo Michelena, Valencia, Venezuela
1968 Salón Oficial Museo de Bellas Artes, Caracas, Venezuela
1971 Art Spectrum London, London, Great Britain
1972 Serpentine Gallery, London, Great Britain
1973 Midland Group Gallery, London, Great Britain
1974 Galería BANAP, Caracas, Venezuela
1975 Casa de Las Américas, La Habana, Cuba
Museo de Bellas Artes, Caracas
Galería de Arte Nuevo, Buenos Aires, Argentina
1976 Museo de Arte Moderno, Bogotá, Colombia
Museo de Arte Contemporáneo, Sao Paulo, Brazil
Museo de la Tertulia, Cali, Colombia
Bienal de Venecia, Venecia, Italy
1979 Centro de Artes y Comunicación, Buenos Aires, Argentina
1980 Galería NBC, Memphis, Tennessee, USA
1981 Galería de Arte Nacional, Caracas, Venezuela
Museo de Arte Contemporáneo, Medellín, Colombia
Museo de Bellas Artes, Caracas, Venezuela
1986 Museo de Arte La Rinconada, Caracas, Venezuela
1989 Galería Venzor, Chicago, Illinois, USA
1990 Museo Bellas Artes, Santiago de Chile, Chile
1992 Ambrosino Gallery, Coral Gables, Florida, USA
1993 Museo de Arte de Petare, Caracas, Venezuela
Centro de Arte Lia Bermúdez, Maracaibo, Venezuela
1994 Galería Namia Mondolfi, Caracas, Venezuela
1995 Galería Art Nouveau, Maracaibo, Venezuela
Galería Cesar Sassòn, Caracas, Venezuela
Maremares Resort, Puerto La Cruz, Venezuela
Galería Durban, Caracas, Venezuela
Galería Odalys, Caracas, Venezuela
1996 Centro de Arte Grupo Li, Caracas, Venezuela
Galería Uno, Caracas, Venezuela
Centro Cultural Consolidado, Caracas, Venezuela
Espacios Unión, Caracas, Venezuela
Hebraica, Caracas, Venezuela
1997 Sociedad Dramática, Maracaibo, Venezuela, Venezuela
CELARG, Caracas, Venezuela
Galería Ocre Arte, Caracas, Venezuela
Museo de Arte Contemporáneo , Maracay, Venezuela
Galería Medicci, Caracas, Venezuela
Awards
1963 Premio Estímulo - IX Salón d’Empaire, Maracaibo, Venezuela
1964 Premio José Ortìn Rodríguez - X Salón d’Empaire, Maracaibo, Venezuela
1965 Primer Premio de Dibujo - III Salón Pez Dorado, Caracas, Venezuela
1968 Premio Henrique Otero Vizcarrondo - XXIV Salón Oficial Anual de Arte Venezolano Museo de Bellas Artes,
1973 Premio Emilio Boggio...
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Abstract oil painting on stretched canvas featuring figures against a dark brown background. Signed upper left.
Adolf Benca was born in Bratislava, Slovakia in 1959. He immigrated to the United States in 1969 and he studied at the Cooper Union for the Advancement of Science and Art, and received a Master's of Fine Art from the Columbia University College.
Adolf Benca (born 1959, in Bratislava, Czechoslovakia), is an American Post war/ Contemporary painter of Slovakian origin.
Benca was born on 16 May 1959, in Bratislava, Czechoslovakia. He was the older of two children, the younger being his sister Lubica. His family immigrated to the United States when he was ten years old, in 1969. From 1969 to 1973 he attended the Elementary Private School in Chicago. He attended Grayslake High School in Illinois between 1973 and 1977. He became interested in art very early in his life, attending several art schools in Chicago while he was an elementary student.
In 1966, while he was still living in Czechoslovakia, he was already illustrating children's books. In 1968, a year prior to his family emigrating from Czechoslovakia, because of Russian occupation of Bratislava, his family moved to Vienna, where young Benca became interested in philosophy and started painting mythological themes and subjects. He participated in a few young artist programs in 1970 and 1971.
Adolf Benca studied and graduated from several universities. From 1977 to 1981 he studied at The Cooper Union for the Advancement of Science and Art, art school in New York, where he received his B.F.A. (Bachelor of Fine Arts) degree. For the next four years (1982–1985) he studied at the Columbia University College of Physicians and Surgeons, graduating at 1987, receiving the title of Master of Fine Arts (M.F.A.). From 1987 to 1988 he studied the human anatomy at the University of Bologna in Italy where he received the title "Doctor honoris causa" (Dr.h.c.) in the area of anatomy. At University Johns Hopkins in Baltimore, Maryland he received the title "Doctor honoris causa" in the area of philosophy. As he was receiving his titles and studied, Benca continued to paint and exhibit his works in many galleries around the world, many of his paintings ending up in private collections.
In 1985 he became a member of the Swizzero di Roma.
In 1987 he became a member of the French Academy in Rome.
In 1988 he became a member of the American Academy in Rome.
In 1994 he became a member of the Swedish Institute in Rome.
In 2000 he became a member of the Academy of Arts in Berlin.
After "the Fall of the Iron Curtain" he decided to continue his career in Central and Eastern Europe.
In 2002 he started his work in Prague, and was awarded the award of the "Masaryk Academy".
In 2012 Adolf Benca and the "Bratislava's ship company" a.d. (Bratislavská lodná spoločnosť a. s ) have founded the company "Adolf Benca Académia s.r.o.". He was included in Bomb Magazine Painters & Writers No. 4 Along with William Wegman, David Salle, Nancy Spero, Francesco Clemente, Julian Schnabel, Pat Steir, and more. His works can be found all over the world, in private collections, as well as exhibits at museums, such as "Metropolitan Museum" and "Museum of Modern Art" in New York.
Select Museums
Museum of Modern Art, New York, NY – MoMA
Metropolitan Museum of Art, New York, NY
National Art Gallery, Washington, D.C.
Fred Jones Jr. Museum of Art, The University of Oklahoma
High Museum of Art Atlanta
Musei Vatican, Vatican, Rome
Williams College Museum of Art, Williamstown, Massachusetts
Arkansas Arts Center Foundation Collection, Little Rock, Arkansas
Henry Art Gallery at the University of Washington, Seattle
Contemporary Art Museum, Tel Aviv
Art Museum, Hong Kong
Floating Galleries of the Slovakia, Bratislava
National Gallery of the Slovakia, Bratislava
Select group exhibitions
Matica Slovenska, "Cultural Revolutions", Martin, Slovakia
United Nations, Artists From Slovakia
Arkansas Arts Center Foundation Collection
Achim Moeller Fine Art...
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Numerous key galleries and museums such as Morton Auctions, Cerro de Mayka have featured Fanny Rabel's work in the past. Her anti-Nazi and anti-Fascism politics resulted in her participation in a mural called Retrato de la Burguesía in 1940 for the Sindicato Mexicano de Electricistas building on Alfonso Caso Street in Mexico City. Rabel met a group of exiled Spaniards in Mexico along with Antonio Pujol, who invited her to take part in a mural project headed by him, David Alfaro Siqueiros, Joseph Renau, Luis Arenal, Antonio Rodríguez Luna and Miguel Prieto. The artist died in 2008.
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She is considered to be the first female muralist in Mexico. She was an assistant to Diego Rivera while he worked on the frescos for the National Palace and an apprentice to David Alfaro Siqueiros. Her most important mural is Ronda en el tiempo located in the Museo Nacional de Antropología, which was created from 1964 to 1965. She also created murals at the Unidad de Lavaderos Público de Tepalcatitlán (1945), Sobrevivencia, Alfabetización in Coyoacán in 1952 Sobrevivencia de un pueblo at the Centro Deportivo Israelita (1957) Hacia la salud for the Hospital Infantil de México (1982), La familia mexicana at the Registro Público de la Propiedad (1984) (which Rabel preferred to title Abolición de la propiedad privada) and at the Imprenta Artgraf. In collaboration with other artists, she participated in the creation of the murals at the La Rosita pulque bar (disappeared) and at the Casa de la Madre Soltera.
She entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" shortly after it was established in 1942, taking classes with José Chávez Morado, Feliciano Peña and Frida Kahlo, with whom she became close friends. She changed her last name from Rabinovich to Rabel during her career.
Rabel married urologist Jaime Woolrich and had two children Abel and Paloma Woolrich, both of whom became actors. The first exhibition of her work was in 1945 with twenty-four oils, thirteen drawings, and eight engravings at the Liga Popular Israelita with Frida Kahlo writing the presentation. In 1955, she had an individual exhibition at the Salón de la Plástica Mexicana. She had a large exhibition at the Museum of the Palacio de Bellas Artes to commemorate a half-century of her work. Her last exhibition was in 2007 at the Universidad Autónoma Metropolitana. Her work can be found in collections in over fifteen countries including those of the New York Public Library, the Library of Congress in Washington, D.C., the Royal Academy of Denmark, the National Library in Paris, the Casa de las Américas in Havana, the Benemérita Universidad Autónoma de Puebla and the Museo de Arte Moderno in Mexico City.
A retrospective of her work after her death called Retrospectiva in Memoriam, Fanny Rabel (1922-2008) was held at the Museum of the Universidad Popular Autónoma del Estado de Puebla . She is considered to be the first modern female muralist in Mexico although she also did significant work in painting, engraving, drawing, and ceramic sculpture. Her work has been classified as poetic Surrealism, Neo-expressionism and is also considered part of the Escuela Mexicana de Pintura (the dominant art movement of the early to mid 20th century in Mexico) as one of the youngest muralists to be associated with it along with Arnold Belkin and José Hernández Delga.
Rabel was more drawn to depicting mankind’s pain rather than happiness, sharing other Mexican muralists' concerns about social injustice. However, she stated to Leopoldo Méndez that she could not create combative works, with clenched fists and fierce faces, and she wanted to leave the Taller de Gráfica Popular. Méndez convinced her to stay, saying that more tender images are important to political struggle as well. Children with Mexican faces...
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size: 15 x 21.5 inches
condition: very good
provenance: from the artists estate, France...
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This oil painting on Belgian linen canvas with vivid colours depicts people and situations with whom the artist have had contact. Whilst the works are not strictly speaking, portrait...
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