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Hotman claimed the bond's commonly used issuing structure was illegal in Indonesia and therefore unenforceable. A local court ruled in APP's favor. The Supreme Court upheld the ruling in 2006 but then reversed its ruling in 2008. [20] Hotman in 2004 said the creditors who bought APP's debt at a discount were “greedy” to demand equal repayment.
Nicolas Hotman (also Autheman, Haultemant, Hautman, Otteman; [1] ca. 1610–1663) was a Baroque composer, who spent most of his career in France. He is believed to have been from Germany, but was probably born in Brussels .
Mycenaean stirrup jar from Ras Shamra Syria, 1400–1300 BC. An artifact [a] or artefact (British English) is a general term for an item made or given shape by humans, such as a tool or a work of art, especially an object of archaeological interest. [1]
Hans Hofmann, Pompeii, oil on canvas, 84.25” x 52.25", 1959. Hofmann's art is generally distinguished by its rigorous concern with pictorial structure and unity, development of spatial illusion through the "push and pull" of color, shape and placement, and use of bold, often primary color for expressive means. [4]
A cultural artifact, or cultural artefact (see American and British English spelling differences), is a term used in the social sciences, particularly anthropology, [1] ethnology [2] and sociology [citation needed] for anything created by humans which gives information about the culture of its creator and users.
Heinrich Hofmann grew up in a family that harbored a deep interest in art. His father, advocate Heinrich Karl Hofmann (1795–1845) painted in watercolors, his mother Sophie Hofmann, née Volhard (1798–1854) gave lessons in art before she married, and his four brothers all showed artistic talent.
The object is created by a single artisan or team of artisans. The craft-person works within an established cultural framework. The folk art has a recognizable style and method in crafting its pieces, which allows products to be recognized and attributed to a single individual or workshop.
Maria Tumarkin describes Hofmann's review writing as "masterful" and "convention-eviscerating". [19] Philip Oltermann remarks on the "savagery" with which Hofmann "can wield a hatchet", stating (with reference to Hofmann's antipathy towards Stefan Zweig) that: "Like a Soho drunk stumbling into the National Portrait Gallery in search of a good scrap, Hofmann has battered posthumous reputations ...