Великие камерные певцы

The War Years

In 1941, Franz Rupp became Anderson’s pianist. They toured together across the United States and South America and began recording with RCA. Anderson had made several recordings for HMV in the late 1920s and 1930s, but this arrangement with RCA led to many more records. As with her concerts, the recordings included German lieder and spirituals.

In 1943, Anderson married Orpheus «King» Fisher, an architect. They had known each other in high school when she stayed at his family’s home after a benefit concert in Wilmington, Delaware; he had later married and had a son. The couple moved to a farm in Connecticut, which they called Marianna Farms. King designed them a home with a music studio.

Doctors discovered a cyst on Anderson’s esophagus in 1948, and she submitted to an operation to remove it. While the cyst threatened to damage her voice, the operation also endangered her voice. For two months she was not allowed to speak and there were fears that she might have suffered permanent damage. But she recovered and her voice was not affected by the procedure.

биография

Мэриан Андерсон — старшая из трех детей Джона Беркли Андерсона, торговца с рынка Reading Terminal Market  (en) в Филадельфии, и учителя Анны Ракер Далилы Андерсон. Учитывая контекст расовой сегрегации в Соединенных Штатах, протестантские церкви представляют собой одно из привилегированных мест собраний, солидарности и образования для афроамериканского сообщества. Пение и госпел играют фундаментальную роль в обрядах афроамериканских баптистских церквей, поэтому многие афроамериканские певцы проходят музыкальное и вокальное обучение в своих церквях. Многие религиозные группы имели свой собственный хор, например, Союзная баптистская церковь в Филадельфии, к которой Мэриан Андерсон присоединилась с шести лет. С этой точки зрения ее карьера началась так же, как и у других афроамериканских музыкальных деятелей, таких как Роланд Хейс, ее коллега-мужчина. По инициативе тети Мэриан Андерсон присоединилась к этому хору, в котором она исполняла дуэты и соло. Его тетя действительно сыграла важную роль в его музыкальном обучении, водила его на различные концерты в местных церквях. В 10 лет она присоединилась к Народному хору Филадельфии, в котором регулярно была солисткой. Она закончила начальное образование в средней школе Стэнтона и закончила ее в 1912 году. Как и во многих работающих афро-американских семьях, родители Мэриан Андерсон не могли позволить себе получить высшее образование. Следует отметить, что в средних школах и университетах преподавали музыку, и что во многих университетах были свои хоры, например, в университете Фиск . Таким образом, возможность поступления в одно из этих учебных заведений открывала возможность, в том числе для творческой карьеры, особенно для афроамериканских музыкантов. Тем не менее, директора Народного хора Филадельфии, а также пастор церкви преподобный Уэсли Паркс организовали сбор средств, чтобы позволить Мэриан Андерсон поступить в среднюю школу Южной Филадельфии и взять частные уроки пения у Джузеппе Богетти  (in) и Агнес. Рейфснайдер.

Мэриан Андерсон в 1920 году.

В 1921-1922 годах она поступила в Музыкальную академию Филадельфии, отдельный университет искусств, но ей отказали из-за ее цвета кожи. Тем не менее, она продолжала свое музыкальное обучение на частных уроках и концертах при поддержке общины своей церкви .

В 1925 году она получила свое первое посвящение, выиграв первый приз на вокальном конкурсе, организованном Нью-Йоркским филармоническим оркестром . Эта победа позволяет ему дать концерт с оркестром 26 августа 1925 года. Это выступление особенно отмечено публикой, СМИ и музыкальными критиками. Кроме того, это мероприятие предлагает ему новую возможность — встречу с менеджером Артуром Джадсоном. Несмотря на расистский контекст, мешавший ее карьере, она пела в Карнеги-холле в 1928 году. После концерта в оркестровом зале в 1929 году она получила грант от благотворительной организации Roosenvald Found .

В Апрель 1939 г.Мэриан Андерсон поет на концерте, организованном Элеонорой Рузвельт перед Мемориалом Линкольна после того, как ему отказали в доступе в комнату, где она должна была петь, Дочери американской революции ( Дочери американской революции или DAR ). После чего «первая леди» США выходит из женской организации.

Мариан Андерсон в 1943 году.

В 1943 году она вышла замуж за архитектора Орфея Х. Фишера.

В 1950-1960 годах Мэриан Андерсон становится важной фигурой негритянского спиричуэла и евангелия, она также известна в Европе, где, как Роланд Хейс до нее и Пол Робсон, она участвует в передаче этого стиля музыки в Европе. Таким образом, она вдохновила не одну фигуру французского евангелия, например, Джона Уильяма

В 7 января 1955 г.Мэриан Андерсон — первая афроамериканка, выступившая в Метрополитен-опера . Таким образом, он преодолел «цветной барьер» на этом высоком оперном месте в Соединенных Штатах . Исполняет партию Ульрики, контральто, в опере Джузеппе Верди « Бал-маскарад » на либретто Антонио Соммы .

В 20 января 1961 г.Мэриан Андерсон исполнила гимн США во время инаугурации президента Джона Фицджеральда Кеннеди

В 1964 году ему отказали в размещении в Chateau Frontenac в Квебеке из-за цвета кожи.

Она умирает на 8 апреля 1993 г.у своего племянника Джеймса ДеПрейста, директора музыкальной симфонической музыки штата Орегон.

Она является важной фигурой в борьбе афроамериканских художников против расовых предрассудков и была образцом для подражания для лирических художников, таких как Леонтин Прайс, Грейс Бамбри, Джесси Норман и т. Д.. Архивы Мариан Андерсон хранятся в Библиотеке Пенсильванского университета .

Архивы Мариан Андерсон хранятся в Библиотеке Пенсильванского университета .

Legacy

Racism in the United States played a large role in Miss Anderson’s life and career. During her tours she experienced racial prejudice on a daily basis, being denied access to lodging facilities and restaurants. Recognizing the unique position she held, she chose not to respond to injustices as an active, aggressive opponent of racism. She believed that the greatest role she could play would be as a model of integrity, enlightening her listeners through the example of her own life and actions. She became a great advocate and role model for African-American musicians. She believed that the life of her people would improve as the ideals of her country would slowly transform the system.

The 1939 documentary film, Marian Anderson: the Lincoln Memorial Concert was selected for preservation in the United States National Film Registry.

On January 27, 2005, a commemorative U.S. postage stamp honored Marian Anderson with her image on the 37¢ issue as part of the Black Heritage series. Anderson is also pictured on the $5,000 Series I United States Treasury Savings Bond.

Anderson is a recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America.

1939 Lincoln Memorial Concert

1939 was the year of a highly publicized incident with the Daughters of the American Revolution (DAR). Sol Hurok attempted to engage the DAR’s Constitution Hall for an Easter Sunday concert in Washington, D.C., with Howard University sponsorship, which would have had an integrated audience. The DAR refused the use of the building, citing their segregation policy. Hurok went public with the snub, and thousands of DAR members resigned from the organization, including, quite publicly, Eleanor Roosevelt.

Black leaders in Washington organized to protest the DAR’s action and to find a new place to hold the concert. The Washington School Board also refused to host a concert with Anderson, and the protest expanded to include the School Board. Leaders of Howard University and the NAACP, with the support of Eleanor Roosevelt, arranged with the Secretary of the Interior Harold Ickes for a free outdoor concert on the National Mall. Anderson accepted the offer.

On April 9, 1939, Easter Sunday, 1939, Anderson performed on the steps of the Lincoln Memorial. An interracial crowd of 75,000 heard her sing in person. Millions of others heard her as well because the concert was broadcast on the radio. She opened with “My Country ‘Tis of Thee.” The program also included “Ave Maria” by Schubert, “America,” “Gospel Train,” and “My Soul Is Anchored in the Lord.”

Some see this incident and the concert as the opening of the civil rights movement. Though she did not choose political activism, Anderson became a symbol of the struggle for civil rights.

Ранние года

Известная певица, чье выступление на Мемориале Линкольна в 1939 году помогло подготовить почву для эры гражданских прав, Мариан Андерсон родилась 27 февраля 1897 года в Филадельфии, штат Пенсильвания.

Самой старшей из трех девушек Андерсон было всего 6 лет, когда она стала членом хора в Баптистской церкви Союза, где она получила прозвище «Малыш Контральто». Ее отец, торговец углем и льдом, поддерживал музыкальные интересы своей дочери и, когда Андерсону было восемь лет, купил ей пианино. Андерсон научилась сама, когда семья не могла позволить себе уроки.

В возрасте 12 лет отец Андерсон умер, оставив ее мать, чтобы воспитать трех еще молодых девушек. Его смерть, однако, не замедлила музыкальные амбиции Андерсон. Она оставалась глубоко преданной своей церкви и ее хору и репетировала все части (сопрано, альт, тенор и бас) перед своей семьей, пока она не усовершенствовала их.

Приверженность Андерсон своей музыке и ее исполнительскому мастерству настолько поразила остальную часть ее хора, что церковь объединилась и собрала достаточно денег, около 500 долларов, чтобы заплатить Андерсону за обучение под руководством Джузеппе Богетти, уважаемого преподавателя по вокалу.

Return to America

Sol Hurok, an American impresario, took over management of her career in 1935, and he was a more aggressive manager than her previous American manager had been. Hurok organized a tour of the United States.

Her first concert was a return to Town Hall in New York City. She hid a broken foot and cast well, and critics raved about her performance. Howard Taubman, a critic for The New York Times (and later a ghostwriter of her autobiography), wrote, “Let it be said from the outset, Marian Anderson has returned to her native land one of the great singers of our time.”

Anderson was invited to sing at the White House by President Franklin D. Roosevelt in 1936—she was the first Black artist to perform there—and he invited her back to the White House to sing for a visit by King George and Queen Elizabeth.

ReferencesISBN links support NWE through referral fees

• Anderson, Marian. My Lord, What a Morning: An Autobiography. Champaign, IL: University of Illinois Press, 2002 (original 1956). ISBN 978-0252070532
• Freedman, Russell. The Voice that Challenged a Nation: Marian Anderson and the Struggle for Equal Rights. New York, NY: Clarion Books, 2004. ISBN 0618159762
• Kaplan, Howard S. Marian Anderson. San Francisco, CA: Pomegranate, 2007. ISBN 0764938916
• Keiler, Allan. Marian Anderson: A singer’s journey. New York, NY: Scribner, 2000. ISBN 0684807114
• Patterson, Charles. Marian Anderson. New York, NY: Watts, 1988. ISBN 0531105687
• Sims-Wood, Janet L. Marian Anderson: An Annoted Bibliography and Discography. Westport, CT: Greenwood Press, 1981. ISBN 0313225591

Литература

• Marian Anderson. My Lord, What a Mornin’. — New York: The Viking Press, 1956. (автобиография)
• Vehanen K. Marian Anderson, A Portrait. — New York; London: McGraw-Hill Book Company; Whittlesey House, 1941.
• Albus H.J. The ‘Deep River’ Girl: The Life of Marian Anderson in Story Form. — Grand Rapids : W.B. Eerdmans Publishing Co, 1949.
• Stevenson J. Marian Anderson: Singing to the World. — Chicago: Encyclopedia Britannica Press, 1963.
• Newman S.P. Marian Anderson: Lady from Philadelphia. — Philadelphia: Westminster Press, 1966.
• Tobias T. Marian Anderson. — New York: Ty Crowell Co, 1972.
• Sims J.L. Marian Anderson: An Annotated Bibliography and Discography. — Connecticut: Greenwood Press, 1981.
• Ferris J. What I Had Was Singing: The Story of Marian Anderson. — Minneapolis: Carolrhoda Books,1994.
• Keiler A. Marian Anderson: A Singer’s Journey. — New York: Scribner, 2000.
• Broadwater A. Marian Anderson: Singer and Humanitarian. — Berkeley Heights: Enslow Publishers, 2000.
• Freedman R. The Voice that Challenged a Nation: Marian Anderson and the Struggle for Equal Rights. — New York: Clarion Books, 2004.

Дань уважения

• Она внесена в Национальный зал женской славы .
• Лауреат премии Candide в 1937 году  : запись «La Jeune fille et la Mort» ( Франц Шуберт )
• Его резиденция в Филадельфии, Мариан Андерсон-Хаус, была внесена в Национальный реестр исторических мест с 2011 года.
• В своем романе «Время, которое мы поем» писатель Ричард Пауэрс вспоминает эпизод своего концерта 1939 года перед Мемориалом Линкольна, делая его местом и моментом встречи между Делией и Дэвидом Стормом.
• В своем экзотическом романе « Дело Эдуарда Эйнштейна» писатель Лоран Сексик познакомил ее с физиком Альбертом Эйнштейном в 1938 году. Он принял ее у себя дома, на Мерсер-стрит, 112, после концерта, который она дала в Маккартер-холле. Отель Нассау сообщил ему, что свободных номеров нет, поскольку в то время в заведении отказывались от цветных людей.
• В 2019 году, то Национальная портретная галерея в Смитсоновском проходит выставку « One Life: Мариан Андерсон, » с целью открыть ее жизнь и как она стала символом борьбы афроамериканцев за гражданские права .

Notes

1. Photos of Marian Anderson, The Marian Anderson Historical Society. Retrieved February 20, 2011.
2. Marian Anderson Biography WOMEN IN HISTORY — Lakewood Public Library. Retrieved February 7, 2008.
3. Randye Jones, Marian Anderson (1897-1993) Afrocentric Voices in Classical Music. Retrieved February 7, 2008.
4. Marian Anderson Biography WOMEN IN HISTORY — Lakewood Public Library. Retrieved February 7, 2008.
5. Marian Anderson Biography WOMEN IN HISTORY — Lakewood Public Library. Retrieved February 7, 2008.
6. BIOGRAPHY OF MARIAN ANDERSON The John F. Kennedy Center for the Performing Arts. Retrieved February 7, 2008.
7. Marian Anderson Honorary Degrees, Rare Book & Manuscript Library, Penn Library Collections, University of Pennsylvania. Retrieved February 20, 2011.
8. Katherine E. Horsley, Marian Anderson FemBio. Retrieved February 7, 2008.

Opera Debut

Earlier in her career, Anderson had refused several invitations to perform in operas, noting that she did not have opera training. In 1954, however, when she was invited to sing with the Metropolitan Opera in New York by Met manager Rudolf Bing, she accepted the role of Ulrica in Verdi’s «A Masked Ball,» debuting on January 7, 1955.

This role was the first time in the Met’s history that a Black singer—American or otherwise—had performed with the opera. In her first performance, Anderson received a 10-minute ovation when she first appeared and ovations after each aria. The moment was considered momentous enough at the time to warrant a front-page New York Times story.

Biography

In 1955, toward the end of her long career, Marian Anderson became the first African-American to perform as a regular member of the New York Metropolitan Opera (as Ulrica in Un Ballo in Maschera). She had already achieved international recognition and adoration for her talent as a recitalist and for the warmth, grace, and dignity that she embodied professionally and personally. Marian won first prize in the New York Philharmonic voice competition in 1925, and was immediately signed by a concert manager, but it was not until the considerable success of her European tours that the American public took great notice of her. She toured extensively, including Japan, Israel, and a trip to India and the Far East sponsored by the State Department, sang at two presidential inaugurations, and won numerous honors and awards before she retired in 1965. She died of congenital heart failure in 1993.

As Marian expresses in her autobiography, My Lord, What a Morning, religion and family were two important factors shaping her life and career. She remembers a home full of love and joy while she was growing up in Philadelphia. The family was not well-off financially, and after her father John Anderson died when Marian was only ten, her mother Annie went to work cleaning and doing laundry to support her three daughters. Her unceasing hard work and sacrifice in the interests of her children had a great influence on Marian, who was determined to give something back to her mother. Beginning with the very first $5 she earned singing, Marian did, in fact, give much of her earnings to her family. One of her most important and proud memories is that of finally calling her mother’s employer and informing her that Annie Anderson would not be returning to work. Annie influenced Marian’s career more directly as well. After Marian’s New York City debut was poorly attended and received, she withdrew from music in a period of depression and self-doubt. Marian gives special credit for her recovery to her mother’s comfort and support.

The Union Baptist Church in Philadelphia, to which her father had belonged, gave Marian her start as a singer in the choir, and continued to support her throughout her early career. When Marian could not afford lessons with a professional voice teacher, Giuseppe Boghetti, the church gave a concert to raise the money for her lessons. Her early career as a soloist grew from her performances at the invitation of other churches and church groups who had heard her sing at her church in Philadelphia.

As an artist, Marian never ceased to study and strive for improvement. After observing a black woman playing piano, the child Marian was inspired to teach herself to play enough to accompany herself. Though she never received formal musical training, due mainly to obstacles of financial and racial nature, Marian continued to pursue her own musical education. Vocal and language training were the reasons for her first trips to Europe. Interestingly, though she always worked for perfection, she was too self-conscious and considerate to practice if she felt others around her might be disturbed! Racism in the United States unfortunately also played a large role in her life and career. Marian was encouraged by her family and admirers to attend a music high school in Philadelphia, but she was refused because of her race.

On her frequent tours of the United States, Marian experienced racial prejudice on a daily basis; she was often denied access to lodging or dining facilities. Perhaps the most famous incident of her career is tinged by the hatred of racism. When the Daughters of the American Revolution (DAR) refused to allow Marian as a black woman to sing in Constitution Hall in Washington D.C., Eleanor Roosevelt resigned from the organization in protest.

Later, at the invitation of the Secretary of the Interior, Marian sang at the Lincoln Memorial for Easter Sunday, April 9, 1939, for an audience of 75,000. Marian herself, though disturbed and saddened by racial inequalities in her country, did not see a role for herself as an active, aggressive opponent of racism. Rather, she preferred to educate and enlighten her listeners through the example of her own life and actions. She became a great advocate and role model for African-American musicians. She never seemed to give up hope for the future of both her people and her country.

Author: Katherine E Horsley

Childhood and Education

Marian Anderson was born in Philadelphia, Pennsylvania. Throughout her life she gave her birth date as February 17, 1902, but her death certificate records her birth date as February 27, 1897 and there is photograph taken of her as an infant that is dated 1898. She was the oldest of three daughters born to John and Anna Anderson. Her father was a loader at the Reading Terminal Market, while her mother was a former teacher, having taught in Virginia. In 1912, her father suffered a head wound at work and died soon after. Marian and her two sisters, along with their mother moved in with her father’s parents. Her mother found work cleaning, laundering, and scrubbing floors.

At the age of six, Marian joined the junior choir at the Baptist Church in which her father was very active. Soon she was nicknamed «The Baby Contralto.» When Marian was eight years old her father had bought a piano from his brother, but they could not afford to pay for lessons. This however, did not deter Marian and she began teaching herself to play.

Marian joined the senior choir at her church when she was 13 years old. She soon began visiting other churches, through which she became well-known for her vocal abilities. She began accepting invitations to sing, sometimes performing at three different places in a single night. She eventually summoned the confidence to request five dollars per performance.

At the age of 15, Marian began voice lessons with Mary Saunders Patterson, a prominent black soprano. Shortly thereafter, the Philadelphia Choral Society held a benefit concert, providing $500 for her to study for two years with leading contralto Agnes Reifsnyder.

Marian attended William Penn High School until her music vocation arose. She transferred to South Philadelphia High School, focusing on music and singing frequently at assemblies, graduating at age 18. She applied for admission to a local music school, but was coldly rejected because of her color. Reflecting on that experience, Marian later stated:

Her former high school principal enabled her to meet Guiseppe Boghetti, a much sought-after teacher. He was reportedly moved to tears during the audition, when Marian performed «Deep River.»

Career and Acclaim

Anderson performing at the Department of the Interior, in a commemoration of her 1939 concert.

Anderson began to tour regionally, focusing on black colleges and churches in the South. In 1919, at the age of 22, she sang at the National Baptist Convention. Gaining knowledge and confidence with each performance, on April 23, 1924, she dared her first recital at New York’s Town Hall. However, she was uncomfortable with foreign languages and critics found her voice lacking. This discouraging experience nearly caused her to end her vocal career.

However, her confidence was soon bolstered when, while studying under Boghetti, she was granted the opportunity to sing at the Lewisohn Stadium in New York by entering a contest sponsored by the New York Philharmonic Society. She entered the Lewisohn Stadium competition in 1925. She came in first among 300 rivals and sang in New York’s amphitheater with the accompaniment of the Philharmonic Orchestra. The success of this concert gained her the attention of Arthur Judson, an important impresario, who put her under contract.

In 1926, Marian toured the East Coast and Southern states, adding songs to her repertoire. She performed a solo recital at Carnegie Hall on December 30, 1928. A New York Times critic wrote: “A true mezzo-soprano, she encompassed both ranges with full power, expressive feeling, dynamic contrast, and utmost delicacy.” However, Ms. Anderson’s popularity was not catching on with mainstream America; she was still performing mainly for black audiences.

The National Association of Negro Musicians awarded Marian a scholarship to study in Britain. On September 16, 1930, she performed at London’s Wigmore Hall. She returned only briefly to the United States. A scholarship was granted to Marian from the Julius Rosenwald Fund, which allowed her to broaden her training to include England, France, Belgium, Holland, the former Soviet Union, and Scandinavia.

Anderson was intent on perfecting her language skills (as most operas were written in Italian and German) and learning the art of lieder singing. At a debut concert in Berlin, she attracted the attention of Rule Rasmussen and Helmer Enwall, managers who arranged a tour of Scandinavia. Enwall continued as her manager for other tours around Europe.

In 1935, Anderson’s performance at the Salzburg festival earned her worldwide recognition and a compliment from the Italian conductor, Arturo Toscanini, who told her, «a voice like yours is heard only once in a hundred years.»

The Finnish composer Jean Sibelius dedicated his Solitude to her. In 1935 impresario Sol Hurok took over as her manager and was with her for the remainder of her performing career.

Controversy and Victory

Did you know?
Marian Anderson broke the color barrier by becoming the first African-American to perform with the New York Metropolitan Opera in 1955

In 1939, the Daughters of the American Revolution (DAR) refused to allow Anderson to sing to an integrated audience in Constitution Hall because of her race. The District of Columbia, then under the control of the Congress and President Franklin D. Roosevelt, also banned her for the same reason, from using the auditorium of a white public high school. As a result of the furor which followed, thousands of DAR members, including the President’s wife, Eleanor Roosevelt, resigned.

Ironically, neither Eleanor Roosevelt nor her husband, Franklin Roosevelt, had used their influence in a similar way when the school board turned down Anderson.

Finally, at the suggestion of Walter White, the executive secretary of the NAACP, Secretary of Interior Harold L. Ickes organized an open air concert for Anderson on the steps of the Lincoln Memorial. The concert, which commenced with a dignified and stirring rendition of «My Country, ‘Tis of Thee» attracted an integrated crowd of 75,000 and a much larger radio audience.

In 1943, Anderson sang at the invitation of the DAR to an integrated audience at Constitution Hall as part of a benefit for the American Red Cross. By contrast, the federal government continued to bar her from using the high school auditorium in the District of Columbia.

On January 7, 1955, Anderson broke the color barrier by becoming the first African-American to perform with the New York Metropolitan Opera. On that occasion, she sang the part of Ulrica in Giuseppe Verdi’s Un ballo in maschera. The occasion was bittersweet as Anderson, at age 58, was no longer in her prime vocally.

In 1958, Anderson was officially designated delegate to the United Nations, a formalization of her role as «goodwill ambassador» of the U.S. she played earlier, and in 1972 she was awarded the United Nations Peace Prize.

Примечания и ссылки

1. (en-US) , об афроцентрических голосах в «классической» музыке ,10 февраля 2016 г.(по состоянию на 14 июня 2019 г. )
2. (en-US)
3. (in) на Owlcation (по состоянию на 14 июня 2019 г. )
4. (en-US) , на www.myblackhistory.net (по состоянию на 14 июня 2019 г. )
5. (in) в Британской энциклопедии (по состоянию на 14 июня 2019 г. )
6. (en-US) на сайте www.encyclopedia.com (по состоянию на 14 июня 2019 г. )
7. Лоуренс Шенбек, Расовый подъем и американская музыка, 1878-1943, Университетское издательство Миссисипи,3 февраля 2012 г.
8. ↑ и (en-US) , на BlackPast ,19 января 2007 г.(по состоянию на 14 июня 2019 г. )
9. (en-US) , из библиотеки Пенсильванского университета.
10. (en-US) на AllMusic (по состоянию на 14 июня 2019 г. )
11. (in) Мэриан Андерсон, на NPR.org (по состоянию на 14 июня 2019 г. )
12. (in) на www.us-history.com (по состоянию на 14 июня 2019 г. )
13. (en-US) , на www.notablebiographies.com (по состоянию на 14 июня 2019 г. )
14. .
15. .
16. .
17. «  Великий темнокожий певец Мэриан Андерсон скончался  », Le Soleil, vol.  97, п о  101,9 апреля 1993 г., A 3 .
18. (en-US)
19. .
20. Случай Эдуарда Эйнштейна, издания France loisirs, 2014, стр. 151 и последующие.
21. (en-US) Алисия Олт, на Smithsonian (по состоянию на 15 августа 2019 г. )
22. (en-US) SisumD, , на npg.si.edu ,26 июня 2018 г.(по состоянию на 15 августа 2019 г. )