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  1. 12 de out. de 2017 · Mark Gertler’s portrait raises a curious question. By painting a reflective self-portrait in the still life genre, Gertler seems to suggest that he, like the open bag of fruit spilled in front of the mirror in his painting, will someday decay and pass from this life. The Japanese samurai depicted to the right of the mirror underscores this ...

  2. nl.wikipedia.org › wiki › Mark_GertlerMark Gertler - Wikipedia

    Mark Gertler. Mark Gertler ( Spitalfields, 9 december 1891 - Londen, 23 juni 1939) was een Brits schilder en kunstcriticus. Gertler was een zoon uit een joods - Oostenrijks emigrantengezin. Dankzij een beurs kon hij van 1908 tot 1912 studeren aan de Slade School of Fine Art. Daar leerde hij Carrington kennen met wie hij zich zeer verwant voelde.

  3. 马克·格特勒(Mark L.Gertler),1973年毕业于美国威斯康星大学,1978年博士毕业于斯坦福大学。现任美国纽约联邦储备银行学术顾问委员会会长、美国纽约大学(New York University)经济学教授。曾被美国科学信息研究所赞誉为国际经济理论领域的“高引用研究员”。

  4. Mark Gertler. Mark Gertler (Rosetown, Saskatchewan, Canada, 1951) received his BA in Economics from the University of Wisconsin (1973) and his PhD in Economics from Stanford University (1978). He is currently Henry and Lucy Moses Professor of Economics at New York University, which he joined in 1990. Gertler has also held teaching positions at ...

  5. Buy The Rabbi and his Grandchild, 1913 by Mark Gertler as fine art print. High-quality museum grade. Perfect reproduction support@meisterdrucke.com · 0043 4257 29415

  6. 14 de ago. de 2020 · The Science of Monetary Policy: A New Keynesian Perspective. Richard Clarida, Jordi Gali & Mark Gertler. Working Paper 7147. DOI 10.3386/w7147. Issue Date May 1999. This paper reviews the recent literature on monetary policy rules. We exploit the monetary policy design problem within a simple baseline theoretical framework.

  7. Gertler was a conscientious objector. He lived near London’s Hampstead Heath , and may have been inspired by an annual fair held there for wounded soldiers. The fairground ride, traditionally associated with pleasure and entertainment, is horrifically transformed into a metaphor for the relentless military machine.