title: Mary Steinhauser

texts:
 Columbia in social work; <mask> was awarded her Master of Social Work degree in May 1973. Hostage-taking incident
On the day in question, inmates Bruce, Lucas, and Wilson made an unsuccessful attempt to escape from prison and took 15 people hostage. Steinhauser, who was taken hostage at knifepoint, volunteered to be the principal hostage, which meant that she was held in a room outside the vault area where all the other hostages were kept. The three inmates demanded several things, including medical examinations for Lucas and Bruce, access to hot and cold water in isolation cells, and restoration of recreation yard privileges for segregated prisoners.They also demanded safe passage out of the country. The hostage stand-off lasted for 41 hours. During this time, the inmates kept their hostages in the penitentiary's vault, with the exception of <mask>. At approximately 1 A.M. on June 11, one of the hostages tried to overpower the inmates in an attempt to escape, after which point all of the hostages except Steinhauser retreated to the vault, where they locked themselves inside. Soon after, a tactical squad of prison officers attempted to rescue the hostages and fired upon the hostage-takers, fatally shooting Steinhauser, who was being held as a human shield in front of Bruce. Police Chief Rod Keary initially informed reporters that prior to her shooting, Steinhauser had been stabbed by the inmates, per reports from the other hostages. This was proven to be erroneous by the coroner's report, which stated that Steinhauser had received two bullet wounds and also had abrasions, bruising, and recent needle marks in both forearms.After the shooting an inquest was opened, which alleged that prison guard Albert Hollinger (who was identified by Bruce) was the officer who shot Steinhauser. The inquest also alleged that Hollinger had deliberately switched up the tactical team's guns in an attempt to keep from being identified as the shooter while claiming that he was collecting the guns in order to keep them away from prisoners. In January

masks: Mary Mary


title: Mary Steinhauser

type: original

texts:
 1976, Andy Bruce appeared in a New Westminster provincial court where he gave his account of the hostage-taking situation to Judge Philip Govan. Bruce said that after the prison tactical squad arrived all of the hostages except for <mask>er shut themselves inside a vault in the penitentiary. According to Bruce, the other hostages "acted out of fear; their only concern was to get that vault door shut and keep it shut." Andy Bruce went on to allege that, after being shot twice in the jaw by a prison guard he identified as Albert Hollinger, <mask>er crawled in front him, where "she screamed, 'Don't shoot him.'" After this, according to Bruce's testimony, Hollinger shot and killed <mask>er.Government Response
In an interview on June 11, 1975, Canadian Prime Minister Pierre Elliott Trudeau commented on the hostage-taking incident. Trudeau stated how "very sorry" he felt about <mask>'s death and he discussed the federal government's commitment to not letting the inmates escape: "To make sure these guys wouldn't get off with anything...we would hound them wherever they were." Legal consequences
In July 1976 a jury ruled that the shooting was not intentional and that the guards, including Hollinger, were acting under the belief that Steinhauser's life was actively being threatened by the inmates. The jury further recommended that future, similar incidents be handled by outside teams that have been trained in hostage situations. In media
The play One Tiger to a Hill by Sharon Pollock is loosely based on the incident. The incident was fictionalized in Christian Bruyère's play Walls and its film adaptation Walls. The Steinhauer role in those works was given the name Joan Tremblay, and was played by Andrée Pelletier in the film.In 2014 a stage performance entitled Brave: The <mask> Legacy was held at the Terry Fox Theatre in Port Coquitlam. References

External links

1942 births
1975 deaths
Canadian social workers
People from Duncan, British Columbia
University of British Columbia School of Social Work alumni
Simon Fraser University

masks:
Mary Steinhaus
Mary Steinhaus
Mary Steinhaus
Mary Steinhauser
Mary Steinhauser


title: Jane Frank

texts:
<mask> (born <mask>) (July 25, 1918 – May 31, 1986) was an American multidisciplinary artist, known as a painter, sculptor, mixed media artist, illustrator, and textile artist. Her landscape-like, mixed-media abstract paintings are included in public collections, including those of the Corcoran Gallery of Art, the Baltimore Museum of Art, and the Smithsonian American Art Museum. She studied with artists, Hans Hofmann and Norman Carlberg. Work
<mask> was a pupil of the painter, Hans Hofmann. She can be categorized stylistically as an abstract expressionist, but one who draws primary inspiration from the natural world, particularly landscape — landscape "as metaphor", she once explained. Her later painting refers more explicitly to aerial landscapes, while her sculpture tends toward minimalism. Chronologically and stylistically, <mask>'s work straddles both the modern and the contemporary (even postmodern) periods.She referred to her works generally as "inscapes". The early years

Training in commercial art

<mask> (when she was still <mask>thal) attended the progressive Park School and received her initial artistic training at the Maryland Institute of Arts and Sciences (now known as the Maryland Institute College of Art), earning in 1935 a diploma in commercial art and fashion illustration. She then acquired further training in New York City at what is now the Parsons School of Design (then called the New York School of Fine and Applied Art), from which she graduated in 1939. In New York, she also studied at the New Theatre School. Her schooling complete, she began working in

masks:
Jane Schenthal Frank
Jane Babette Schenthal
Jane Frank
Jane Frank
Jane Frank
Jane Schen


title: Jane Frank

texts:
 advertising design and acting in summer stock theatre. From the sources, it is unclear whether she worked in these fields while still in New York, or only after returning to Baltimore. We do know, however, that she began painting seriously in 1940.Becoming a painter

In a letter to Thomas Yoseloff, she wrote (quoted in Yoseloff's Retrospective, 1975, p. 34) that "prior to 1940 my background had been entirely in commercial art" and that when she began painting seriously, she had to "put behind me everything I had so carefully learned in the schools". She began a study of the history of painting and "went through a progression of spatial conceptions" from cave painting through the Renaissance, then concentrating on Cézanne, Picasso, and De Kooning. "I was also much concerned with texture, and heavy paint", she adds. Marriage and family - and children's books

After returning to Baltimore, she married Herman Benjamin <mask> in 1941. According to the biography in "Baltimore County Women, 1930-1975" listed below, <mask> had previously been working as a commercial artist "for department stores and advertising agencies", but she "gave up her career in commercial art for marriage and a family" (p. 16). After marrying, she signed her works consistently as "<mask>", apparently never including a maiden name or middle initial. Her husband, a builder, constructed their home, including a studio for his wife.With the initial demands of a new marriage and family presumably beginning to relax a bit, <mask> returned seriously to painting in 1947 (according to Stanton, p. 9). In the following

masks:
Frank
Jane
Jane Frank
Jane Frank


title: Jane Frank

texts:
 decade, while raising a family and rapidly developing as a serious painter, the young mother also illustrated three children's books. Monica Mink (1948), featured along with <mask>'s illustrations, a whimsical text by the artist herself, entirely in verse, relating a tale in which (according to the review published by the National Council of Teachers of English) "In rhyme the obstreperous Monica Mink 'who wouldn't listen and didn't think' is finally taught that 'all Mother Minks know best'." . Thomas Yoseloff's The Further Adventures of Till Eulenspiegel (1957, New York City), featured <mask>'s block prints, which already show a penchant for collage-like textural juxtapositions and strong diagonal composition. <mask>'s 1986 obituary in the Baltimore Sun mentions that she published a third children's book, entitled Eadie the Pink Elephant, with both text and pictures by the artist, and this is confirmed in an excerpt from Publishers Weekly available online . Health catastrophes and recovery

Art history professor emerita, Phoebe B. Stanton of Johns Hopkins University mentioned that twice in the 20 years after 1947, <mask> suffered from illnesses which "interrupted the work for long periods". The first of these catastrophes was a serious car accident in 1952, requiring multiple major surgeries and extensive convalescence, and the second was a "serious and potentially life-threatening illness" soon after her 1958 solo show at the Baltimore Museum of Art.The latter illness was so severe, according to Stanton, that it interrupted <mask>'s painting work for about two years. The

masks:
Jane Frank
Jane Frank
Jane Frank
Jane Frank
Jane Frank


title: Jane Frank

texts:
 latter 1950s to late 1960s

Encountering Hans Hofmann, and discovering a "sculptural landscape"

Health problems notwithstanding, the latter 1950s proved decisively fruitful for <mask> as a serious artist. Having fairly well recovered from her injuries in the traumatic 1952 accident, she studied for a period in 1956 with the great abstract expressionist painter Hans Hofmann in Provincetown, Massachusetts, and this mentoring gave her a jolt of inspiration and encouragement. She soon had solo exhibitions at the Baltimore Museum of Art (1958), the Corcoran Gallery of Art (1962), the Bodley Gallery in New York (1963) and Goucher College (1963), among others. She also, in 1962 (1961 according to some sources), won a Rinehart Fellowship, enabling her to study with Norman Carlberg at the Rinehart School of Sculpture at Maryland Institute College of Art. This might seem a sudden and late detour away from painterly pursuits, but it is  a logical step: the canvases in the 1962 Corcoran show, such as "Crags and Crevices" and "Rockscape II", already feature passages that are sculpturally "built up" with thick mounds of gesso (or "spackle", as Stanton tends to call it). <mask>'s preoccupation with space was evident even before her paintings became overtly "sculptural" in their use of mixed media.Of the paintings in the 1962 Corcoran Gallery show, she tells Phoebe Stanton: "I was trying to pit mass against void and make it look as though there were passages that went way back - that's why 'crevice' is in so many of the titles" (Stanton, p. 15). Indeed, "Crags and Crevices" (70"x 50", oil

masks:
Jane Frank
Jane Frank


title: Jane Frank

texts:
 and spackle on canvas), completed in 1961, dominated the show. Combining diverse materials and techniques
Soon after the month-long Corcoran Gallery solo exhibition, <mask> began to apply not just spackle but a variety of other materials - sea-weathered or broken glass, charred driftwood, pebbles, what appears to be crushed graphite or silica, and even glued-on patches of separately painted and encrusted canvas (canvas collage) - to her jagged, abstract expressionist paintings. "I wanted work that was painterly but with an actual three-dimensional space", she later wrote (Yoseloff 1975, pp. 37–39). <mask>'s first solo show at New York City's Bodley Gallery (1963), as well as her 1965 solo show at Baltimore's International Gallery, featured many of these radically dense and variegated mixed media paintings. "Apertured", multiple-canvas paintings
Later she began making irregular holes  in the canvases ("apertures", as she called them: the earliest example is "Winter Windows", 1966–1967), disclosing deeper layers of painted canvas underneath (so-called "double canvases" - and sometimes triple canvases), with painted-on "false shadows", etc.- increasingly invoking the third dimension, creating tactile, sculptural effects while remaining within the convention of the framed, rectangular oil painting. The apertures also suggest a view into some sort of psychological interior, as though the second canvas - seen only partially, through the hole in the forward canvas - were some half-concealed secret, perhaps even another whole painting that we will never see. Stanton (p. 24) also


title: Jane Frank

texts:
 notes that <mask> worked out a method - unspecified - of stiffening the apertures' often jagged edges so that they held their shape and flatness. These creations are a type of "shaped canvas", though very different from the shaped canvases of <mask> and others more commonly associated with this term. In much of her output before the late 1960s, <mask> seems less interested in color than in tonality and texture, often employing the grayscale to create a sense of depth or motion from light to dark, this frequently moving in a diagonal (as in "Winter's End", 1958), and otherwise employing one basic hue (as with the earthy reds in "Plum Point", 1964). However, the later, "windowed" paintings show a sharper interest in vivid color relationships: indeed, Yoseloff (p. 20) notes that with the later paintings "she has gone to bolder colors". This is especially true, as he notes, in the "aerial" paintings, of which an early and monumental example is "Aerial View no.1" (1968, 60 inches by 84 inches, collection of the Turner Auditorium complex at the Johns Hopkins School of Medicine, Johns Hopkins University). This was one of the artist's favorites, according to Baltimore County Women [see below]. Standing apart
While these highly complex and laborious constructions (she often called them "three-dimensional paintings") moved her well beyond the vocabulary of the improvisatory, so-called "action painting"  usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene.

masks:
Jane Frank
Frank Stella
Frank


title: Jane Frank

texts:
 Furthermore, they bore little resemblance to the serene "color field" paintings of Morris Louis, <mask>, or Mark Rothko. Whether brooding or exuberant, the (as it were) geologically deposited, erupted, eroded, and gouged canvases of <mask> stand apart from all else. Perhaps this style could be called "geomorphic abstraction" - though no such term can be found as a stylistic category in art history books. This standoffish aesthetic position, her chosen departure from the career-making New York City scene, and the fact that her overall output was not very large (by some standards at least), were factors that limited her career and her contemporary impact on the course of American art.Yet perhaps, as time goes on, present-day art lovers who get to know these pieces will agree with Professor Stanton that they are powerful and beautiful creations, worthy of contemplation and admiration on their intrinsic merits - regardless of what was supposedly fashionable in 1960-something:

{| border=0 style="background: white" align=center
|-
|{{cquote|..."Winter Windows" is perhaps sublime in Burke's use of the word for a kind of beauty which produces sensations of awe and helplessness.... Part of the power of these pictures is the result of their controlled design, for balance, color, texture, have been managed so economically that the least change would throw the whole out of key.}} |- align=right
|– Dr. Phoebe Stanton [The Sculptural Landscape of <mask>, p. 29]
|}

After 1967: sculptures, and further development of the "apertured" paintings

Sculpture: depths and shadows, reflections and

masks:
Helen Frankenthaler
Jane Frank
Jane Frank


title: Jane Frank

texts:
 refractions
In the late 1960s, <mask> turned her energies toward the creation of free-standing sculpture, i.e., sculptures properly speaking, as opposed to "sculptural paintings" or mixed media works on canvas. The sculptures, with their clean lines and surfaces, often in sleek lucite or aluminium, completely dispense with the earthy, gritty qualities of those "sculptural landscape" canvases. Busch (1974) quotes <mask> as saying: "I begin [working] from a drawing or cardboard mockup. I give my welding and aluminium  pieces to a machinist with whom I work quite closely". There were more solo exhibitions, at venues including New York City's Bodley Gallery again in 1967, Morgan State University (1967), Goucher College (for the second time) in 1968, London's Alwin Gallery in 1971, the Galerie de l'Université, Paris (1972), the Philadelphia Art Alliance (1975), and a major retrospective at Towson State College (now Towson University) in 1975. She also won the Sculpture Prize at the 1983 Maryland Artists Exhibition (source: Watson-Jones).Aerial landscape paintings
Even after 1967, when <mask> began making sculptures, grappling with new media such as plastics and metals, she maintained her ever-evolving production of mixed media paintings on canvas, virtually until the end of her life. Continuing her exploration of the possibilities of multiple-canvas, "apertured" paintings, she began to create her "Aerial Series" pieces, which came more and more explicitly to suggest landscapes seen from above. Especially noteworthy and striking are the "Night Landings" paintings, such as "Night

masks:
Jane Frank
Frank
Jane Frank


title: Jane Frank

texts:
 Landings: Sambura" (1970), with the city grid glinting below like a dark jewel in a deep, nocturnal blue river valley. The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book. Several sources note that <mask> also designed rugs and tapestries; a color photograph showing detail from one of these textile works is reproduced in the Ann Avery book listed below. <mask> died on Saturday, May 31, 1986. In some sources, her place of residence is listed as Owings Mills, Maryland, which is a near suburb of Baltimore.The 1986 Watson-Jones book's entry on <mask> states her address as "1300 Woods Hole Road, Towson, Maryland 21204". Towson is another near suburb of Baltimore. Discussion of <mask>'s work

Phoebe Stanton writes that "landscape" is for <mask> a way of conveying ideas which (to Stanton) recall Heidegger's definition of poetry, which included "the recreation of the experience of standing 'in the presence of the gods and to be exposed to the essential proximity of things' ". According to the jacket notes of the Stanton book, Pictures on Exhibit magazine commented in a similar vein, saying that these landscapes are "to a compellingly strong degree, poetic evocations of communion with Nature's basic essentials". We are in direct contact with the primal forces, exposed and profoundly alone. These works are at once sensually compelling and incorporeal — "out-of-body", so to speak. And as Julia M. Busch points


title: Jane Frank

texts:
 out, even the sculptures avoid reference to anything recognizably, bodily human.Stating that <mask>'s sculptures are "environmental", Busch goes on to define this term in a way that points to their "beyond-human" quality:

"Environmental sculpture is never made to work at exactly human scale, but is sufficiently larger or smaller than the scale to avoid confusion with the human image in the eyes of the viewer." Also, the canvases of the 1960s, for all their landscape-like qualities, usually avoid anything that can be read as a horizon or a sky: we literally don't know which way is up; for as Stanton (p. 12) points out,  <mask> - starting with "Winter's End" (1958) - avoids horizontal orientation in favor of strong diagonals. Furthermore, in this painting, as in many others of the next decade, the scale is undecidable. Stanton, again speaking of "Winter's End", writes:

"One is given no indication of the size of the scene; the way through which winter passes could be either a mountain gorge or a minute water course". Plenty of cues are there that this is some sort of landscape, and <mask> herself avows it:

"The beginning of my efforts to make my own statement, I would trace to my first visit to the Phillips Gallery.... Landscape was a natural metaphor, and so it is still for me today, in my three-dimensional double canvases". Summing up the ambiguous position of <mask>'s work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: "Her richly textured canvases evoke a

masks:
Frank
Jane Frank
Frank
Jane Frank


title: Jane Frank

texts:
 still, for the big forms seem to hover in mid-air, colliding as they fall. There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife." Even 1968's "Aerial View No. 1", despite the spatial hint of the title, is far from literal. Certain features of structure and color render a literal interpretation of this image as an aerial landscape difficult or even impossible. The attempt at interpretation is both invited and repulsed.But by about 1970, with the "Night Landings" paintings, there was a definite shift away from the previous decade's stubbornly refractive attitude. The "Night Landings" offer a much more definite sense of scale and viewpoint, especially with the aid of the titles. "Night Landings: Nairobi" is not disorienting in the least: we know where we are; we know we're in a plane, we know the plane is landing, and we even know roughly what time it is: we are looking down, and we see vividly the city named in the title, with the surrounding land and water. Furthermore, the fact that we see a city down there means that - at least implicitly - there are people in this painting. Yoseloff, in his 1975 "Retrospective" book, enthuses:

"Perhaps the ultimate achievement in the direction in which Mrs. <mask> has been tending is her series of "night landings".... Now, more than ever, the viewer is deeply involved, and he can feel himself carried downward into the landscape that is the canvas before him"

A staunch modernist might scoff that with the "Night Landings" of 1970


title: Jane Frank

texts: <mask>'s art begins to "go gentle into that good night" (perhaps even lapsing into "postmodernism"). But if these more literal aerial landscapes - created in 1970 and after - lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject. In "Aerial Perception" (1985), author Margret Dreikausen sees <mask>'s aerial landscapes as sharing the spirit of the work of artists such as Georgia O'Keeffe, Susan Crile, and others, in creating images which "reflect contemporary interest in reality", experienced from a historically new vantage point.Dreikausen insists that this art "does not merely show landscape from the air" but incorporates the "earthbound vision" into "remembered images from both spaces". Dreikausen also sees <mask>'s aerial paintings as consisting of two basic types: the "day scenes" (such as "Ledge of Light") and the "night landings" (such as "Night Landing: Sambura"). The day scenes show a fascination with the play of actual shadows and false, painted ones, "inviting the viewer more closely to inspect the textures on the canvas and its 'reality' ". In the night landings, by contrast, the city is the focus, nestled in the canvas's aperture, like a precious jewel in a dark velvet box, with its "enticing twinkling lights", suggesting "the anticipation of the unknown, mysterious city.... The use of beads and glitter, partially covered with paint, conveys a sense of personal

masks:
Jane Frank
Jane Frank
Frank


title: Jane Frank

texts:
 landscape". The 1999 Benezit book's entry on <mask> takes it as a given that her works on the  canvas may be summarized as semi-abstract aerial views: "Sa peinture, abstraite, fait cependant reference a un paysagisme aerien, comme vu d'avion." ("Her paintings, though abstract, nevertheless make reference to aerial landscapes, as viewed from an airplane.")Collections
<mask>'s paintings and mixed media works on canvas are in the collections of the Corcoran Gallery of Art ("Amber Ambience", 1964), the Smithsonian American Art Museum, the Baltimore Museum of Art ("Winter's End", 1958), the Herbert F. Johnson Museum of Art at Cornell University ("Red Painting", 1966), the Arkansas Arts Center in Little Rock ("Web Of Rock", 1960), and the Evansville Museum ("Quarry III", 1963). Her works are in many other public, academic, corporate, and private collections. Her sculptures can be found in public collections including at Towson State University. References

Books
 American Association of University Women, (Towson, Maryland, Branch), "Baltimore County Women, 1930-1975", (Baltimore: The Sunpapers, 1976) [Please note: the 1981 Ann Avery book listed below mentions this book and credits George Rogers with the editorship, either of the book or perhaps only of the <mask> article - it is not clear. The book is a collection of profiles of forty Baltimore County women "who distinguished themselves" in diverse fields (including opera singer Rosa Ponselle and golfer Carol Mann), compiled as part of a project celebrating the 1976 United States Bicentennial. The full-page <mask> article includes

masks:
Jane Frank
Jane Frank
Jane Frank
Jane Frank


title: Jane Frank

texts:
 a photo of the artist in her studio.] Avery, Ann (ed.), "American Artists of Renown, 1981-1982" [includes one color plate image of a <mask> work, along with a bio] (Wilson Publishing Co.: Gilmer, Texas, 1981) ;
 Benezit, E. (ed. ), "Dictionnaire critique et documentaire des peintres, sculpteurs, desinateurs, et graveurs de tous les temps et tous les pays" ["Critical and Documentary Dictionary of Painters, Sculptors, Draftsmen, and Engravers of All Times and All Countries"], (Gründ, Paris, 1999) [Please note: in 2006, an English language edition of the Benezit Dictionary of Artists became available for the first time.] [see Benezit Dictionary of Artists]
 Busch, Julia M., "A Decade of Sculpture: the New Media in the 1960s"  [contains three color and two b&w images of <mask>'s sculptures, as well as some discussion of the work and several quotations from the artist] (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974)
 Chiarmonte, Paula, "Women Artists in the United States: a Selective Bibliography and Resource Guide  on the Fine and Decorative Arts" (G. K. Hall & Co., Boston, 1990) [entry on <mask> is on page 606]. Creps, Bob ;  and Howard Creps; Biographical encyclopedia of American painters, sculptors & engravers of the U.S. : Colonial to 2002 (Land O'Lakes, Florida : Dealer's Choice Books, 2002) [in two volumes: <mask> bio on p. 475 of first volume]
 Davenport, Ray, "Davenport's Art Reference and Price Guide, Gold Edition" (Ventura, California, 2005) ;
 Dreikausen, Margret, "Aerial Perception: The Earth as Seen from Aircraft and Spacecraft


title: Jane Frank

texts: and Its Influence on Contemporary Art" (Associated University Presses: Cranbury, NJ; London, England; Mississauga, Ontario: 1985) [includes color plate images of two of Jane Frank's aerial paintings]. Dunbier, Lonnie Pierson (Ed. ), "The Artists Bluebook: 34,000 North American Artists to March 2005" (Scottsdale, Arizona, 2005) [Please note: Worldcat lists Roger Dunbier as the editor of this work, whereas the Askart.com website - which publishes the book - names Lonnie Pierson Dunbier (presumably married to Mr. Dunbier) as editor.]<mask>, <mask>. <mask> (pub. New York, N.Y. : Bodley Gallery, 1963) [catalogue for solo exhibition, with dates given as Oct. 22 - Nov. 9]. [Also available in MICA library vertical file; see 'External links' for access help. Additionally, Worldcat has another listing for a book, in the holdings of the Museum of Fine Arts, Boston, by "<mask>" and entitled <mask>; there is no mention of the Bodley Gallery, but under "Details," Worldcat has "Contents: Sculptural paintings : <mask>". Presumably this is the same 1963 catalogue; or perhaps it is the catalogue of <mask>'s 1967 show at the Bodley (. <mask>, <mask>; Arthur Mayer; Alwin Gallery.The Sculptural Landscape of <mask> [catalogue for exhibition at Alwin Gallery, 56 Brook Street, London, Jan. 5-29, 1971.] Here is a link to the catalogue record of the copy at the National Art Library, Victoria and Albert Museum, London: . The book is also available in the MICA library vertical file on <mask>; see 'External links' for access help. This catalogue (confusingly taking the same title as the Stanton book)

masks:
Frank
Jane
Jane Frank
Jane Frank
Jane Frank
Jane Frank
Jane Frank
Frank
Jane
Jane Frank
Jane Frank


title: Jane Frank

texts:
 amounts nearly to a full monograph on the artist, with many images of the artist and the work, lists of exhibitions and other career summary material, and an extensive critical essay by Arthur Mayer. The Victoria and Albert Museum library description reads: "Catalogue of an exhibition held at the Alwin Gallery, London, 5 Jan. - 29 Jan. 1971. Text By Arthur Mayer." <mask>, <mask>, "Monica Mink" (Vanguard Press, New York City, 1948) [children's book authored and illustrated by <mask>]
 International Gallery.<mask>: sculptural paintings (Baltimore : International Gallery, 1965) [solo exhibition catalogue]  (Also available in the "<mask> Frank" vertical file at the MICA library)
 Jacques Cattell Press, ed., "Who's Who in American Art", 1980 (New York City : R.R. Bowker, 1980) [Jane frank entry pp. 240–241]
 Jacques Cattell Press, ed., "Who's Who in American Art", 1984 (New York City ; London : R.R. Bowker, 1984) [Jane frank entry p. 303]
 Meissner, Gunter, "Allgemeines Kunstlerlexikon: Die Bildenen Kuntsler aller Zeiten und Volker" ["Complete Dictionary of Artists of all Times and All Peoples"] (Pub. Saur: Munich, Leipzig, 2005) [34-line Jane Frank entry on page 46, vol. 44]
 Opitz, Glenn B., ed.,  "Mantle Fielding's Dictionary of American Painters, Sculptors, and Engravers" (Poughkeepsie, NY : Apollo, 1983)
 Opitz, Glenn B., ed., "Dictionary of American Sculptors" (Poughkeepsie, NY: Apollo, 1984)
 Yoseloff, Thomas, "The Further Adventures of Till Eulenspiegel" [children's book with block print illustrations by <mask>] (New York City : Thomas Yoseloff 1957) [Library of

masks:
Frank
Jane
Jane Frank
Jane Frank
Jane
Jane Frank


title: Jane Frank

texts:
 Congress Catalogue Card Number 57-6892]
 Yoseloff, Thomas, "<mask> Frank: A Retrospective Exhibition" [This exhibition catalogue amounts to another full monograph on the artist, with very high quality color and b&w plates, extensive textual discussion and quotation of the artist, and much specific and detailed information on Jane Frank's life, career, and individual artworks: 51 pp.] (A. S. Barnes: New York City and London, 1975)

Other readings (articles, etc.)Lisa Roney. "Contemporary American Women Sculptors" [review of book: Watson-Jones, Virginia. Contemporary American Women Sculptors. Oryx Press, 1986.] Woman's Art Journal, Vol. 8, No. 1, 54.Spring - Summer, 1987. Roney notes that the volume celebrates a rich variety of creations, including "works that amuse (Viola Frey, b. 1932), threaten (Joan Danzinger, b. 1934), or maintain an abstract cool (<mask>, b. 1918)" [p. 54]. Link to JSTOR record of the review here. Footnotes

External links
 Smithsonian American Art Museum: <mask>(the museum's page on <mask>)
 Access to Smithsonian Institution artist file folder on <mask> (Simply type 'jane frank' into search box and click; on next page, click the name again for more detail): "Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs."Maryland Institute College of Art, Decker Library, vertical file listings. In a special archive, MICA maintains approximately 400 vertical files on "people affiliated with MICA such as alumni, faculty,

masks:
Jane
Jane Frank
Jane Frank
Jane Frank
Jane Frank


title: Jane Frank

texts:
 visiting artists, and staff and administrators, as well as local art institutions and MICA-related items of history." Listed here is a file on <mask>. The web page includes information on how to access file contents. This vertical file includes essential materials such as <mask>'s 1986 obituary in the Baltimore Sun and the catalogue of her 1963 exhibition at the Bodley Gallery in New York, as well as the catalogue of her 1971 solo exhibition at London's Alwin Gallery. French art criticism archive page (at www.archivcriticart.org), listing an art review in the French journal Les lettres françaises'' for 27 September 1972, in  the section called "In the Galleries" ("Dans les galeries")

1918 births
1986 deaths
Abstract expressionist artists
American women painters
American contemporary painters
Contemporary sculptors
20th-century American sculptors
Mixed-media artists
Jewish American artists
Jewish painters
Jewish sculptors
Landscape artists
Painters from Maryland
Parsons School of Design alumni
Artists from Baltimore
Postmodern artists
American women sculptors
20th-century American painters
20th-century American women artists
Sculptors from Maryland
Park School of Baltimore alumni
20th-century American


title: Bogdan Radenković

texts:
<mask> (; Srbovac, Ottoman Empire, 1874 – Thessaloniki, Greece, 30 July 1917) was a Serb activist, an organizer of the Serbian Chetnik Organization and one of the founders of the Black Hand. He was a leading civilian activist of the Pan-Serb movement in the early 20th century. In a letter to the Serbian government, dated 27 October 1909, he tells about the dangers faced by the population of Kičevo and Prilep because of Arnaut incursions, and asks for approval of the troops of Gligor Sokolović and Dane Stojanović to solve the problem. Biography
Born in 1874 in Srbovac, a village in the municipality of Zvečan, then part of the Ottoman Empire (and now Kosovo, still a contentious international political zone to this day). As a university graduate and a tonsured monk with a chosen name Vasilije, he became a secretary to the Serbian Orthodox Metropolitanate of Skopje. In this influential post, he had numerous contacts with his people and consulates of Serbia, Russia, and France. Among the clergy, he was known as Vasilije (<mask>) and among the laity simply <mask>.<mask> <mask> was a member of the Serbian Committee of Skopje and the main organizer of the Serbian Chetnik action in the Ottoman Empire. He was an intermediary between the Serbian consulate and the Chetnik organization and their supporters. During 1905 the Turkish authorities caught a farmer who after being tortured revealed that <mask> was the president of the Serbian Committee in Skopje. At the Skopje trial, the farmer recanted citing that his testimony was extracted by force and <mask> was ultimately acquitted. <mask> was a friend of Milan Rakić, then Serbia's vice-consul in Skopje, with whom he conferred confidential operational plans of the Chetnik organization. Milan Rakić at the time began writing a poem called "On Gazimestan" that became popular even before the Balkan War of 1912. Founding of the Serb Democratic

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Bogdan Radenković
Radenković
Bogdan Radenković
Bogdan
Radenković
Radenković
Radenković
Radenković


title: Bogdan Radenković

texts:
 League
The Serb Democratic League in the Ottoman Empire (Serbian: Српска демократска лига у Отоманској царевини) was an Ottoman Serb political organisation established on August 13, 1908, at the First Serb Conference (August 10–13), immediately after the Young Turk Revolution.Some 26 most distinguished Serbs in the Ottoman Empire attended and <mask> <mask> was selected to head the "Temporary Central Board of the Organization of Ottoman Serbs" in July 1908. Bishop Vicentije Krdzić of the Serbian Orthodox Eparchy of Skopje headed the clergy and <mask> <mask> the lay membership of the  "Assembly of Ottoman Serbs in Skopje", held on Sretenje in 1909. These organizations included the Serb elite of Old Raška, Kosovo and Metohija, and Vardar Macedonia and Aegean Macedonia. [1] It included many members of the Serbian Chetnik Organization as well. They were: <mask> <mask>; Aleksandar Bukvić; Gligorije "Gliša" Elezović; Vasa Jovanović; Milan Čemerikić; Sava Stojanović; David Dimitrijević; Đorđe Hadzi-Kostić; Velimir Prelić and Jovan Šantrić. With the founding of the Serb Democratic League, it became the first political party to represent the interests of the Serbs in the Ottoman Empire. The Serbian Democratic League sent to Thessaloniki <mask> <mask>, Jovan Šantrić and Đorđe Hadži-Kostić to negotiate with the Central Young Turk Board.The Serbian demands were as follows:for the three non-Muslim “ethnic groups” – Serbian, Greek and Bulgarian – to get equal number of
seats in the Ottoman Parliament. But the Young Turks refused that concept and they conditioned the electoral agreement with the Serbs with having an agreement on broader bases that would not have a national
background. In 1910 as a representative of the party, he was sent to Istanbul where he urged the Turkish authorities to stop using their troops (Bashi-bazouk) to terrorize the Serbian population in Gjilan. The Sublime Porte

masks: Bogdan Radenković Bogdan Radenković Bogdan Radenković Bogdan Radenković


title: Bogdan Radenković

texts:
 denied the violence in Kosovo claiming that it was a fabrication. Yet to the Albanians are credited many of the outrages that have been committed in Old Serbia, where Turkish troops are alleged to have massacred more than 60,000 Christians. Black Hand
<mask> and a few others, particularly Colonel Dragutin Dimitrijević, were the initiators of the creation of the "Unification or Death" organization, better known as the Black Hand, in 1911. Along with Ljuba Čupa and Vojislav Tankosić,  <mask> wrote the constitution of the "Unification or Death" organization, which was modelled on similar German secret nationalistic associations and the Italian Carbonari.Bishop
After bishop Nićifor Perić of Raška-Prizren withdrew from his office (1911), owing to disagreement with the Serbian diplomacy, the Patriarchate of Constantinople appointed Bishop Gavrilo Dožić as successor, as the Serbian diplomacy wanted. There was a conflict within the Serbian Church regarding the appointment of Gavrilo; the "Old Serbs" (clergy from Kosovo and Old Serbia) wanted their candidate, the previous secretary of the Eparchy of Skoplje, monk Vasilije (<mask>) <mask>. While waiting for the Ottoman government approval, the Serbian government changed the decision and ordered through the consuls that Ottoman Serbs request that <mask> be appointed instead. However, Gavrilo ended up being chosen. Meanwhile, <mask> became a founder of the Black Hand conspiracy group. Secret Mission in Korçë
After the occupation of Serbia in late 1915 by the Germans, Austrians, Hungarians and Bulgarians, <mask> <mask> withdrew through Montenegro, Albania to the island of Corfu, where he was temporarily hospitalized with tuberculosis. When his condition improved somewhat he was sent to Athens and from there to Korçë County in eastern Albania.There he stayed until  August 1916 when a surprise Bulgarian invasion took place and he was forced to

masks: Radenković Radenković Bogdan Radenković Radenković Radenković Bogdan Radenković


title: Bogdan Radenković

texts:
 flee. He was almost caught while escaping but eventually managed to reach Thessaloniki, where the Serbian Supreme Command was stationed. Weak, suffering from tuberculosis after the harrowing escape from Korçë, he was advised by his doctor to go to Egypt where the climate may improve his condition. Nikola Pašić, however, purposefully delayed his departure until his condition worsened. High Military Court
The Serbian Supreme Command on 15 March 1917 sent a warrant for <mask> <mask>'s arrest, though the main accused was Dragutin Dimitrijević, better known as Apis, and his associates. <mask> was sentenced to death for allegedly plotting against the prince regent Aleksandar Karadjordjević and Nikola Pašić, the head of the Serbian government-in-exile, even though there was no concrete evidence that could link him to such an outrageous plot, not him nor Dimitrijević and others. <mask> <mask> died of tuberculosis in a prison hospital in Thessaloniki, Greece on 30 July 1917.Years later it was revealed that Nikola Pašić fabricated the story to rid himself of Dragutin Dimitrijević and other Serbian nationalists that may pose a threat after the war during election time. All the accused were vindicated, but many years later. See also
 List of Chetnik voivodes

References

 Translated and adapted from Serbian Wikipedia:
Богдан Раденковић

Sources
 Вучетић, Биљана (2018). Богдан Раденковић: судбина једног српског националисте. Београд: Историјски институт. p. 355.(Vucetic, Biljana (2018) <mask> Radenkovic, Destiny of a Serbian Nationalist. Belgrade: Institute of History, p. 355) . External links

Date of birth missing
20th-century Serbian people
Serbian nationalists
Politicians from Mitrovica, Kosovo
People from the Kingdom of Serbia
Serbian Chetnik Organization
Black Hand (Serbia)
Military personnel from Mitrovica, Kosovo
1874 births
1917 deaths
Serbs of the Ottoman Empire
People from

masks: Bogdan Radenković Radenković Bogdan Radenković Bogdan


title: Martin Mattner

texts: <mask> (born 6 August 1982) is a former Australian rules footballer who played for the Sydney Swans and Adelaide Crows in the Australian Football League (AFL). He was traded to Sydney from the Crows in October 2007 in exchange for draft pick number 28. <mask> grew up in a small town called Ki Ki, which is 150 kilometres south-east of Adelaide. In the year he was elevated off Adelaide's rookie list (2002), <mask> was having to travel up to Adelaide twice a week to train and play football for Sturt. Prior to joining Sydney, he was Adelaide's leading tackler for the 2005 and 2006 seasons. In the 2006 season, <mask> missed out on two games due to a calf injury. He retired midway through the 2013 AFL season, succumbing to his ongoing hip injury.He took up a coaching role with the Sydney Swans as a development coach until

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Martin Mattner
Mattner
Mattner
Mattner


title: Martin Mattner

texts:
 the end of the 2015 season. In October 2015, <mask> was announced as the head coach of Sturt. <mask> is one of the few players to win a SANFL Premiership as a player, a SANFL Premiership as a coach and an AFL Premiership as a player. AFL career
<mask> grew up in the tiny southeast South Australian town of Ki Ki. He attended Coomandook Area School and played some junior football with the Peake and Districts Football Club. He then sought to further develop his game and progressed to play with the Imperial Football Club in 1997, and later Sturt, until he was recruited to the Adelaide Football Club for the 2002 season, off of the rookie list. 2002–2003

Debuting with Adelaide as a 19-year-old, <mask> began his career slowly.After being elevated from Adelaide's rookie list at the start of the 2002 season, he played just

masks:
Mattner
Martin Mattner
Mattner
Mattner


title: Martin Mattner

texts: seven games for the year. One of his best performances was a game against Geelong where he laid 13 tackles, a feature of his game that he had become noted for. He picked up 11 disposals in his first game, and then 13 disposals in a win over St Kilda. He averaged eight disposals a match over his seven games, and had an impressive average of just over three tackles a game. Much was the same the next year, with coach Gary Ayres displaying a tendency to not play his younger players unless a senior player was injured. He was able to play ten games in the 2003 season, averaging nine disposals a match, including 21 in a game against the Kangaroos, in the same game as he kicked his first goal. <mask> during these two years was still young, and was playing well for his local SANFL club Sturt, regularly gathering 20 or more


title: Martin Mattner

texts:
 disposals a match as well as laying many bone-crunching tackles.In the 2002 SANFL season, the Double Blues won the premiership over Central District and <mask> was listed among the best players in the Grand Final. Sturt's end of season trip was to Bali. Team members were caught up in the 2002 Bali bombings and fellow player Josh Deegan and club official Bob Marshall were killed. 2004–2005
During the 2004 season, <mask> was seen to improve in a number of areas – averaging eleven disposals and playing 16 matches for the year. Midway through a disappointing season for the team (where the Crows missed the finals), new coach Neil Craig gave <mask> more opportunity than previous coach Ayres, which helped Mattner grow as a player, another feature becoming noticeable was his run through the midfield. His new coach also

masks: Mattner Mattner Mattner


title: Martin Mattner

texts: played him more through the wing than Gary Ayres did, giving him more opportunity as a player. At that time, he had a career equaling 21 disposals in a game against Melbourne, and failed to miss a match after his inclusion in round 7 which shows how well he was performing.In 2005, <mask> came of age and so did a younger Crows outfit. He played all but one match for the season and failed only once to gather more than ten disposals in a disappointing effort against Melbourne. His average of 16 disposals per game seeing him as an important cog in Adelaide's midfield. He also had 98 tackles, which was the highest of any Crows player in the season. His long left-foot kicking, often described as "raking" and "accurate" by television commentators, was vital in setting up many of Adelaide's forward thrusts. He missed just


title: Martin Mattner

texts:
 one game in the season, which was in round 22, but failed to have a 15 disposal plus game in any of the Crows' three finals. Adelaide was knocked out of the finals race by West Coast in the preliminary final.2006
In 2006, <mask> started to play on a half-back flank, keeping a smaller player relatively quiet and gaining many possessions of his own. This was suggested by former Crows coach Malcolm Blight, as he did with Andrew McLeod and Simon Goodwin in 1997 and 1998. At the end of the season, he had only missed out on two games due to a calf injury. He had a career high 27 disposals against St Kilda, and followed that performance with 25 disposals against Geelong playing on the likes of Gary Ablett and Jimmy Bartel. Also in the game against St Kilda, <mask> had a career high number of kicks and marks playing further

masks: Mattner Mattner


title: Martin Mattner

texts:
 in the midfield. He continued to play well during the season, picking up 21 disposals against Fremantle in round 19 and again against Melbourne three weeks later in round 22. He picked up 12 Brownlow Medal votes, beating the likes of veterans Simon Goodwin, Andrew McLeod and Mark Ricciuto.In the season, he only failed to pick up 10 disposals or more in a game three times (twice against eventual premiers West Coast), and failed to lay a tackle twice. He kicked five goals for the season, including a career high two goals in a game against the Bulldogs in round 5. He has been praised by coach Neil Craig after he wanted him to take some parts of his game to a higher level. He is now considered an "automatic selection" player – that is, he will always get into the starting squad unless he is injured. 2007
<mask> managed


title: Martin Mattner

texts:
 19 of 23 games for Adelaide in 2007, though his statistics were well down on previous years. Despite being a naturally attacking player, Mattner was consistently played in defence, rather than on a wing which would be his preferred position. This is often offered as an explanation to his drop in form, and subsequent trading away from the Crows.2008–2012

<mask> was traded to the Sydney Swans at the end of the 2007 season and quickly found his feet in the Swans' backline. He had a terrific first year at his new club and consequently placed 3rd in the Bob Skilton Medal (Sydney's Best and Fairest Award) behind Jarrad McVeigh and Brett Kirk. His second game for the Swans was his 100th AFL game overall, played against . Since then, <mask> has played some very consistent football in defence and has established himself as


title: Martin Mattner

texts:
 a clear best 22 player in Sydney. 2009 and 2010 saw solid form from <mask> while he has started the 2011 season in as strong form as has been seen from him at the club. <mask> has only missed one game in his time at the Sydney Swans, that being round 15, 2010 against North Melbourne. 2011 was one of <mask>'s most consistent years in the AFL.He didn't see as much ball rebounding from the back half but, as a pure defender, he produced some of his best football. <mask> played his 200th AFL game in round 9, 2012, against . He went on to play in the Swans' side that won the club's fifth premiership with a victory over . He played an important role in the team, including a ferocious run down tackle on Hawthorn's Grant Birchall in the dying minutes. 2013

<mask> played the first seven rounds of the season in reasonable

masks: Mattner Mattner Mattner Mattner Mattner


title: Martin Mattner

texts:
 form however was sidelined for 3 rounds midway through the season. Just prior to round 11, <mask> announced his retirement effective immediately, due to a degenerative hip condition that had caused him constant pain for several years. <mask> stated that to continue playing football would aggravate the injury and could lead to a life of crippling pain.Coaching career

<mask> became the senior coach of Sturt in the South Australian National Football League (SANFL) in 2016. After finishing eighth out of ten in 2015, Sturt won the premiership in his first season as coach, and won its second consecutive premiership in 2017. <mask> joined the Adelaide Football Club post 2018 SANFL season with Sturt and took up an assistant role, <mask> will be in charge of the defenders with Adelaide. After departing Adelaide in 2020 due


title: Martin Mattner

texts:
 to reduction in coaching panel sizes, <mask> successfully returned as the coach of the Sturt Football Club in 2021. Statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2002
|style="text-align:center;"|
| 39 || 7 || 0 || 1 || 32 || 22 || 54 || 10 || 22 || 0.0 || 0.1 || 4.6 || 3.1 || 7.7 || 1.4 || 3.1
|-
! scope="row" style="text-align:center" | 2003
|style="text-align:center;"|
| 39 || 10 || 1 || 2 || 51 || 38 || 89 || 17 || 26 || 0.1 || 0.2 || 5.1 || 3.8 || 8.9 || 1.7 || 2.6
|- style="background-color: #EAEAEA"
!scope="row" style="text-align:center" | 2004
|style="text-align:center;"|
| 39 || 16 || 3 || 4 || 93 || 86 || 179 || 44 || 49 || 0.2 || 0.3 || 5.8 || 5.4 || 11.2 || 2.8 || 3.1
|-
! scope="row" style="text-align:center" | 2005
|style="text-align:center;"|
| 39 || 24 ||


title: Mike Morath

texts:
<mask> (born 1977) is an American software developer and investor. He is the commissioner of the Texas Education Agency. Prior to joining the agency, he served as a trustee for the Dallas independent school District, where he advocated for school reform and home-rule. Morath began his career in the technology sector. Early life
<mask> was born in 1977 and was raised, for a time, in a coal mining town close to Western Virginia. His family moved to North Texas, where he attended Garland High School, a public school in Garland, a suburb of Dallas, Texas. Morath had an interest in software development as early as age six when he wrote his first computer program.In high school, he developed a program to analyze his high school football team's offensive play-calling strategy. After graduating from Garland High School in 1995, Morath attended George Washington University. He joined Alpha Phi Alpha, a mostly African-American fraternity and was a part of the Black Student Union, serving as director of communications. He graduated from George Washington with a degree in business administration, completing his bachelor's in two-and-a-half years. Career
After George Washington, Morath formed a software startup company that eventually failed. He then founded Minute Menu Systems, a company that provided technical and logistical support to child care programs as it relates to a federal food assistance program for low-income families. Board of trustees
In 2011, Morath ran unopposed for a seat on the Board of Trustees to the Dallas independent school District (DISD), representing District 7, which includes North Dallas and Lakewood.He decided to resign his position as CEO of Minute Menu Systems. In May 2011, he joined the board of what is the second-largest school district in Texas. As a trustee in 2013,

masks:
Mike Morath
Morath


title: Mike Morath

texts:
 commission is tasked with proposing "changes to the state's method of student assessment and school accountability." A month later, on December 14, the governor named Morath to replace Michael L. Williams, who retired, as Texas Commissioner of Education, the head of the Texas Education Agency. His appointment to the position was criticized by those that opposed his attempt to establish home rule control over the DISD. Commissioner
In January 2016, <mask> left his position on the DISD board to become the Commissioner of Education. He was sworn in on January 4, to lead the agency that is responsible for the state's 1,200 school districts. As commissioner, Morath has, in several instances, exercised his power to intervene in the governance of under-performing school districts.In February 2016, he appointed Judy Castleberry as conservator of the South San Antonio independent school District. In March, following an investigation by the agency, Morath appointed Sharon Doughty as conservator of the Edgewood independent school District in San Antonio. He also announced that this would be followed by appointments to replace the vacant superintendent position and a board of managers to replace the elected members of the board of trustees. The new board of managers and superintendent were sworn in on May 24. In the case of the Hearne independent school District in May 2017, however, Morath reversed his own decision, made earlier in the year to appoint a replacement for the school board, allowing them to stay in power. Morath has used his authority to intervene in the governance of Houston ISD or attempted to do so for several years. A state-appointed conservator has monitored the state's largest district since September 2016 and was given expanded authority in March 2019, stopping the district's


title: Frank Wild

texts:
<mask>  (18 April 1873 – 19 August 1939), known as <mask>, was an English sailor and explorer. He participated in five expeditions to Antarctica during the Heroic Age of Antarctic Exploration, for which he was awarded the Polar Medal with four bars, one of only two men to be so honoured, the other being Ernest Joyce. Early life
<mask> was born in Skelton-in-Cleveland, North Riding of Yorkshire, the eldest of eight sons and three daughters born to <mask>, a schoolteacher, and his wife Mary (née Cook), a seamstress. The family came from Skelton close to Marton, birthplace of Captain James Cook, to whom the family claimed ancestry through Mrs. <mask>; her father was Robert Cook, who claimed to be a grandson of the great explorer. By 1875, the <mask> family had moved from Skelton to Stickford in Lincolnshire, and in late 1880 moved again to Wheldrake near York. <mask>'s family next moved to the village of Eversholt in Bedfordshire. Here his father was appointed clerk of the Eversholt Parochial Charity at Woburn.<mask> was educated at Bedford. He joined the Merchant Navy in 1889 at the age of 16, receiving his early training in sail in the clipper ship Sobraon. In the Merchant Navy he rose to the rank of second officer. In 1900, aged 26, he joined the Royal Navy. The 1901 census shows that at that time, aged 27, he was serving as an able seaman on , anchored in Sheerness Harbour. Antarctic exploration

<mask> took part in the following Antarctic expeditions:

 In 1901, he was a member of Robert Falcon Scott's crew as an able seaman on the Discovery, along with Ernest Shackleton, who was then a sub-lieutenant. In 1908–1909, he was a member of Shackleton's Nimrod Expedition and was a member of the team that crossed the Ross Barrier and Beardmore Glacier at a record latitude of 88º23'S.In 1911, he joined Douglas Mawson's Aurora expedition and was in charge of the western base on the Shackleton Ice Shelf. From

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John Robert Francis Wild
Frank Wild
Frank Wild
Benjamin Wild
Wild
Wild
Wild
Frank Wild
Wild


title: Frank Wild

texts:
 1914 to 1916, he served as Shackleton's second-in-command on the Imperial Trans-Antarctic Expedition. In 1921–1922, he served as second-in-command of the Shackleton–Rowett Expedition. As second-in-command of Shackleton's Imperial Trans-Antarctic Expedition, <mask> was left in charge of 21 men on desolate Elephant Island as Shackleton and a crew of five undertook an epic open-ocean voyage to South Georgia aboard the lifeboat James Caird in order to seek rescue. For more than four months, from 24 April to 30 August 1916, during the Antarctic winter, <mask> and his crew waited on Elephant Island, surviving on a diet of seal, penguin and seaweed. They were finally rescued by Shackleton aboard the Chilean ship Yelcho. Point <mask> on Elephant Island is named after <mask>; a monument dedicated to the Chilean captain Luis Pardo, who rescued him and his men, now stands at the site.On returning to the United Kingdom in 1916, <mask> volunteered for duty during World War I and was made a temporary lieutenant in the Royal Naval Volunteer Reserve. After taking a Russian language course, <mask> became the Royal Navy's transport officer at Archangel, where he superintended the war materials which arrived during the Allied intervention in Russia. After the war, <mask> went to South Africa, where he farmed in British Nyasaland with Francis Bickerton and James McIlroy, two former Antarctic comrades. From 1921 to 1922, <mask> was second-in-command of the Shackleton–Rowett Expedition, on the converted Norwegian ship Quest. Shackleton died of a heart attack on South Georgia during the expedition, and <mask> took over command and completed the journey, combating unfavourable weather to Elephant Island and along the Antarctic coast. <mask>'s younger brother <mask> also went on to become a Royal Naval seaman and Antarctic explorer, receiving a Polar Medal. Later years

On 24 October 1922, <mask> married Vera Alexandra Altman

masks:
Wild
Wild
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Frank Wild
Wild
Wild
Wild
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Ernest Wild
Wild


title: Frank Wild

texts: (née Bogosoff), the widow of a tea planter of Borneo, at Reading Register Office.They had first met in 1918 when <mask> was serving in Russia, and he had assisted her to obtain a passage home to England. After the Shackleton–Rowett Expedition, <mask> returned to South Africa with Vera where he continued to farm. He bought some land in the Mkuzi valley in Zululand where he tried to grow cotton. The enterprise was a financial disaster and after five years of drought followed by flood, <mask> gave up. Next he was involved in railway construction and for a time had some success with a contract to extend the South African railway to the border with Swaziland. However, the contract ended and he was forced to seek employment elsewhere. <mask>'s marriage to Vera was in difficulty shortly after arriving in Zululand and she asked for a divorce, which became absolute on 27 December 1928.Next, <mask> took a temporary job as a hotel barman at Gollel in Swaziland which was owned by a friend of his. Caught in the 1930 Depression, he was forced to move from job to job, including working as a battery manager at a diamond mine which went bankrupt, prospecting in Rhodesia and managing a quarry. He subsidised his meagre income by giving the occasional lecture on the Endurance expedition. He married for the second time on 18 March 1931. His new wife, Beatrice (Trixie) Lydia Rhys Rowbotham, was 47 years old and ten years his junior. They settled in Germiston, where in 1932 he worked supervising a stone-crushing machine at a Witwatersrand gold mine. <mask> earned enough money not only to buy a car (a Wolseley) but to take two holidays in the hinterland and coast of South Africa.Due to ill health, he was forced to leave the mining job and he was given a job by his brother-in-law Pat O'Brien Frost to oversee the building of Frost's house in Haenertsburg in the Eastern Transvaal. However, he had little respect for Frost; that

masks: Wild Wild Wild Wild Wild Wild


title: Frank Wild

texts:
 and the demands of building the house in an extremely remote part of the country caused him to return to Johannesburg. He received the offer of a job as a storekeeper on the Babrosco Mine near Klerksdorp from his friend Jack Scott, the mining magnate. He had also been awarded the Civil List pension from Downing Street. Death
<mask> died of pneumonia and diabetes in Klerksdorp on 19 August 1939, aged 66 years. He was cremated on 23 August 1939 at Braamfontein Cemetery in Johannesburg. In the 2000s, while journalist and author Angie Butler was researching a book about <mask> she discovered his ashes were still in a vault at Braamfontein Cemetery.On 27 November 2011, the ashes of <mask>, Shackleton's "right-hand man", were interred on the right-hand side of Shackleton's grave site in Grytviken, South Georgia. <mask>'s relatives and Shackleton's granddaughter, the Hon. Alexandra Shackleton, attended a service conducted by the Rev Dr Richard Hines, rector of the Falkland Islands. Butler said, "His ashes will now be where they were always supposed to be. It just took them a long time getting there." The journey to South Georgia, the service and the interment were the subject of a BBC Radio 4 programme in the Crossing Continents series. His grave is marked with a rough-hewn granite block with the inscription: "<mask> 1873–1939, Shackleton's right-hand man."Honours and memorials
<mask> was awarded the CBE in the New Year Honours List of 1920 and in May 1923 he was made a Freeman of the City of London. He was also the recipient of a number of awards for his contributions to exploration and for advancing geography: He received the Royal Geographical Society's Back Award in 1916 and the Society's Patron's Medal in 1924. Cape <mask> and Point Wild on Elephant Island in the Antarctic are named after him, as is Mount <mask> in the Queen Alexandra Range and Mount Wild in Graham Land. His CBE and four-bar Polar Medal

masks:
Wild
Wild
Frank Wild
Wild
Frank Wild
Wild
Wild
Wild


title: Frank Wild

texts:
 sold for £132,000 in September 2009, more than double the estimate. On 25 November 2011, the Government of South Georgia and South Sandwich Islands issued a set of commemorative postage stamps honouring <mask> along with other Antarctic pioneers. The set comprises eight stamps in four se-tenant pairs with denominations of 60, 70 and 90 pence, and £1.15. They are available from the Falkland Islands Philatelic Bureau.In April 2012, BBC2 broadcast "<mask> Wild: Antarctica's Forgotten Hero", presented by Paul Rose, which placed <mask>'s achievements alongside those of Shackleton and the other explorers of the Heroic Age. The documentary film also featured commentary from polar historian Dr. Huw Lewis-Jones, author Francis Spufford and explorer Sir Ranulph Fiennes. Of <mask>, Paul Rose has said: "He was a true great. He stood shoulder to shoulder with Shackleton. They made the perfect team. With Shackleton’s great leadership skills, and <mask>’s cool head and experience, they were able to handle almost anything that the Antarctic could throw at them." On 29 September 2016, a statue of <mask> was unveiled in his hometown of Skelton-in-Cleveland.References

Sources

 Huw Lewis-Jones (2009). Face to Face: Polar Portraits. Conway and Polarworld, 288 pages. .
 Leif Mills (1999). <mask>. Caedmon of Whitby, 350 pages. Angie Butler (2011). "The Quest for <mask> Wild".Jackleberry Press, 214 pages. Huw Lewis-Jones and Kari Herbert (2011). In Search of the South Pole. Conway, 192 pages. .

 F.A. Worsley, Shackleton's Boat Journey

External links

1873 births
1939 deaths
Castaways
Commanders of the Order of the British Empire
English emigrants to South Africa
English explorers
Explorers of Antarctica
Fellows of the Royal Geographical Society
Imperial Trans-Antarctic Expedition
People from Redcar and Cleveland
Recipients of the Polar Medal
Royal Navy officers
Royal Navy officers of World War I
Royal Navy

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Frank Wild
Frank
Wild
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Frank
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Frank Wild
Frank


title: Anastasios Donis

texts:
<mask> "Tasos" <mask> (Greek: Αναστάσιος "Τάσος" Δώνης; born 29 August 1996) is a Greek professional footballer who plays as a forward for French club Stade de Reims and the Greece national team. Club career

Youth career
In January 2013, <mask> moved from Panathinaikos to Juventus for €300,000. The move was completed in May 2012, where he signed a three–year professional contract. He became a star in the Primavera in Turin, scoring 17 goals in 45 games in both Campionato Nazionale Primavera and UEFA Youth League. This included scoring a hat–trick against Spezia U19 on 25 January 2014. He also scored twice on two occasions against Siena U19 and Cesena U19. Sassuolo (loan)
On 2 February 2015, <mask>lo, as he was sidelined, due to being on the substitute bench and his own injury concerns. Lugano (loan)
In summer 2015, <mask> joined Lugano for the 2015–16 season. However, he suffered an injury that saw him miss the start of the season. He didn't make his debut until on 13 September 2015, where he came on as a substitute for Domagoj Pušić, in a 3–0 loss against FC Sion. Six days later, <mask> scored his first goal for the club, in the second round of Swiss Cup, in a 3–2 win over AC Bellinzona after the game went extra time. On 2 March 2016, he scored twice against FC Luzern to help his side progress to the final of the Swiss Cup for the first time in 23 years. He went on to score four goals in the competition; this includes scoring twice against FC Thun on 17 April 2016 and then netted the last goal on 25 May 2016 to seal the victory against St.Gallen on the last matchday of the season, helping his club avoid relegation.On 29 May 2016, Lugano lost 1–0 against relegated FC Zürich in the final of the Swiss Cup. Despite being sidelined on three more occasions later in the season, He ended his loan to Lugano with 8 goals and 7 assists in 29 appearances across all competitions. OGC Nice (loan)
On 20 July 2016, Ligue 1 club OGC Nice officially announced that <mask> had joined them on

masks: Anastasios Donis Donis Donisssuo Donis Donis Donis


title: Anastasios Donis

texts:
 loan from Juventus. Nice had an option to buy him at the end of the season. On 14 August 2016, matchday 1 of the 2016–17 Ligue 1 season, he made his debut for Nice as a substitute in a 1–0 win against Rennes. On 3 November 2016, he made his international club debut appearing as a substitute late in the match in a 2–0 home loss against FC Red Bull Salzburg in a 2016–17 UEFA Europa League group stage match. <mask> played a total of just 79 minutes in Ligue 1 before 12 February 2017 with all of them coming as substitute appearances.On 12 February, he replaced the injured Alassane Pléa in the 43rd minute with Nice losing 2–0 against Rennes and scored In the 59th minute contributing to a 2–2 draw. On 10 March 2017, he came on as a substitute and scored the leveller in the 77th minute of a league home game against SM Caen. Then, on 30 April 2017, he scored his fourth goal of the season, in a 3–1 win over Paris Saint-Germain, a win that saw but cost their chance of successfully defending their league title, which Monaco ultimately won. Three weeks later, on the last matchday of the season, he netted a brace in a 3–3 away draw against Olympique Lyonnais. At the end of the season, with the club finished third place in a table, <mask> finished the season, making twenty–two appearances and scoring five times in all competitions. Despite keen on staying at Nice for another season, Nice chose not to exercise their option to sign <mask> for €2 million. VfB Stuttgart
On 1 July 2017, <mask> moved to VfB Stuttgart and signed a four-year-contract.Media estimated the transfer fee paid to Juventus is set at €4.2 million, while his former club Juventus will keep a future 20% resale rate, while the release clause of his contract set to €23 million. On 13 August 2017, he made his debut with the club as a substitute in an away DFB Pokal game against FC Energie Cottbus. On 13 October 2017, <mask> scored his first goal in Bundesliga, giving his club a half-time lead to a 2–1 home win game against 1.

masks: Donis Donis Donis Donis Donis


title: Anastasios Donis

texts: FC Köln. On 18 October 2017, <mask> dislocated his shoulder in training and will miss between five and six weeks, the club confirmed. Stuttgart announced that despite the injury, 21-year-old <mask> will not undergo an operation and will instead go through a normal rehabilitation process. On 13 December 2017, in his return to the squad, <mask> had a muscular reaction in the first half of an away game against TSG 1899 Hoffenheim that will probably keep him out of action between two and three weeks.He then returned to the first team from injury on 13 January 2018, where he started and played 58 minutes before being substituted, in a 1–0 win over Hertha BSC. For the rest of the 2017–18 season, <mask> spent the most of the time on the substitute bench. On 12 May 2018, he scored and gave an assist as Stuttgart won 4–1 on the final day of 2017–18 Bundesliga season to end Bayern's 37-game unbeaten home run in the Bundesliga. At the end of the 2017–18 season, <mask> finished his first season at VfB Stuttgart, making nineteen appearances and scoring two times in all competitions. Ahead of the 2018–19 season, it was announced that <mask> was going to stay at VfB Stuttgart for another season. His first appearance of the season came on 18 August 2018, where he came on as a substitute, in a 2–0 loss against Hansa Rostock. He soon found himself behind the pecking order in the first team at VfB Stuttgart at the start of the season.On 29 September 2018, he scored his first goal in the season in a 2–1 home win game against SV Werder Bremen as he raced past the static visiting defence Miloš Veljković, charged beyond onrushing goalkeeper Jiří Pavlenka and scored in an empty net. On 1 December 2018, he scored the only goal as Santiago Ascacíbar right out to Andreas Beck, whose cross pass takes Donis directly and hits by low shot from 16 meters into the left corner, sealing a 1–0 home win game against FC Augsburg. On 27 January 2019, he levelled the score with a fine strike, who placed the ball

masks: Donis Donis Donis Donis Donis Donis


title: Anastasios Donis

texts:
 like a postage stamp in the top right-hand corner of Manuel Neuer's goal, but his club could not avoid a 4–1 away loss against champions Bayern Munich. On 27 April 2019, he scored the only goal in a 1–0 home win game against Borussia Mönchengladbach in his club effort to avoid relegation. <mask> scored his fourth goal of the season, twice as many as in the previous season. <mask> scored five of his six Bundesliga goals for a lead. On 11 May 2019, he scored his fifth goal in the season, as he shot from an acute angle technically demanding in the far corner giving a two goals' lead in a 3–0 win home game against VfL Wolfsburg.Stade de Reims
On 2 September 2019, <mask> was loaned out to Stade de Reims until the end of the season. He would move permanently to Reims if the club avoided relegation with a compulsory purchase option of €8 million for the summer of 2020. At the end of the season, he signed a four year contract with a transfer fee of €4 million. Loan to VVV-Venlo
On 1 February 2021, <mask> moved to Eredivisie club VVV-Venlo, on a loan deal until the end of the season. International career
<mask> has represented Greece on multiple levels. He would also be eligible to play for England through birth but opted to play for Greece instead. Youth
In October 2013, <mask> was called up to the Greece U19 for the first time.He made his Greece U19 debut, where he started the match before coming off in the first half, as they lose 3–0 to Austria U19 on 16 October 2013. A month later, he scored two goals between 14 November 2013 and 17 November 2013 against Bulgaria U19 and  Over the next two years, playing for the U19 side, <mask> went on to make thirteen appearances and scoring two times. In March 2016, <mask> was called up for the Greece U21 for the first time. He made his Greece U21 debut on 24 March 2016 against Albania U21, starting the whole game, in a 0–0 draw. Seven months later, on 10 October 2016, he scored his first Greece U21 goal, in a 3–1 win over Hungary U21.

masks: Donis Donis Donis Donis Donis Donis Donis Donis


title: Anastasios Donis

texts:
 Senior
On 1 June 2017 he was called up in Greece national squad for the fixture against Bosnia and Herzegovina. On 9 June 2017, he made his debut for Greece as he came on as a substitution for injured Tasos Bakasetas, in a 0–0 draw.Two months later, on 31 August 2017, <mask> made his first start for the national team and played the whole game, in a 0–0 draw against Estonia. On 21 March 2019, he was subbed on for the injured Kostas Mitroglou and scored his first goal with Greece senior team in a 2–0 UEFA Euro 2020 qualifying away match against Liechtenstein. Personal life
<mask> comes from a family of footballers. His father, Giorgos, was a professional footballer and Greece international, while his older brother, Christos, played for Panathinaikos. Both Christos and Anastasios played together when they were at Lugano. <mask>, nicknamed "Tasos", was born in Blackburn during his father's time at Blackburn Rovers. Because he was born in England, <mask> has a British passport.In addition to speaking Greek, <mask> also speaks Italian, which he learned from his time at Juventus. Career statistics

Club

International
Scores and results list Greece's goal tally first. Honours
Juventus Primavera
 Supercoppa Primavera: 2013

References

External links

1996 births
Living people
Footballers from Blackburn
Greek footballers
Greece under-21 international footballers
Greece youth international footballers
Greece international footballers
English footballers
English people of Greek descent
Swiss Super League players
Bundesliga players
Ligue 1 players
FC Lugano players
Juventus F.C. players
U.S. Sassuolo Calcio players
OGC Nice players
VfB Stuttgart players
Stade de Reims players
Greek expatriate footballers
Expatriate footballers in Italy
Expatriate footballers in Switzerland
Expatriate footballers in France
Greek expatriate sportspeople in Italy
Greek expatriate sportspeople in Switzerland
Greek expatriate sportspeople in France
Association football wingers
Association football

masks: Donis Donis Anastasios Donis Donis


title: Vania King

texts:
<mask> (born February 3, 1989) is a retired American tennis player. A former top-10 doubles player, <mask> won both the Wimbledon and US Open women's doubles titles in 2010 with partner Yaroslava Shvedova, with whom she also reached the final of the 2011 US Open. She has won a total of 15 WTA doubles titles and reached a career-high ranking of No. 3 in the world. She also was a runner-up in the mixed-doubles final at the French Open in 2009, with Marcelo Melo. In singles, <mask> has been ranked as high as No. 50 in the world.Her biggest accomplishments included a WTA title at the 2006 Bangkok Open and two runner-up finishes at the 2013 Guangzhou International and 2016 Jianxi International. She also progressed as far as the third round in Grand Slam tournaments, doing so on four occasions (the 2009 US Open, the 2011 French Open, the 2011 US Open, and the 2012 Australian Open). <mask> announced her retirement on April 6, 2021. Personal life
<mask>'s parents moved to the United States from Taiwan in 1982. She is the youngest of four children. Her brother Phillip was a two-time All-American at Duke University and two-time US junior champion. <mask> is a graduate of Long Beach Poly High School in California.Tennis career

2006–2009
In 2006, <mask> won her only WTA Tour singles title at the Bangkok Open, a Tier-III tournament. She defeated Tamarine Tanasugarn in the final. In November, she achieved her career-high singles ranking of world No. 50. In 2009, she reached the mixed-doubles final at the French Open alongside Brazilian player Marcelo Melo, losing to

masks:
Vania King
King
King
King
King
Vania
King


title: Vania King

texts:
 top-seeded team Liezel Huber/Bob Bryan. <mask> lost in the second round of the 2009 Wimbledon Championships to No. 15, Flavia Pennetta.She played in the ladies' doubles with Anna-Lena Grönefeld, losing in the quarterfinals to eventual champions Venus and Serena Williams. At the 2009 US Open, <mask> was granted a wildcard and had her best singles Grand Slam performance. She was defeated in the third round by world No. 22, Daniela Hantuchová. 2010
<mask> began the year ranked no. 80 in the world at the Brisbane International. She reached the second round of the singles tournament, losing to Andrea Petkovic.In doubles, she partnered with Anna-Lena Grönefeld and lost in the first round to Timea Bacsinszky and Tathiana Garbin. <mask> and Grönefeld fared better at the Sydney International, where they were seeded fourth. They lost in the semifinals to Garbin and Nadia Petrova. In the singles tournament, <mask> failed to qualify, losing in the first round of the qualifying tournament to top seed Ágnes Szávay, who went on to defeat Jelena Janković in the first round of the tournament. At the Australian Open, <mask> lost in the second round to Roberta Vinci. In doubles, she partnered with Grönefeld again and entered the tournament seeded 14th. They lost in the second round to Svetlana Kuznetsova and Victoria Azarenka.<mask>'s next bigger tournament was the Memphis Cup in mid-February. She entered the singles draw seeded seventh and lost in the second round to Sofia Arvidsson. In the doubles tournament, she and partner Michaëlla Krajicek were seeded third and won the

masks: King King King King King King King


title: Vania King

texts: title without dropping a set, defeating Bethanie Mattek-Sands and Shaughnessy in the final. <mask> then traveled to the Monterrey Open. In doubles, she reunited with Grönefeld and reached the final as the top seed, falling to second-seeded pair Benešová/Záhlavová. In singles, she lost in the quarterfinals to second seed Daniela Hantuchová. At the Indian Wells Open, <mask> lost in the second round to No.2 Caroline Wozniacki. She did not enter the doubles tournament. She fared better in the Miami Open later that month. <mask> partnered with Julie Coin and reached the quarterfinals of the doubles tournament, before losing to third seeds Petrova and Samantha Stosur, who went on to become the runners-up. Her next Premier event was the Charleston Open, where she reunited with Krajicek and reached the final, before falling to top seeds Huber and Petrova. In singles, she lost to Petrova in the second round. At the Madrid Masters, <mask> paired with Chuang Chia-jung for the first time for the doubles tournament.They defeated fourth seeds Huber and Anabel Medina Garrigues, before falling in the quarterfinals to Pe'er and Francesca Schiavone. In singles, <mask> lost in the first round to Karolina Šprem. She then entered the Strasbourg International. In the doubles tournament, she partnered with Alizé Cornet and won the title after an injury to Lucie Hradecká forced top seeds Hradecká/Chuang to retire in the second round. <mask>t defeated second seeds Rodionova/Kudryavtseva in the final for her tenth tour doubles title. In singles, <mask> defeated second seed Elena

masks:
King
King
King
King
King
King Corne
King


title: Vania King

texts:
 Vesnina in the first round and reached the semifinals, falling there to Kristina Barrois. At the French Open, she lost in the first round to Mattek-Sands.She entered the mixed-doubles tournament with Christopher Kas, reaching the semifinals, before falling to Shvedova and Julian Knowle. In women's doubles with Krajicek, she reached the second round losing to fourth-seeded Petrova and Stosur. At Wimbledon, <mask> won the ladies' doubles title in straight sets with Yaroslava Shvedova. They defeated Elena Vesnina and Vera Zvonareva in the final. At the US Open, <mask> and Shvedova won their second Grand Slam doubles title, defeating the second-seeded pair Huber/Petrova in a rain-delayed final. At the Stanford Classic, Vania lost to Sorana Cîrstea. 2011
<mask> and Shvedova made the finals of the US Open, losing to Liezel Huber and Lisa Raymond.<mask> made it to the finals of five other WTA tournaments in the course of the year, one in Monterrey with Grönefeld and in Rome, Cincinnati, Osaka, and Moscow with Shvedova. She and Shvedova won the events in Cincinnati in August and Moscow in October. 2012
<mask> reached the third round of the Australian Open at the start of the year, losing to Ana Ivanovic. She had defeated Kateryna Bondarenko in the first round. She reached the second round of the Carlsbad Open in July, losing to Marion Bartoli. In doubles, she reached the final in Stanford with Jarmila Gajdošová and in Carlsbad with Nadia Petrova, but lost to Marina Erakovic and Heather Watson in Stanford and to Raquel Kops-Jones and Abigail Spears in Carlsbad.

masks: King King King King King


title: Vania King

texts:
 2013

In singles action, <mask> lost in the Guangzhou final to Zhang Shuai.<mask> lost in the second round of the French Open and in the first round of the other three Slans. In doubles that year, her best finish was a finals loss in Guangzhou. 2014
In doubles, <mask> made the second round at the Australian Open partnering Galina Voskoboeva. They lost to the Czech/Dutch pair of Hradecká and Krajicek. She partnered with Barbora Strýcová in Florianópolis, and they made it to the semifinals before being defeated by Medina Garrigues and Shvedova. She was eliminated in the first round in Indian Wells, and the second round in Miami, but made it to the final in Bogotá, partnering Chanelle Scheepers of South Africa. Partnering Zheng Jie, she made a quarterfinal appearance in Madrid, losing to Sara Errani and Roberta Vinci.Then followed a series of first-round losses, including Roland Garros and Wimbledon. She had some success in the late summer, making the quarterfinals in Washington, partnering Taylor Townsend, and the third round at the US Open, partnering Lisa Raymond. In singles, she made the semifinals in Shenzhen, but had to concede a walkover. She made a first-round exit at the Australian Open at the hands of Carla Suárez Navarro. At the Pattaya Open, she was defeated by Elena Vesnina in the first round. A series of first-round defeats followed in Rio de Janeiro, Florianópolis, and Indian Wells. She made the second round in Miami and Charleston, but it was not until April in Bogotá that she found some form and made it to the semifinals.She went down in the

masks: King King King


title: Vania King

texts:
 first round in both Roland Garros and Wimbledon, but she did make the quarterfinals in Washington D.C.

At the US Open, she defeated Francesca Schiavone in the first round, but lost to eventual champion Serena Williams in the second round. 2015
<mask> missed the first three Slams of 2015 due to injury. She lost in the first round of singles and the second round of doubles there in Flushing. The highlight of her year came on hardcourts in Waco, where <mask> and Nicole Gibbs won in November, defeating Julia Glushko and Rebecca Peterson. 2016–2017
In 2017, <mask> reunited with the doubles partner with whom she had had the most success, Yaroslava Shvedova. They made it to the semifinals in Sydney, where they lost to Sania Mirza and Barbora Strýcová. At the Australian Open, <mask> and Shvedova advanced to the third round, where they lost to Mirjana Lucic-Baroni and Andrea Petkovic.They were stopped in the second round of Indian Wells by the Japanese-Chinese pair of Shuko Aoyama and Yang Zhaoxuan. In Miami, they went on to the quarterfinals, where they again lost to Mirza and Strýcová. Performance timelines

Singles

Doubles

Mixed doubles

Significant finals

Grand Slam finals

Doubles: 3 (2 titles, 1 runner-up)

Mixed doubles: 1 (runner-up)

Premier Mandatory/Premier 5 finals

Doubles: 4 (2 titles, 2 runner-ups)

WTA career finals

Singles: 3 (1 title, 2 runner-ups)

Doubles: 33 (15 titles, 18 runner-ups)

WTA 125K series finals

Doubles: 1 (runner-up)

ITF Circuit finals

Singles: 2 (runner–ups)

Doubles: 8 (7 titles, 1 runner–up)

Junior Grand Slam

masks: King King King King


title: Toto Pongsawang

texts:
<mask> or spelt <mask>wang () is a former Thai professional boxer and Muay Thai kickboxer in the 1990s. Biography & career
<mask> had a reputation for being a Muay Thai in Isan region in name "Toto Kangwalprai" (โตโต้ กังวาลไพร). Later, his manager Songphol "Ja Tu" <mask> led him to a regular at the Lumpinee Boxing Stadium, Bangkok under a promoter Songchai Rattanasuban. He is better known for defeating the hot-tempered fighter Pongsiri "Rambo" Por Ruamrudee in the second round with elbow strikes and beat Pairojnoi "Bloody Steel" Sor Siamchai with knockout in the final round even before that, he is almost defeated. That's why he was nicknamed "Lord of Miracle" from Muay Thai fans. Later, Songphol had him change to a professional career. It's intended that to fight just three times and then become a world champion like a legendary Saensak Muangsurin.He made a total of five wins. On September 19, 1993, he faced Ricardo "El Finito" López a WBC Strawweight champion holder at Capitol City Discothèque, Ratchadaphisek Road, Bangkok. As a result, he was defeated by TKO (referee stopped contest) in the 11th round with a very injured face although he can punched López's

masks:
Toto Pongsawang
Toto Por Posa
Toto
Pongsawang


title: Toto Pongsawang

texts:
 mouthguard bounce off. Between 1993 and 1995, he continued to fight five more times, losing only once in the Philippines. In 1996, he lost again and his final fight was in 1997, where he was defeated. After Ratanapol Sor Vorapin lost IBF Mini flyweight title to Zolani Petelo in late 1997, Songphol announced that <mask> would challenge Petelo but then it didn't happen, until Songphol quit being a promoter. He returned to Muay Thai again although won two times fight of the year, one of them was a fight with Rambaa Somdet, but unsuccessfully like old so finally retired.Retirement
After retirement, <mask> works a lot because he hasn't much money as labourer, auto mechanic, furniture maker, or assistant restaurant manager. Today, his right eye is completely  blind believed to be the result of a fight with López in 1993. Muay Thai record

|-  style="background:#cfc;"
| 1992-07-31 || Win ||align=left| Chartchainoi Chaorai-Oi  || Lumpinee Stadium || Bangkok, Thailand || KO (Punches & Low kicks) || 2 ||
|-  style="background:#cfc;"
| 1992-02-07 || Win ||align=left| Chatchai Paiseetong || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|-

masks: Toto Toto


title: José Brocca

texts:
<mask> (Professor <mask>, 1891 – 1950) was a pacifist and humanitarian of the Spanish Civil War, who allied himself with the Republicans but sought nonviolent ways of resisting the Nationalist rebels. His parents were Spanish and Italian. He was born in Almería, Andalucia in 1891. His father, originally from Milan, was stationed there as the Italian Consul. A forgotten history
Many people's perception of the Spanish Civil War is one of two monolithic 'sides': a war of the Republicans against the Nationalists. In fact it was by no means as simple as that, and although it was the Republican cause that was more seriously undermined by internal power struggles, there were many factions and sub-groups within both the main groupings. Almost completely overlooked by mainstream historians, there was also a vigorous element of pacifism, and the work of the Spanish arm of the organisation War Resisters' International (WRI) is almost totally forgotten in popular history and neglected by academics.Similarly, and perhaps inevitably, the history of military assistance, particularly through the International Brigades, is far better documented than the role of people dedicated to non-violence, civilian initiatives and what today we would call non-governmental organisations. Viator

As with many families, civil war meant uncertainty, movement and separation; but <mask>'s children regarded their formative years as having been spent in the small town of Viator, near Almería, and it is to Viator that family members have returned in order to visit the area with which they feel <mask> is most closely associated. <mask>

masks:
José Brocca
José Brocca Ramón
José Brocca
Brocca
Brocca


title: José Brocca

texts: was a school director at Viator in the early 1930s, and he earned a reputation as a respected community leader. For example, he was instrumental in defying local commercial interests who wanted to prevent a project to bring water to a public fountain in the village. There was once a plaque at the water fountain in Viator commemorating this event, but it has since disappeared. A lifelong internationalist and political activist, <mask> was involved in setting up Escuelas Laicas (secular schools), an initiative which became part of the Republican policy programme. Andalucia was quickly caught up in the violence and confusion of the Civil War, and one infamous incident was the shelling of the port of Almería by the Kriegsmarine.As is both metaphorically and literally the way with civil war, brother fought against brother. <mask>'s five children were: Arnulfo, Helio, Irma Leticia, Olga Teresa and Humberto. Arnulfo, the eldest, found himself on the rebel side, rose quickly through the ranks, and eventually had a distinguished post-war career as a senior officer in the regular Spanish army, mainly in La Coruňa, before retiring to Huelva then Seville to live with his daughter and family. Humberto was drawn in on the Republican side and died of wounds and sickness contracted on the battlefields. In spite of the horrors of war and the divisive nature of this war in particular, the four surviving brothers and sisters held warm memories of their childhood in Viator, and kept in touch in the post-war years. Throughout his life Arnulfo, the decorated war hero, veteran of some of the fiercest battles, and highly

masks: Brocca Brocca


title: José Brocca

texts:
 respected officer in the post-war army of Francoist Spain, spoke of his pacifist father as the 'greatest man who ever lived'. This is no paradox: it is testament to the courage and strength of character of both men, indicative of the complexities of civil war, and a victory for humanity over mere politics.It tells us that even in the most challenging circumstances the lasting strengths of the family can conquer the transient demands of the state. Helio died in 1968, Olga in 2004, Arnulfo in 2005 and Irma in 2009. <mask> aligned himself with the socialist segment of the complex political spectrum in Spain, and represented Spanish pacifists at international meetings of the peace movement (the Orden del Olivo and War Resisters' International). He was a colleague of anarcha-feminist doctor Amparo Poch y Gascón. He believed that pacifists had to support the Republican cause, but he was first and foremost a humanitarian. There is a local story in Viator which suggests that he helped a Catholic priest escape assassination by giving him his car. From 1933 to 1937 Professor <mask> was in Madrid, where his work included being a school inspector and teaching at the university, while the family home continued to be in Viator.It is believed that at one stage <mask> also spent some time in Buenos Aires, Argentina, where his brother was living. A challenge to pacifism

Many active pacifists in Europe and the USA found it difficult or impossible to take a neutral view of the Spanish Civil War (Prasad, 2005). Some prominent members of pacifist organisations, like Dr. Albert Einstein, had already renounced pacifism

masks: Brocca Brocca Brocca


title: José Brocca

texts:
 altogether, as a reaction to Hitler's rise to power in Germany. Fenner Brockway resigned from WRI in the early days of the Spanish Civil War (although after World War II with the onset of the Cold War and the nuclear threat he re-affirmed a commitment to pacifism). <mask>'s opinion of the position in Spain was that:
'...the people have had no alternative but to meet violence with violence. It is regrettable, but the entire responsibility for the tragic and bloody days we are enduring lies with those who...have let loose destruction and slaughter to defend, not ideals, but out-of-date and hateful privileges, tending to a set-back to medieval barbarism' (quoted in Brown, 1937). <mask>'s activism in response to the armed insurrection in Spain was widely quoted by pacifists in the UK and elsewhere as representing a role model.Herbert Runham Brown, Hon. Secretary of the WRI, asked 'What should I do if I were in Spain?' and in answer reproduced parts of a letter from <mask> in which he stated:
'In Barcelona, in Valencia, in the province of Cáceres and in Madrid I have acted, and continue to act, in such interesting tasks as stimulating, directing and organising the peasants so that instead of abandoning their agricultural work, even in those areas abandoned by the fascists in their flight, they work to avoid interruption in production and provision of supplies for the towns; in establishing and organising schools and homes for the children of those citizens who have fallen or who are fighting on the various fronts, and in general taking advantage of all opportunities to spread among the combatants our

masks:
José Brocca
Brocca
Brocca


title: José Brocca

texts:
 humanitarian ideals and our repugnance to oppression and cruelty' (Brown, 1937). <mask> relinquished his government post in Madrid in order to dedicate himself to organising activities such as the purchase and distribution of food and clothing, which was imported through a dock at Valencia financed by the WRI for this purpose; and in Madrid he organised a women's committee to distribute food and collect information on people who were not able to reach relief centres (Bennett, 2003). War children

During the war the French Catalan town of Prats-de-Mollo-la-Preste (near Perpignan) in the Pyrenees was the location of a refuge financed by the War Resisters' International and run by Professor <mask> and his wife. Helio, Irma and Olga were also there for a time, but were then sent, in the care of <mask>'s sister-in-law, to stay with sympathisers in Rouen, until the defeat and occupation of France during the Second World War necessitated their escape from Normandy back to the south. The Prats-de-Mollo refuge housed children separated from their families, orphans and widows who had escaped from Spain; according to Hunter (1939), at any one time approximately forty people were in residence, and the care of an extra person would always take priority over the purchase of any little 'luxuries'.During his time there Professor <mask> became expert in finding pathways through the Pyrenees and crossed the border many times on various missions which took him in both directions. In effect, the refuge became part of an 'underground railroad' (Agirre, April 1996). According to Bennett (2003) <mask> disliked

masks: Brocca Brocca Brocca Brocca Brocca


title: José Brocca

texts:
 traditional orphanages and children's institutions, which to him resembled prisons. Before the war he and Amparo Poch presented the Republican government's Ministry of Health with a plan for 'homes' that would be designed to shelter twenty-five children in the care of a surrogate mother and father. Under wartime conditions, the number of twenty-five was often exceeded, but Bennett records that as well as establishing several children's colonies in southern France, with WRI support Brocca settled five hundred children in Mexico. While the majority of the children came from Republican families, there is evidence in the Sayre Papers (Swarthmore College Peace Collection) that <mask> did not turn away orphans or lost children whose parents were Nationalists. Escape and exile

After the Civil War had officially ended Professor <mask> refused to leave Prats-de-Mollo until all the children in his care had been returned to safety with their families in Spain.By this time his own life was seriously threatened by the occupying Nazis and their collaborators in Vichy France. The Prats-de-Mollo refuge was near the route of one of the four main frontier crossings now being used by hundreds of thousands of Spanish refugees as the Republican collapse became inevitable. It was not an easy journey, involving mountain tracks impassable to motor transport. Amparo Poch y Gascón was one who used this route (Rodrigo 2002). She stayed at Prats-de-Mollo for some time before finally reaching Toulouse, where she was to live the rest of her life in exile, and it is reasonable to assume that she was given shelter at the WRI's