title: Nayla Al Khaja

texts:
 The Scene Club, the UAE’s first film club in 2007. The Scene Club (22,000 registered members) has been continuously presenting a wide selection of independent movies and award-winning films in their original format to UAE audiences. The year 2017 marked the 10th anniversary of the club. Cultural Consultant

<mask>-<mask> is also passionate about supporting and mentoring local talents, and she is considered a reference in the Middle East. Being a UAE National, <mask> has worked as a cultural consultant on both film and television projects across the Gulf. She was recently hired by Maserati for a campaign that highlighted Ramadan in KSA and has also worked on series that celebrated Saudi achievers for Quest Arabiya. Her services include:

·     Supporting the Directors and Producers when interacting with regional communities.·     Casting assistance. ·     Reviewing the script and storyboard/shot-lists to highlight cultural inaccuracies. ·     Monitoring the set design and wardrobe for authenticity. Her knowledge of gulf dialects and international languages provides her with a unique advantage when facilitating complex and sensitive projects in the region. Motivational Speaker

al-Khaja is a captivating storyteller and a motivational speaker revealing fresh perspectives on contemporary themes and unravelling tricky questions with sensitivity and humour. Through interactive and thought-provoking storytelling, she reignites interest and curiosity. Fluent in Arabic and English, <mask> has been registered at the London Speaker Bureau for more than ten years.She is also registered at MENA Speakers and has given TEDx Talks. Based on her extraordinary true-life story, she has tackled taboo topics such as breaking down the Arab Woman stereotype, how to stand-out in a male dominated industry, the crux of gender balance, or how to combat fear and chase

masks:
Al
Khaja
al Khaja
al Khaja


title: Nayla Al Khaja

type: original

texts:
 one’s dreams. She frequently travels abroad to speak in international keynotes about cinema, entrepreneurship, culture, youth motivation and women's empowerment in the Middle East. Influencer
Since 2011, Nāyla al-Khāja has been a Brand Ambassador for Canon Middle East and is in constant demand as a collaborator for high-profile brands such as Porsche, Damas and Sunday Riley. A regular on social platforms with an engaged following, al-Khaja directs and produces digital content for social media channels and delivers daily live sessions on Instagram. Since October 2017, she has directed and appeared in her own YouTube web-series, #NaylaFlogs, in which she shares her life as a filmmaker with her followers. <mask>-Khaja has helped develop the UAE’s film industry and has advocated for the role of women in cinema.Given her proven commitment to supporting and mentoring Middle Eastern talents, she has become a reference for professionals in the region. of State, International Visitors Leadership Program, 2010
 Jury member at the Middle East International Film Festival, 2009
 Cultural guide and co-host on Paris Hilton’s “My BFF”
 "UAE Woman of the Year", Film/Photo Category, L’Officiel Magazine, 2009
 "Young Woman Entrepreneur of the Year", Middle East Businesswomen and Leaders Achievement Awards, 2007
 "Inspirational Leadership Award", Lloyds TSB Bank, 2006
 "Emirates Woman of the Year", Emirates Woman Magazine, 2005
 "Local Artist of the Year", Emirates Woman Magazine, 2005
 "The Youngest Entrepreneur", Global Businesswomen and Leaders’ Summit Awards, 2005
 Top 50 most powerful personalities in Arab Cinema
 Top 100 most powerful Arabs under 40 by Arabian Business

References

External links
 <mask> <mask>ja’s website

Emirati film producers
Emirati women film directors
Women screenwriters
People from Dubai
Living people
Emirati

masks:
Al
Nayla
Al Kha


title: Yasutaka Tsutsui

texts:
 criticized because he posted a tweet referring to the Statue of Peace, a memorial to victims of sexual slavery during World War II, stating, "That girl is cute. Everyone, let's go and ejaculate in front of her and shower her with semen."on his Twitter. The tweet has long since been deleted. Tsutsui also later backtracked on his claims and apologized for it. English translations

The novel What the Maid Saw, translated by Adam Kabat, was published by Kodansha America Inc. (USA) in 1990, and again by Alma Books (UK) as The Maid in 2010. Salmonella Men on Planet Porno, a collection of short stories translated by Andrew Driver, was published by Alma Books (UK) in October 2006 and again by Pantheon Books (USA) in 2008. The novel Hell, translated by Evan Emswiler, was published by Alma Books in October 2007. The novel Paprika, translated by Andrew Driver, was published by Alma Books in April 2009 and again by Vintage Contemporaries (USA) in 2013.The novella The Girl Who Leapt Through Time, translated by David Karashima, was published by Alma Books in April 2011. The Bullseye! collection of short stories, translated by Andrew Driver, was published in July 2017 by Kurodahan Press. Works
Besides numerous film and TV acting credits, <mask> Tsutsui has published dozens of novels and short story collections, and records


title: Leandro Issa

texts:
<mask> (born September 19, 1983) is a mixed martial artist from Brazil. Issa is a black belt in Brazilian Jiu Jitsu and has won numerous BJJ competitions and tournaments including the Mundials and the Brazilian national championships. He is a member of the Evolve MMA fight team and is based in Singapore. He holds a notable victory over Masakazu Imanari and as of November 2013 he is ranked number 33 in the world by Fight Matrix. Mixed martial arts career

Fighting in Brazil
<mask> made his professional MMA debut in October 2006 submitting Eduardo Felipe in the second round. He was handed the first loss of his MMA career in May 2007 when he was stopped in the third round by Japanese fighter Takafumi Otsuka. In total <mask> fought five times in Brazil during this period, winning three fights and losing two.War Gods
Issa's first fight outside of Brazil was at War Gods in California. He defeated Ralph Lopez by rear naked choke in the opening round. Art of War
Issa moved to Singapore to join the Evolve MMA fight team in January 2009. His first fight in Asia was for the Art of War Fighting Championship promotion in China. He submitted Korean fighter Yeong Gwang Choi with a triangle choke in the first round. Martial Combat
In 2010 <mask> signed with Martial Combat and he fought three times for this promotion, winning every single fight by way of first round submission. His win over Gui Quan Lin at Martial Combat 11 was his fifth consecutive first round submission win and he has finished all five fights with a different submission.In 2011 <mask> decided he would drop down to the bantamweight

masks:
Leandro Issa
Issa
Issa
Issa
Issa


title: Leandro Issa

texts:
 division. ONE Fighting Championship
On July 15, 2011 it was announced that <mask> had signed with One Fighting Championship. On July 18 it was announced that <mask> would be facing unbeaten Korean Soo Chul Kim at ONE Fighting Championship: Champion vs. Champion at the Singapore Indoor Stadium on September 3. This fight was <mask>'s first as a bantamweight. Although Soo Chul Kil had a record of 4-1, <mask> has been described as the toughest opponent he has ever faced. <mask> won the fight via unanimous decision. <mask>'s next fight was against Japanese veteran Masakazu Imanari at ONE Fighting Championship: Destiny of Warriors in Kuala Lumpur in June 2012.He won by unanimous decision. Ultimate Fighting Championship
In November 2013, it was announced that <mask> had signed a contract with the UFC. His debut took place on January 4, 2014 at UFC Fight Night: Saffiedine vs. Lim against Russell Doane. He lost the fight via technical submission in the second round. <mask> next fought Jumabieke Tuerxun at The Ultimate Fighter 19 Finale on July 6, 2014. He won the fight via submission due to an armbar in the third round. His efforts earned him his first Fight of the Night and Performance of the Night bonuses.<mask> fought Ulka Sasaki on December 20, 2014 at UFC Fight Night 58. He won the fight in the second round via submission. <mask> next faced Iuri Alcântara on August 1, 2015 at UFC 190. He lost the fight by unanimous decision. <mask> next faced Taylor Lapilus on September 3, 2016 at UFC Fight Night 93. He lost the fight by unanimous decision and was subsequently released from the

masks: Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa


title: Norm Benning

texts:
<mask>. (born January 16, 1952) is an American professional stock car racing driver and team owner. He competes part-time in the NASCAR Camping World Truck Series, driving the No. 6 Chevrolet Silverado for his team, Norm Benning Racing. He has worked as a driver analyst for TheRacingExperts.com in the past. <mask> has often been referred to as Stormin<mask> after his performance in the 2013 Mudsummer Classic, the Truck Series' first race on dirt. He previously competed in the NASCAR Busch Series and Winston Cup Series. Early career
Born in Level Green, Pennsylvania, <mask> began by racing as a 15-year-old at Heidelberg Raceway even though he was supposed to be at least 18 years old.He also has raced in dirt late models and asphalt modifieds. ARCA
Benning has finished in the top 10 in ARCA points seven times, with a highest of 5th in 2001. In 276 starts, <mask> has five top 5 and 32 top 10 finishes. His best effort was a 3rd-place finish at the Springfield dirt mile in 2004. NASCAR

1989–2012

<mask> has attempted numerous NASCAR races in the top 3 divisions during his career. <mask> made his NASCAR debut in 1989, driving in three races in the Cup Series for the No. 99 car owned by Jerry O'Neil.After starting 35th, <mask> would finish 30th in his debut at Dover. He would then match that finish at Pocono and 31st in his return to Dover. <mask> made his last Cup points race start for O'Neil in 1993, starting last (39th) at Darlington and finishing 39th after one lap of competition. After that, <mask> attempted to make the Daytona 500 for seven consecutive years, but either failed to qualify or was denied entry due to his car being slow in practice. He attempted many Cup races through 2001 in his own No. 84 84 Lumber Chevy, as well a couple of entries of the No. 79 T.R.I.X.Racing car. <mask> attempted a total of 33 Cup races, but DNQ'd 29 times. He withdrew from the 2011 Daytona 500. <mask>'s next NASCAR start

masks:
Norm Benning Jr
Benning
' Norman
Benning
Benning
Benning
Benning
Benning
Benning
Benning
Benning
Benning


title: Norm Benning

texts:
 came in the Craftsman Truck Series in 2002. Driving for Troxell Racing, <mask> qualified the No. 93 Chevy into the field at Nashville Superspeedway in 18th position. A vibration dropped the team out of the event and <mask> finished 32nd.In 2009 <mask> was back in the Truck Series attempting a full season. He only missed one race and that was Daytona. At Michigan, <mask> finished 17th his best finish of the year for the Camping World Truck Series. His final position in points was 21st. <mask> attempted the NASCAR Busch Series for the next two years. <mask> was able to compete in 3 of the 6 races attempted. In his debut, <mask> started the 2003 Nazareth race in 42nd and finished in 40th.He was later able to improve during the season with a career-best 36th place at NHIS. Driving once again at Nazareth, <mask> started 42nd before brake failure forced him out of the race, finishing 38th. He fielded a car for Dion Ciccarelli at Nazareth in 2004, who finished 29th. During the 2008 Truck Series season, <mask> competed in 7 of the 8 races attempted driving his own No. 57 Chevrolet. In 2009, <mask> competed full-time in the Truck Series for his team (his first attempt at a full NASCAR season). He qualified for 24 of 25 races and finished 21st in overall points.His best finish came at Michigan when he finished 17th with Germane Red sponsorship. 2013–2015
In 2013, <mask> held onto fifth place after a hard-fought battle with Clay Greenfield in the "Last Chance" qualifying race at Eldora Speedway to earn the final transfer spot into the inaugural Mudsummer Classic. His truck sustained a fair amount of damage, but he was able to make repairs with the help of members of larger teams. He would go on to finish 26th, four laps down. <mask>'s performance in the last chance race was popular with fans; afterward he placed the Eldora truck for sale on eBay. Later that season, <mask> obtained his career-best Truck Series finish of

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


title: Norm Benning

texts:
 12th at Talladega Superspeedway. During the 2014 season, <mask> changed from his iconic 57 to the number 6, with the 57 being the part-time second entry.Late in the season, <mask> gained backing on behalf of Pennsylvania governor Tom Corbett. In 2015, <mask> finished 14th in the opening race at Daytona and was 10th in points. <mask> scored his best career start of 13th during the 2015 Mudsummer Classic and finished 19th after rebounding from a late-race spin. The end of the 2015 season was a struggle, as <mask> missed four races late in the season. 2016–2018
2016 started with a DNQ at Daytona, followed by another DNQ at Atlanta. This was the worst start for Benning since 2012. Benning failed to qualify for six races in 2016; in addition to withdrawing from the Charlotte race.<mask> missed the race in Texas by .016 seconds after getting knocked out by Austin Hill. After missing all the races in 2016, <mask> partnered with MB Motorsports at Kentucky, where he was able to make the race, he started 30th and finished 28th. <mask> later partnered with MB for several remaining races. 2016 was a struggle for <mask> and his team, as he only managed to qualify for eight races while failing to qualify for eight others, and withdrawing from five. 2017 began the same for <mask>, missing the first 3 races of the season. <mask> would make the 4th race of the season in Kansas after only 32 trucks showed up for the 32-truck field. However, after that race, he made every single race he attempted for the rest of the season.In 2018, <mask> made every race until the regular-season finale at Bristol. After Canada, he failed to make Las Vegas through Martinsville and didn't show up the rest of the season. 2019–present
2019 showed some promise at the beginning of the season, with sponsorship from Zomongo and H&H Transport returning. During drafting practice, <mask>'s No. 6 Silverado sat 6th fastest, showing the ability to stay in


title: Norm Benning

texts: the pack. However, the team lacked single truck speed, and ultimately missed the field. Atlanta through Dover was hit and miss.An early spin forced <mask> to park early despite plans to run the full race, resulting in a 29th-place finish. <mask> finished under power in 28th at Las Vegas and then would miss Martinsville and Texas. <mask> would qualify at Dover and Kansas but would be parked due to not being able to meet the minimum speed, finishing last at Dover after only 28 laps, and 21st at Kansas after 109 laps. <mask> would skip Charlotte due to a large entry list. Over the next 4 weeks, things would begin to fall into place for <mask> and his small team. The second Texas race would result in a 17th-place finish, followed by a 24th and 25th at Iowa and Gateway, respectively. The remainder of the season would have ups and downs, including an 18th place at Talladega, followed by an accident at Martinsville, that would ultimately end his season early.2020 would begin the same as 2019, with <mask> missing the cut at Daytona. <mask> chose not to make the trip to Las Vegas and had no clear plans for the season. Following the 2-month racing hiatus, <mask> looked to take advantage of NASCAR's field expansion, from 32 trucks to 40. However, <mask> found himself excluded from the races at Charlotte and Atlanta when 47 trucks entered each time. The following race at Homestead, only 39 teams entered, allowing <mask> to make his first start of the season. He made all other attempted races skipping the other Las Vegas race and the finale at Phoenix Raceway. <mask> posted a best finish of 22nd at Talladega Superspeedway, and a points finish of 36th.<mask> would announce plans to attempt the full 2021 NASCAR Camping World Truck Series schedule. Shortly after, <mask> would start a fundraising campaign called "Racing With The Ultimate Underdog". <mask> would pick up sponsorship from MDF A Sign Company heading into

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


title: Norm Benning

texts:
 Daytona, and, after several years of running a plain paint scheme, <mask> would add red and yellow accent to his truck. <mask> would just miss out on qualifying for the season-opening race, but by finishing in the top 40 in points in 2020, <mask> would make the second race at the Daytona Road Course, thanks to NASCAR's no qualifying for the majority of the 2021 season. <mask> would take advantage of Camping World CEO Marcus Lemonis' offer of $15,000 to any team who ran at Las Vegas and Atlanta with Camping World and Overton's paint schemes. After lackluster results most of the season, <mask> was able to score a top 20 finish at Knoxville despite being involved in a late accident. At Gateway, <mask> was notified by officials that his truck's nose was no longer legal, forcing him to withdraw.<mask> would show at the second Darlington race with a new nose. <mask> would score another top 20, a 17th, at Talladega, with new sponsorship from Cross-Eyed Owl Brewing. For the season finale race, <mask> was able to get a Niece Motorsports prepared truck, along with an Ilmor engine. However, problems before qualifying plagued the 6 team, and <mask> turned the slowest lap, resulting in a DNQ. <mask> did say he and his team would be back in 2022. Motorsports career results

NASCAR
(key) (Bold – Pole position awarded by time. Italics – Pole position earned by points standings.* – Most laps led.) Sprint Cup Series

Daytona 500

Busch Series

Camping World Truck Series

 Season still in progress
 Ineligible for series points

ARCA Re/Max Series
(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.) References

External links

Living people
1952 births
People from Westmoreland County, Pennsylvania
Racing drivers from Pennsylvania
NASCAR drivers
NASCAR team owners
ARCA Menards Series drivers
Sportspeople from the Pittsburgh

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


title: Florence Tyzack Parbury

texts:
<mask> (1881–1960) was a British socialite, author, musician, painter and traveller. She was involved in aviation in the United Kingdom and the United States in the 1910s and 1920s. Biography

Early life
<mask> was born in South Norwood, Croydon, Surrey on 26 September 1881, the fourth child and only daughter of <mask> and <mask>. She was baptised at Saint Luke's Woodside, Croydon on 2 July 1882. Parbury, the granddaughter of <mask>, spent the first few years of her life in Surrey. Her parents then separated, and by the time Parbury was seven she and her mother had moved to Ecclesall Bierlow, Sheffield to live with Lucy's recently widowed mother, <mask>. Musical training and performances
Parbury performed in public from an early age: in December 1889, aged eight, she was on stage to raise funds for the Children's Hospital in Sheffield.Her musical training began in Sheffield was with the renowned teacher Marie Foxon. She was later then in Italy; in London with Dr. Lierhammer; and with Jean de Reszke in Paris. She learned to play several instruments including pianoforte, organ, violin, and harp, and also composed music. When performing for troops in World War I, Parbury "[brought] down the house with her imitations of farmyard fowls, peacocks, doves, and cats", and could imitate well-known singers, male and female. In a more formal setting she was admired by many for her soprano voice of unusual compass, but at the Queen's Hall in London in 1922, Parbury's programme of operatic excerpts and drawing-room "trifles" did not impress a music critic from The Times. Early involvement in flying

<mask>rbury was interested in aviation from its early days in England. In 1910 she attended the Blackpool Flying Carnival where she was a passenger in the Henry Farman biplane flown by Claude Grahame-White.She attended his first marriage in June 1912, where almost all the other guests were eminent in the world of aviation. Parbury also described how she flew over Stonehenge in

masks:
Florence Tyzack Parbury
Florence Tyzack Parbury
Douglas Stewart Parbury
Lucy Jane Tyzack
George Parbury
Jane Tyzack
Florence Pa


title: Florence Tyzack Parbury

texts:
 Fifth Avenue, for the benefit of the New York Community Service clubhouse for disabled and active service men.During her stay in the United States, Parbury had taken several opportunities to indulge her interest in aviation. In July 1919 she sent a postcard to London via the British airship R34 when it left Mineola, NY. When the new British Ambassador to the United States, Sir Auckland Geddes and his wife, arrived from Liverpool on the Kaiserin Auguste Victoria in 1920 "Miss <mask>ury welcomed him to America by flying over the ship in an airplane to drop a bouquet of American Beauty roses." The Canadian pilot was Captain Leonard B. Hyde Pearson, and a movie clip of the event is available online. Later that year Parbury was a passenger on one of the escort aircraft when three all-metal planes were seeking the best route from New York to San Francisco; a transcontinental air mail service was established in September 1920. Later life and marriage

Back in England, there was another aviation adventure: in January 1922 Parbury flew as a passenger to the Hague, with a Blackburn test pilot, while using wireless telephony to listen to one of her own compositions being played in a hall below. At a private gathering before the flight, one of her guests, Guglielmo Marconi, spoke of the close association between aviation and wireless telephony: “Mention has been made of the possibility of wireless rays passing out through the terrestrial air into space, and of the sending of messages to Mars.Perhaps some day we shall be able to fly in those spaces outside the earth’s envelope, but if ever we do we shall certainly have to change the designs of our machines." At about this time <mask> was working on another big project. She had in mind “a bond of harmony between the people of the Empire” mediated through an annual music festival in London. The first British Empire Music Festival was held at the Royal Albert Hall on St. Cecilia's Day (22 November) 1922, which included

masks:
Florence Parb
Parbury


title: Florence Tyzack Parbury

texts:
 patriotic music of Canada, four of the "Six Australian Bush Songs" by W. G. James, "Rule Britannia" and tunes from the Pipers of the Scots Guards. The festivals continued for a few more years, and at the third one in 1924 Dame Clara Butt sang. Three days after the first BEMF <mask> <mask> was married at Holy Trinity Brompton to Ernest Bigland. The ceremony was performed by Alfred William Gough, Prebendary of St Pauls Cathedral, assisted by Rev.Canon Sir John Key, Bt., a cousin of the bride. Ernest Bigland, some thirty years Parbury's senior, was a ship owner. The couple lived at Ernest's home: Scote Howe, Hook Heath, Woking, Surrey, where <mask> enjoyed growing specimen flowers for exhibition. At the RHS Chelsea Flower Show in 1928 she was awarded an Award of Merit for Begonia <mask>land, "a magnificent double-flowered variety [with] broad petals of shining apricot colour". In this same year she composed more music, including "Abbey Wedding March" and "Sonning" (dedicated to the bride) for the wedding at St Margaret's, Westminster of John Raymond Ropner to Joan Redhead on 24 July 1928. The bridegroom was the grandson of Sir Emil Hugo Oscar Robert Ropner, 1st Baronet, ship builder and ship owner. It was probably through the shipping connection that Mrs Bigland wrote music for this occasion.Ernest Bigland died at his home on 10 December 1942. <mask> continued living there until about 1949, after which she moved to London. She lived her final years at Flat 11, 51 South Street, W1, close to Park Lane. She died there on 24 October 1960, leaving a considerable fortune. In her will she said "I desire to be cremated and my ashes to be scattered by my confidential chauffeur George Upfield over the tree to be indicated by me." It is not known where that was. References

1881 births
1960 deaths
People from South Norwood
Musicians from London
Writers who illustrated their own writing
British socialites
Writers from London
International Red Cross and Red Crescent

masks:
Florence Tyzack
Parbury
Florence
Florence Big
Florence


title: Gareth Bennett (priest)

texts: <mask>, also known as <mask> (8 November 1929 – 7 December 1987), was a British Anglican priest and academic who committed suicide in the wake of media reactions to an anonymous preface he wrote for Crockford's Clerical Directory. <mask> was born at Westcliff-on-Sea, Essex into a "lower-middle-class family", son of <mask> and Kathleen Beryl (née Vaughan). <mask>'s father was a London shipping clerk. <mask> was educated at the Royal Grammar School, Guildford, Southend High School for Boys and Christ's College, Cambridge. He became a priest, published historian, Fellow in Modern History at New College, Oxford and college chaplain and Dean of Divinity, canon of Chichester Cathedral and a member of the Church of England's General Synod and its standing committee. He was a well-known figure in ecclesiastical politics in England, latterly rather definedly on the conservative wing of the Anglo-Catholic movement, being a noted figure in the opposition to the ordination of women. Crockford's Clerical Directory, published biennially by the Church of England, contains brief biographical details of every Anglican cleric in Britain and Ireland.It was traditional for its preface to be written anonymously and to take a slightly waspish, if detached and amused, look at events in the church since the previous edition. <mask> was asked to write the preface for the 1988 edition of the directory, which was published on 3 December 1987. <mask> consciously took a different tack on the article and wrote a carefully constructed demolition of the hierarchy of the Church of England from a conservative viewpoint, which he himself described as "wicked". In it <mask> excoriated what he perceived as an intolerant liberal elite in the church, headed by the then Archbishop of Canterbury, Robert Runcie, a process

masks:
Gareth Vaughan Bennett
Garry Bennett
Life Bennett
Roy Charles Frederick Bennett
Bennett
Bennett
Bennett
Bennett
Bennett


title: Gareth Bennett (priest)

texts:
 which he felt would follow a trail already blazed by the Episcopal Church in the United States of America and would lead inexorably to a steep decline in the fortunes of the church. Specifically, he argued that Runcie was guilty of cronyism, appointing to high office only those whom he had known through Westcott House (<mask>'s own theological college) or Ripon College Cuddesdon theological colleges or else the Canterbury and St Albans dioceses. While the explosive nature of the article in ecclesiastical circles might have been predicted, the secular press turned the issue into front page news. The papers latched on to his criticisms of Runcie, yet the preface was far more critical of the liberal Bishop of Durham, David Jenkins, and the Bishop of Newark, John Shelby Spong.After a number of days of fevered speculation, it emerged that <mask> was the anonymous author and the last entries in his diary make clear that he was finding the attentions of the tabloid press increasingly difficult to cope with. On 7 December, <mask> killed himself. His death and the events which led up to it continue to divide those who take an interest in church matters. Conservative Anglo-Catholics and many others opposed to the ordination of women view <mask> as a martyr, hounded to his death by the machinations of the Church of England "spin machine" for saying something that everyone believed to be true. Liberals, while agreeing that his death was a tragedy, point to <mask> being not without his problems and having recently lost his mother, to whom he was particularly close. Quotation
"His clear preference is for men of liberal disposition and a moderately Catholic style which is not taken to the point of having firm principles. If in addition they have a good appearance and are articulate over the

masks: Bennett Bennett Bennett Bennett Bennett


title: Gareth Bennett (priest)

texts:
 media, he is prepared to overlook a certain theological deficiency."(of Archbishop Robert Runcie)

Evaluation

<mask>'s Crockford preface came at a time when the issue of the ordination of women to the priesthood was becoming a more divisive issue in the Church of England than it had perhaps been up to that point. The main book on the <mask> affair, William Oddie's The Crockford Files, highlights this as a primary frustration for <mask> but also considers other factors, such as the gradual emergence after the 1960s of trends – for example the non-realist theology of Don Cupitt – which traditionalists considered detrimental to the faith of the church. <mask> aligned himself to the Anglo-Catholic wing of the church and had strong links with Pusey House, Oxford, and the clergy who staffed it and made that alignment consciously and "not without reservations". At the time <mask> wrote his preface (which covers a wider range of topics than the disproportionate amount of coverage given to the "An Archbishop in toils" section suggests), opposition to the ordination of women to the priesthood had not been centralised – the traditionalist group Forward in Faith did not become established until 1992. It is, therefore, a matter of conjecture how he would have moved had he been alive when the Church of England voted positively on the issue and the first ordination of women as priests took place in England in 1994. For all the polarisation between them that the media reports suggested, <mask> and Robert Runcie knew each other and <mask> was one of a number of clergy and lay people whose skills Runcie, when at Canterbury, used in drafting speeches and sermons, as Runcie's main biographer, Humphrey Carpenter, indicates. Carpenter, working from <mask>'s diaries, noted that <mask> had become

masks: Bennett Bennett Bennett Bennett Bennett Bennett Bennett Bennett Bennett


title: Gareth Bennett (priest)

texts:
 frustrated at his lack of preferment and this may have contributed to the tone of his preface.Runcie himself said of <mask> that there was nothing in what he wrote which he had not previously "said to his face". From Carpenter's portrait, <mask> emerges on the one hand as a distinguished academic and cleric, but on the other as a reclusive lonely man who could not cope with the spotlight when it fell upon him. Writings
  Essays in Modern English Church History in Memory of Norman Sykes. Published by Adam & Charles Black, 1966. Edited by <mask> and J. D. Walsh. To the Church of England. Churchman Publishing Ltd., 1988.The Tory Crisis in Church and State 1688–1730: The Career of Francis Atterbury Bishop of Rochester. Oxford: Clarendon Press, 1975.  xvii, 335 p., [5] leaves of plates: ill.; 23 cm. Tradition and Change in the Church. London [England]: Association for the Apostolic Ministry, [1988?]. [8] p. ; 21 cm. "This Report was authorised for publication by AAM by the late Canon <mask>..."
  White Kennett 1660–1728, Bishop of Peterborough: A Study in the Political and Ecclesiastical History of the Early Eighteenth Century. London : S.P.C.K.for the Church Historical Society, 1957.  xii, 290 p.

References

Sources
 By Sex Divided: Church of England and Women Priests, Jonathan Petre, Zondervan, 1995. That Fateful Preface, New Directions, January 2006. An Unhappy Anniversary, New Directions, December 1997. 1929 births
1987 suicides
People educated at Royal Grammar School, Guildford
20th-century English Anglican priests
Fellows of New College, Oxford
English Anglo-Catholics
Suicides in England
Chaplains of New College, Oxford
People educated at Southend High School for Boys
Alumni of Westcott House, Cambridge
Anglo-Catholic clergy
Ordination of women in the Anglican

masks:
Bennett
Bennett
Bennett
Gareth Bennett


title: Sarah Wyatt

texts:
<mask> is an American, plant molecular biologist. She is a Professor in the Department of Environmental and Plant Biology at Ohio University, as well as director of the Ohio University Interdisciplinary Graduate Program in Molecular and Cellular Biology. <mask>'s research interests include molecular biology, genomics, and signaling events. She is considered one of the world's experts on gravitational signaling in plants, and some of her recent research includes an experiment on board the International Space Station (ISS). Education and career
<mask> was born in 1958 and raised in Mayfield, Kentucky. She received her B.S. in Cognition and Development in 1980 and a B.S.in biology in 1984 from the University of Kentucky. In 1991, she received her M.S. in Plant Pathology, also from the University of Kentucky. She went on to attend Purdue University and in 1995 received her Ph.D. from the Interdisciplinary Plant Physiology Program. From 1982 to 1988, <mask> held a position as a Senior Scientist in Research and Development for Fungal and Parasitic Diseases American Scientific Products in Lexington, Kentucky, after which she was a Research Assistant in the Department of Plant Pathology at Kentucky University from 1988 to 1990. In 1994, <mask> was a Visiting Scientist at both the University of Zurich in Zurich, Switzerland, and the Russian Academy of Sciences in Kazan, Russia. In 2012, while holding a position as Associate Chair in the Department of Environmental and Plant Biology at Ohio University, <mask> served as "Rotating" Program Director of Integrative and Organismal Systems for the National Science Foundation.She continued her service to the National Science Foundation as an Intermittent Program Director for Molecular and Cell Biology from 2014 to 2015. Currently, <mask> is a Professor in the Department of Environmental and Plant Biology and Director of the Interdisciplinary Molecular and Cell Biology Program at Ohio University, Athens, Ohio. Her research lab is staffed by both graduate and undergraduate students, who use molecular, genetic and genomic tools to study plant growth and development, with a focus on plant gravitropic signaling. Other projects in the <mask> lab involve the shift

masks:
Sarah Wyatt
Wyatt
Sarah Wyatt
Wyatt
Wyatt
Wyatt
Wyatt
Wyatt


title: Sarah Wyatt

texts:
 between chasmogamous (open) and cleistogamous (closed) flowers in Viola pubescens and genetic fingerprints indicating gene expression and relationships during evolution of plant species. NASA experience and ISS experiment
Following her Ph.D., <mask> became a Research Associate for the NASA Specialized Center of Research and Training in the Department of Botany at North Carolina State University. She held that position from 1996 to 2000, after which she began her teaching career at Ohio University in the Department of Environmental and Plant Biology. In early 2013, <mask> submitted a research proposal to NASA's Research Opportunities in Space Biology (ROSBio), and in May of the same year her proposal along with eight others, was accepted for experimentation aboard the ISS.The objective of her space flight mission, entitled The Biological Research in Canisters-20 (BRIC-20), was to germinate Arabidopsis thaliana seedlings in space and study their transcriptomic and proteomic responses to microgravity. In January 2015, the SpaceX Falcon 9 was sent into orbit, placing a Dragon cargo capsule with the BRIC-20 experiment in path to the ISS Harmony module. The SpaceX Dragon cargo was released from the ISS after a month of spaceflight and returned to Earth for de-integration at the Kennedy Space Center. Once de-integrated, samples were shipped to the <mask> lab at Ohio University for proteomic and transcriptomic analyses. Results of the space flight mission are in press and under review (see selected publications) and may provide invaluable insight into how plants cope in a microgravity environment, subsequently enhancing efforts to use plants for sources of food and oxygen during future spaceflight missions. Following the BRIC-20 mission, <mask> received Faculty Fellowship Leave to work with GeneLab - Omics Open Science Initiative at the NASA Ames Research Center in Mountain View, California. Service and outreach
Through her academic career, <mask> has presented numerous talks, demonstrations, and workshops reaching approximately 2,100 sixth-twelfth grade students, 1,000 elementary aged students, and 80 adults.<mask> has been the Organizing Committee Chair and a presenter for AAUW’s Tech Savvy program

masks: Wyatt Wyatt Wyatt Wyatt Wyatt Wyatt


title: Sarah Wyatt

texts:
 in Athens, Ohio since 2014. Tech Savvy is a daylong STEM career conference for middle school girls, aimed at introducing and attracting them to the STEM fields through hands-on activities. <mask> has been a voluntary member of the Plant Science Definition Team through NASA since August 2016, and has sat on numerous grant panels including those through NASA, the National Science Foundation (NSF), the United States Department of Agriculture, European Space Agency, and the American Society of Plant Biologists (ASPB). She has served as a manuscript reviewer and on the editorial boards for over 15 scientific journals such as the American Journal of Botany, Plant Cell, and Plant Physiology. <mask> is currently the Education Committee Chair for ASPB and holds this position through 2019. Awards and recognition
 Faculty Fellowship Leave, GeneLab - Omics Open Science Initiative NASA Ames Research Center, Mountain View, CA
 Excellence in Education Award, American Society of Plant Biologist, 2017
 Presidential Research Scholar, Ohio University, 2016
 Presidential Teaching Award, Ohio University, 2014-2017
 Outstanding Faculty Leadership and Service Award, Ohio University, College of Arts & Sciences 2013-14
 Ann Campbell Brown Service Award, Ohio University, 2011
 Presidential Teaching Award, Ohio University, 2007-2010
 Dean's Outstanding Teacher Award, College of Arts & Sciences, Ohio University, 2004

Honors
 Phi Beta Kappa
 Sigma Xi, Scientific Research Honor Society
 Gamma Sigma Delta, Honor Society of Agriculture

Selected publications
 Basu P, Kruse CPS, Luesse DR, Wyatt SE (in review) Growth in the Biological Research in Canisters (BRIC) flight hardware results in alterations to the transcriptome and proteome. Advances in Space Research.Cook CA, Tucker A, Shen K, <mask> SE (2015) Microarray identifies transcription factors potentially involved in gravitropic signal transduction. Gravitational and Space Research 3:18-27. References

1958 births
Living people
People from Mayfield, Kentucky
University of Kentucky alumni
Purdue University alumni
Ohio University faculty
American molecular biologists
Kentucky women biologists
American women biologists
American women academics
21st-century American

masks: Wyatt Wyatt Wyatt


title: Slavko Vorkapich

texts:
Slavoljub "<mask>" Vorkapić (; March 17, 1894 – October 20, 1976), known in English as <mask>h, was a Serbian-born Hollywood montagist, an independent cinematic artist, chair of USC School of Cinematic Arts, chair of the Belgrade Film and Theatre Academy, painter, and illustrator. He was a prominent figure of modern cinematography and motion picture film art during the early and mid-20th century and was a cinema theorist and lecturer. Early life
Slavoljub Vorkapić was born on March 17, 1894, in the small village of Dobrinci near Ruma in the Srem region, at the time part of the Kingdom of Croatia and Slavonia of the Austro-Hungarian Empire (now Serbia). His father Petar, the town clerk, insisted that young <mask> should be well-educated. After finishing his primary education, he became a student in a well-known regional high-school in the nearby town of Sremska Mitrovica, where he made his first steps in art and drawing. (Mileva Marić-Einstein, the first wife and work associate of Albert Einstein went to the same high school.) He continued his high-school education in Zemun and later in the famous Art School in Belgrade.With a scholarship received from Matica srpska, Serbia's highest cultural and scientific institution at the time, Vorkapić went to Budapest, Hungary, where he studied art. At the beginning of World War I, he immediately returned to his homeland where, with the country besieged on all sides, he survived the tragic Serbian retreat across Albania in order to reach Allied positions in Greece. From there he sailed to Italy, from where he reached France. He

masks:
Slavko
Slavko Vorkapic
Slavko


title: Slavko Vorkapich

texts:
 managed to enter Art Academy in Paris but soon after moved to Montparnasse among other Avant-garde artists. He took part in the 1917 and 1919 collective painter exhibits. Career
<mask> Vorkapich's dream to go to the United States was fulfilled in 1920. For a short time, he lived in New York City.Then, for almost a year, he roamed the country nearly homeless, until his arrival in Hollywood in July 1921. Although he started his motion picture career as a painter and an actor, he became best known as a montagist, special effects expert, cinematic artist, cinema teacher, editor, and became one of the most respected cinematic filmmakers in the period between the two World Wars. Vorkapić made a great number of cinematic documentaries and lyrical purely cinematic short-length movies. He co-wrote the screenplay for Johann the Coffinmaker (1927), a 27-minute experimental film directed by Robert Florey that involved a lot of trick photographic effects. Vorkapić co-directed the experimental black and white short motion-picture The Life and Death of 9413: a Hollywood Extra (1928) with Robert Florey, and 2 beautiful and exciting visual tone poems, Moods of the Sea (1941) and Forest Murmurs (1947) with his Hollywood colleague, the Hungarian-born montagist and cinematic filmmaker John Hoffman (1904–1980). His one-minute montage sequence for the otherwise lost movie Manhattan Cocktail (1928), directed by Dorothy Arzner, was released in the October 2005 DVD collection Unseen Cinema: Early American Avant Garde Film 1894-1941. He is best known for his montage work (see montage


title: Slavko Vorkapich

texts:
 sequence) on Hollywood movies such as Crime Without Passion (1934), Dr. Jekyll and Mr. Hyde (1941), Viva Villa!(1934), David Copperfield (1935), The Good Earth (1937), and Mr. Smith Goes to Washington (1939). Vorkapich used kinetic editing, lap dissolves, tracking shots, creative graphics and optical effects for his montage sequences for such features as Manhattan Melodrama (1934), Maytime, The Firefly (both 1937), and Meet John Doe (1941). He created, shot, and edited these kinesthetic montages for features at Universal Pictures, MGM, RKO, and Paramount. He directed a short documentary movie for RKO, Private Smith of the U.S.A., that was nominated for an Academy Award. Vorkapich is credited for editing and montage on Moscow Strikes Back (1942), one of four winners at the 15th Academy Awards for Best Documentary Feature. He was appointed chair of the Department of Film of the University of Southern California from 1949 to 1951. During the 1950s, he was in Yugoslavia and worked as a professor at the Belgrade Film and Theatre Academy.In Yugoslavia in 1955, Vorkapić directed a full-length motion picture entitled, Hanka. Personal life
In 1938, Vorkapich commissioned modern architect Gregory Ain to build a garden house for his residence in Beverly Hills. It was a minor landmark in prefabricated architecture. It has since been destroyed. Two of his many master drawings, his gift during a visit to Yugoslavia, are kept in the Srem Museum in Sremska Mitrovica. <mask> Vorkapić died of a heart attack in Mijas, Spain on the estate of his son Edvard who was a cinematographer on


title: Slavko Vorkapich

texts:
 October 20, 1976. Influence and legacy
The now-common montage sequence often appeared as a notation in Hollywood screenplays of the 1930s and 40s as the "Vorkapich" because of his mastery of the dynamic visual montage sequence wherein time and space are compressed using a variety of cinematic techniques, such as kinetic montage, camera tricks, optical printer effects, dolly shots, & stylized graphics.Sometimes moviemakers will simply refer to the technique as "a Vorkapich". Vorkapich's protege Art Clokey learned kinescope animation techniques under him at USC Film School and went on to use them to create the Gumby animated series. Better Call Saul creator Peter Gould cited Vorkapich as a major influence for the montage sequence in the Season 1 finale titled "Marco". See also

 Pure cinema
 Montage (filmmaking)
 Cinematic techniques
 Experimental film
 Abstract film

References

Sources
The Most Typical Avant-Garde. James, David – 2005
On True Cinema. Babac, Marko – 1998
Slavko Vorkapich: Reminiscences. Davis, Ronald – 1978

External links

 Recreation of the life and death of 9413 at the Internet Archive
 <mask> Vorkapić at FilmReference.com
 Slavko Vorkapić picture circa 1950
 http://purecinema-celluloid.webs.com/slavkovorkapich.htm
 "The Furies," opening montage sequence of Crime Without Passion (1934)

1894 births
1976 deaths
People from Ruma
Austro-Hungarian emigrants to the United States
USC School of Cinematic Arts faculty
American film directors
American cinematographers
Serbian film directors
American university and college faculty deans
American film


title: Chilhiya Moosa Manik

texts:
<mask> commonly known as <mask>  (30 January 1940 – 24 August 2021) was a Maldivian film actor and writer. Early life
In 1977, while studying at Majeediyya School, <mask> participated in the theatre play performed to celebrate the Golden jubilee of Majeediyya School. He then joined several other theatre performances as a hobby though his first priority lies in sketching and drawing, followed by writing. His most notable performance as a theatre artist includes his role as Viyazor; the administrative chief of the Portuguese kingdom who invaded and ruled over Maldives. His work as a theatre performer was appreciated by the government of Maldives and he was bestowed with the National Award of Recognition in 1983. Career
<mask> made his screen debut in 1982 with a Television Maldives production titled Ghaazee Bandaarain where he reprised the role of Viyazor, which he performed in his previous theatre plays. One of the earliest releases in Maldivian cinema, the film narrates the invasion of Portuguese in Maldives and the re-capturing of Malé by Muhammad Thakurufaanu Al Auzam.His "authentic" performance was appreciated by the critics and audiences which resulted in him receiving several film offers from producers. In 1993, he appeared in Ibrahim Rasheed-directed film Beyvafaa where he played the role of a concerned father who disowns his son with regard to his decision to marry a blind orphan. In his next release, Ahmed Nimal's Sitee, <mask> portrayed a character who adopts an orphan and assists him in the search for his father. The following year, <mask> starred alongside Hassan Afeef, Arifa Ibrahim, Lillian Saeed and Mariyam Haajara in Ibrahim Rasheed's family drama Dhevana An'bi, in which he played the role of an underprivileged senior citizen who changed the life of an ordinary man with his intellects and determination.. The film revolves around a couple who gets separated due to social discrimination initiated by a cunning mother-in-law. Hamid Ali's Badhal was released in 1996, in which he starred alongside Ali, Hussain Sobah and

masks:
Moosa Manik
Chilhiya Moosa Manik
Manik
Manik
Manik
Manik


title: Chilhiya Moosa Manik

texts: Niuma Mohamed as a wealthy businessman who is being duped in a series of events caused due to a misunderstanding by a "non-existent" twin. He also appeared in a Television Maldives production, Fun Asaru (1996) which follows two women; one searching for her mother and one fighting cancer.This was followed by his brief role in Amjad Ibrahim's debut direction Huras (1996) which was developed with the sole intention of winning Gaumee Film Awards though it failed to garner any award at 2nd Gaumee Film Awards ceremony. The next year, <mask> appeared alongside Hussain Sobah, Mariyam Nisha and Jamsheedha Ahmed as the father of an established actress who sacrifices her career for an underprivileged talented vocalist in Amjad Ibrahim's Loabeege Aniyaa. Mariyam Shauqee's widely acclaimed family drama television series Kahthiri was released in 1998, where he played the role of the chief of the district council advocating for the right of citizens and was credited as the writer of the series along with Fathimath Nahula and Ibrahim Rasheed. In 2000, <mask> starred alongside Ahmed Asim, Mariyam Nazima, Koyya <mask> and Waleedha Waleed in Haajara Abdul Kareem-directed Ajaaib which depicts the relationship of two exemplary wives and their respective families regardless of societal norms. Apart from playing the father of an emotionally immature wife in Amjad Ibrahim's comedy drama film, Majubooru Loabi (2000), he also featured as a wealthy businessman who marries a gold-digger in Aslam Rasheed's Shaalinee. Besides, he appeared in year's most successful Maldivian film, Ahmed Nimal's horror classic Zalzalaa, where he played the spiritual old man treating a man possessed by a female spirit assigned to complete an unfulfilled prophecy. The following year, he starred in Ali Shameel's drama film Hithi Nimun (2001) opposite Mohamed Shavin, Mariyam Nisha and Sheereen Abdul Wahid, which follows the storyline of a stubborn young man who abandons his girlfriend when he discovers about her pregnancy.In 2003, <mask> played a supporting role in Imad

masks:
Manik
Manik
Hassan Manik
Manik


title: Chilhiya Moosa Manik

texts:
 Ismail-directed horror film Araamagu Dhonkamana (2003) which narrates the story of a woman spirit who rises from the sea and marries a toddy extractor, disguised as a human being. He also collaborated with Abdul Faththaah for his romantic disaster film, Hureemey Inthizaarugaa (2005) cast along with Ravee Farooq, Mariyam Zuhura, Waleedha Waleed, Ibrahim Jihad and Neena Saleem. The film, heavily relied on the effect of the 2004 Indian Ocean earthquake on the Maldives, received favorable reviews from critics though it failed to perform financially. <mask> played the father of Reena, who has been traumatized by the events that lead to a big loss in her family. Apart from playing the calm and genuine father in Abdul Faththaah-directed critically acclaimed television series, Thiyey Mihithuge Vindhakee (2003), <mask> appeared in Fathimath Nahula's critically and commercially successful romantic drama television series, Kalaage Haqqugaa. <mask> next appeared as a sorcerer in Hukuru Vileyrey (2006), co-directed by Aishath Rishmy and Aminath Rasheedha which was based on a novel published by Ibrahim Waheed on Haveeru Daily in 2003. The film was a critical and commercial success while being considered as "one of the few acceptable horror film the Maldivian Film Industry has ever produced".It was later released as 15 episodes television series with inclusion of several clips that were edited off while released in theatre. In 2008, <mask> appeared in a small role in Fathimath Nahula's romantic drama film, Yoosuf which depicts the story of a deaf and mute man (played by Yoosuf Shafeeu) who has been mistreated by a wealthy family, mocking his disability. Featuring an ensemble cast including Yoosuf Shafeeu, Niuma Mohamed, Sheela Najeeb, Ahmed Nimal, Fauziyya Hassan, Ravee Farooq, Zeenath Abbas and Ahmed Lais Asim, the film received widespread critical acclaim and attained blockbuster status at box office. Filmography

Feature film

Television

Short film

Accolades

References

1940 births
People from Malé
21st-century Maldivian male

masks: Manik Manik Manik Manik


title: Tone Brulin

texts:
<mask> (born 11 May 1926 as Antoon Maria Albert van den Eynde – 15 March 2019) was a Belgian playwright and stage director; drama teacher from Belgium. Career
Brulin studied scenography at La Cambre (1943–1946) in Brussels. Its director, Herman Teirlinck, successor of architect Henry Van de Velde, became Brulin's mentor. From 1946 until 1948 Brulin studied theatre at the Studio of the National Theatre in Antwerp. He also attended a BBC training course and became the first TV director for Drama at the  Belgian Radio and Television Flemish Service in Brussels. <mask> was co-founder of the avant-garde literary magazines Tijd en Mens (Time and Men) (1948), with Hugo Claus and Louis-Paul Boon and Gard Sivik (1952), with the poets Hugues Pernath and Paul Snoek. He published three volumes of short stories De Neger op de Sofa, Gevecht tussen twee Mannen van Rubber and Popsinger (Nijgh & van Ditmar) He acted in the first Flemish long feature film after the war, Meeuwen sterven in de Haven with his then wife Dora van der Groen and Julien Schoenarts.In 1953 he founded in Antwerp the "Nederlands Kamertoneel" a professional Chamber Theatre and staged his first experimental plays. Brulin got attention as a playwright after he had won a Prize of the "Boekenweek" in Amsterdam when his play "Twee is te weinig, drie is te veel" was performed in the Stadschouwburg with Queen Juliana of the Netherlands in the audience. He received the Cultural Youth Passport Prize, the Hegenscheidt Prize of Sabam, the Belgian Copyright Association, the Hustinckx Prize, the Arkprijs van het Vrije Woord, the Belgian National Prize

masks:
Tone Brulin
Tone Brulin


title: Tone Brulin

texts: Colombia, Ecuador, Costa Rica and Nicaragua where he held theatre workshops.In Belgium, he returned to the KVS to stage several of his own plays. A tour with that company in Congo which included his play Nu het Dorp niet meer bestaat was the beginning of a contract in Africa. He staged several plays for the South African National Theatre Organisation in Pretoria and founded the "Chamber Theatre", following the Antwerp model. He directed Waiting for Godot in which he played the role of Vladimir. He acted The Dauphin in St. Joan of G.B. Shaw. For the opening of the new aula at the University of Pretoria, a young François Swart, acted the title role of "Germanicus", a cry for freedom.From the apartheid regime in South Africa <mask> travelled directly to the first independent African State under Kwame Nkrumah; Ghana; married there with the daughter of a local chief, talked and corresponded with the wife of WEB Dubois, Shirley Graham-Dubois; a woman with exceptional political influence. He returned to Europe with 'Les Chiens', an anti-apartheid play that appeared at the repertoire of the  National Theatre of Algeria, Théâtre de la Commune d'Aubervilliers in Paris, Théâtre du Parc in Brussels (directed by Ton Lutz), the Berlin and Ljubeljana television. At the opening night in Paris, among the many spectators were Jean Villar and Aime Cesaire. He wrote a play about Paul Splingaert, a Flemish boy who became a famous Chinese Mandarin. He directed Kapai-kapai by Arifin C. Noor in Sweden where it was seen in Dramaten, Stockholm's most distinguished theatre. His own plays Turandot and Det er inte Eugene


title: Tone Brulin

texts:
 pioneer with African and Asian actors since Potopot was published in Théâtre de Belgique and in the early 1950s was staged with an actor of Sierra Leone.He published A Coons Carnival and Our Lady of the Crabs (about hunger in South America). He wrote and directed for DNA, the New Amsterdam under the leadership of Rufus Collins, once a member of the American Living Theatre (A Coon's Carnival, The Night of The Burning Apes, Mudhead). Some of his works have been translated and published in English, German, French, Spanish, Portuguese, Arabic, Malay, Norwegian, Russian, Hungarian, Romanian, Serbo-Croat and seen at world festivals like the Festival of Caracas, the Festival of Lisbon, the Holland Festival, the Edingburough Fringe, the Nancy Festival, St. Andrews, Bochum, Hong Kong, Grahamstown and Erlangen Festivals. In 1992, Brulin decorated the "Metro Station Bizet" in Anderlecht, Brussels. He worked as an actor in the dance group of Wim Vandekeybus "Ultima Vez" touring in Europe and the East and in the Opera House, La Monnaie in Brussels in the production Aus einem Totenhaus (Dostoyevsky-Janáček). He translates poems of the Malaysian A. Samad Said. He is a Knight in the Order of Leopold II.External links

 deSingel profile
  Chapter: "Crosscultural time in <mask> <mask>'s People of the Void, an operatic adaptation of Wilson Harris' Jonestown"

1926 births
2019 deaths
Dutch male dramatists and playwrights
Ark Prize of the Free Word winners
Entertainers from Antwerp
20th-century Belgian dramatists and playwrights
Belgian male dramatists and playwrights
20th-century Dutch dramatists and

masks: Tone Brulin


title: Émile Vallin

texts:
<mask> (27 November 1833 in Nantes - 27 February 1924 in Montpellier) was a French military physician, considered to be a precursor of public health in France a convinced Pasteurian. Biography
Son of François-<mask>, a doctor in Nantes and Fanny Robertson-Martel, he married Berthe Marie Vidal on 15 September 1866, whom he divorced to marry Louise Marie Bidermann on 2 April 1882. After secondary school, he was a prize-winning intern at the Nantes hospitals in the 1853 competition, then a prosector at the Nantes Secondary School of Medicine in 1855. On 8 February 1858, he passed his medical thesis at the Faculty of Medicine in Paris and in December of the same year, he was appointed trainee doctor at the Imperial School of Military Medicine and Pharmacy. From 5 August 1860 to 16 June 1861, he took part in the Syrian Expeditionary Force. On his return, he was appointed to the Military Hospital in Strasbourg. In 1865, he passed the agrégation examination, which led him to the post of professor of epidemiology at the Val-de-Grâce Army Training Hospital.On 27 December 1866, he was appointed doctor major 2nd class and officiated at the hospitals of the Algiers division (19 February 1870), at the Médéa military hospital (5 March 1870). He took part in the Franco-Prussian War in the ambulance of the 17th corps headquarters as chief doctor on 2 November 1870. Promoted to the rank of Major 1st class doctor on 8 February 1871, he was transferred to the army of Versailles, to the 46th line regiment in April, to the hospital of Saint-Omer in July, to that of Valenciennes in October, before being sent to the divisional hospitals of Constantine in February 1872. He was

masks:
Émile Arthur Vallin
Auguste Vallin


title: Émile Vallin

texts:
 sent to the Bône hospital as acting chief doctor (August 1873), and again to Constantine (October 1873). In 1874, as full professor of military hygiene and forensic medicine at the École du Val-de-Grâce, he travelled to the major cities of Europe to study their health organisations and institutions, and everywhere he noted the inferiority in France in this field. He became a senior doctor of 1st class in the Val-de-Grâce on 12 December 1881, and then at the Gros-Caillou hospital from 1 December 1884. Director of the 3rd corps health service in Rouen in December 1885, he was appointed Medical Inspector at the health service of the military government in Lyon and at the 14th corps (16 June 1888).From 1888 to 1893, he was director of the new Lyon Military Medical School (28 December 1888). On 22 April 1893, he was appointed Director of the Paris military government's health service and he ended his career. Professional life
Public health medicine in France came up against local politics and the incomprehension of a rural population. Entrusted to military doctors (<mask>, Lacassagne, Laveran), it had solid frameworks but poor execution in the field, despite Pasteur's discoveries. In 1869, <mask> <mask> took part in the 5th edition of Michel Lévy's Traité d'Hygiène publique et privée (Treatise on Public and Private Hygiene) with a work on the Hygiene of the Military Profession (Hygiène de la profession militaire). He revised the translation of Griesinger's Infectionskrankheiten ("Infectious diseases") (1877). In 1879, he founded the Revue d'hygiène et de police sanitaire ("Hygiene and sanitary police review") and he then wrote numerous articles in this

masks: Vallin Émile Vallin


title: John Bolton (actor)

texts:
<mask> (born December 29, 1965) is an American actor and Broadway regular. <mask> is best known for originating the role of "The Old Man" (Mr. Parker) in the Broadway show A Christmas Story: The Musical. He portrayed Vlad Popov in the 2017 Broadway production of Anastasia. Career
<mask> originated the role of "The Old Man" (Mr. Parker) in A Christmas Story: The Musical on Broadway, running from November 19, 2012, to December 30, 2012, and repeated this starring role in Boston, Hartford and in December 2013 at Madison Square Garden. He appeared in the Broadway revival of Dames at Sea, starring as The Captain/Hennesey. The musical ran from October 22, 2015, to January 3, 2016. His other theatre credits include many Broadway musicals that have won the Tony Award including original productions of Curtains with David Hyde Pierce; Spamalot with Tim Curry, David Hyde Pierce, and Sara Ramirez, directed by Mike Nichols; Contact directed by Susan Stroman; and Titanic; and revivals of Damn Yankees and How to Succeed in Business with Matthew Broderick, with <mask> eventually playing the role of Finch opposite Sarah Jessica Parker.A sought-after cabaret performer, <mask> has also appeared in many concert performances including Downton Abbey at 54 Below (2013), Titanic reunion at Lincoln Center Avery Fisher Hall (2014), and Guys and Dolls (2011) and the Family Holiday Concert with the New York Pops at Carnegie Hall. The New York Times called his performance in Guys and Dolls a "stand-out." <mask> is a regular soloist with the New York Pops, and he has headlined three sold-out concerts at Carnegie Hall. He performed in the concert series "Broadway in the Boros" at the Queens' Socrates Sculpture Park on July 21, 2017. He has performed in television shows and many TV commercials. Most recently he was seen on Elementary, Madame Secretary and Unbreakable Kimmy Schmidt. He played the recurring character D.A.<mask> on the

masks:
John Bolton
Bolton
Bolton
Bolton
Bolton
Bolton
John Summerhill


title: John Bolton (actor)

texts:
 soap opera All My Children in 2006. He also appeared in "Loose Lips", a 2014 episode of Blue Bloods, and "Vacancy", a 2006 episode of Law & Order: Criminal Intent; and he played Bruce Caplan on the television series Gossip Girl. <mask> has also made guest star appearances as Carl Switzer on the HBO television series Boardwalk Empire, and as Jason Doyle on the television series The Good Wife. He also appeared in the third season of Submissions Only and the short Russian Broadway Shut Down. He is an adjunct professor at Pace University, teaching acting. Personal life
He was born in Rochester, New York and grew up in LeRoy, New York. <mask>
 As the World Turns (1996) (TV series): Malcolm Twist

Awards
 2017 Outer Critics Circle Award Best Featured Actor in a Musical (Anastasia) (nominee)
 2017 Rivera Award (formerly Astaire Award) Outstanding Male Dancer in a Broadway Show (Anastasia) (nominee)
 2016 Astaire Award nomination, Outstanding Ensemble In A Broadway Show Dames at Sea
 2016 Connecticut Critics Circle nomination - Best Featured Actor in a Musical Anastasia
 2014 IRNE Award (Independent Reviewers of New England) nomination for Best Visiting Performer in A Christmas Story: The Musical
 Named one of The Boston Globe Top Ten Performance of the year for A Christmas Story: The Musical
 58th Annual Drama Desk (2013) Nomination for Best Featured Actor in A Christmas Story: The Musical
 2012 Footlight Award for Best Actor from the Seattle Times for A Christmas Story: The Musical
 2008 City Spirit Award in Rochester, New York
 2004 BAT (Bay Area Theatre) nomination for The Opposite of Sex

References

External links

Photos of <mask> at Broadway World
Video interview about Curtains at theatre.com
Interview in Theater Mania
Article by Bolton on theater previews

1965 births
Living people
Male actors from Rochester, New York
American male stage actors
American male soap opera actors
American male television

masks:
Bolton
John Summerhill
John Bolton


title: Diego Velázquez

texts:
<mask> (baptized June 6, 1599August 6, 1660) was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period (c.1600-1750). He began to paint in a precise tenebrist style, later developing a freer manner characterized by bold brushwork. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas (1656). <mask>'s artwork became a model for 19th-century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí, and Francis Bacon paid tribute to <mask> by re-interpreting some of his most iconic images. Early life

<mask> was born in Seville, Spain, the first child of Juan Rodriguez de Silva, a notary, and <mask>.He was baptized at the church of St. Peter in Seville on Sunday, June 6, 1599. The baptism most likely occurred a few days or weeks after his birth. His paternal grandparents, Diogo da Silva and Maria Rodrigues, were Portuguese and had moved to Seville decades earlier. When <mask> was offered knighthood in 1658, he claimed descent from the lesser nobility in order to qualify; in fact, however, his grandparents were tradespeople, and possibly Jewish conversos. Raised in modest circumstances, he showed an early gift for art, and was apprenticed to Francisco Pacheco, an artist and teacher in Seville. An early-18th-century biographer, Antonio Palomino, said <mask> studied for a short time

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Diego Rodríguez de Silva y Velázquez
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Jeónima Velázquez
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title: Diego Velázquez

texts: under Francisco de Herrera before beginning his apprenticeship under Pacheco, but this is undocumented. A contract signed on September 17, 1611, formalized a 6-year apprenticeship with Pacheco backdated to December 1610, and it has been suggested that Herrera may have substituted for a traveling Pacheco between December 1610 and September 1611.Though considered a dull and undistinguished painter, Pacheco sometimes expressed a simple, direct realism although his work remained essentially Mannerist. As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco's school, <mask> studied the classics, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville. On April 23, 1618, <mask> married Juana Pacheco (June 1, 1602August 10, 1660), the daughter of his teacher. They had two daughters. The elder, Francisca de Silva <mask> y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633. The younger, Ignacia de Silva <mask> y Pacheco, born in 1621, died in infancy.<mask>'s earliest works are bodegones (kitchen scenes with prominent still-life). He was one of the first Spanish artists to paint such scenes, and his Old Woman Frying Eggs (1618) demonstrates the young artist's unusual skill in realistic depiction. The realism and dramatic lighting of this work may have been influenced by Caravaggio's work—which <mask> could have seen second-hand, in copies—and by the polychrome sculpture in Sevillian churches. Two of his bodegones, Kitchen Scene with

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 Christ in the House of Martha (1618) and Kitchen Scene with Christ at Emmaus (c. 1618), feature religious scenes in the background, painted in a way that creates ambiguity as to whether the religious scene is a painting on the wall, a representation of the thoughts of the kitchen maid in the foreground, or an actual incident seen through a window. The Virgin of the Immaculate Conception (1618–19) follows a formula used by Pacheco, but replaces the idealized facial type and smoothly finished surfaces of his teacher with the face of a local girl and varied brushwork. His other religious works include The Adoration of the Magi (1619) and Saint John the Evangelist on the Island of Patmos (1618–19), both of which begin to express his more pointed and careful realism. Also from this period are the portrait of Sor Jerónima de la Fuente (1620) – <mask>'s first full-length portrait – and the genre The Water Seller of Seville (1618–1622).The Water Seller of Seville has been termed "the peak of <mask>'s bodegones" and is admired for its virtuoso rendering of volumes and textures as well as for its enigmatic gravitas. To Madrid (early period)

<mask> had established his reputation in Seville by the early 1620s. He traveled to Madrid in April 1622, with letters of introduction to Don Juan de Fonseca, chaplain to the King. <mask> was not allowed to paint the new king, Philip IV, but portrayed the poet Luis de Góngora at the request of Pacheco. The portrait showed Góngora crowned with a laurel wreath, which <mask> later painted over. He returned to Seville in January 1623 and remained there until August. In December

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title: Diego Velázquez

texts: 1622, Rodrigo de Villandrando, the king's favorite court painter, died.<mask> received a command to come to the court from Gaspar de Guzmán, Count-Duke of Olivares, the powerful minister of Philip IV. He was offered 50 ducats (175 g of gold) to defray his expenses, and he was accompanied by his father-in-law. Fonseca lodged the young painter in his home and sat for a portrait, which, when completed, was conveyed to the royal palace. A portrait of the king was commissioned, and on August 30, 1623, Philip IV sat for <mask>. The portrait pleased the king, and Olivares commanded <mask> to move to Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the king would be withdrawn from circulation. In the following year, 1624, he received 300 ducats from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life. <mask> secured admission to the royal service with a salary of 20 ducats per month, lodgings and payment for the pictures he might paint.His portrait of Philip was exhibited on the steps of San Felipe and received with enthusiasm. It is now lost (as is the portrait of Fonseca). The Museo del Prado, however, has two of <mask>'s portraits of the king (nos. 1070 and 1071) in which the severity of the Seville period has disappeared and the tones are more delicate. The modeling is firm, recalling that of Antonio Mor, the Dutch portrait painter of Philip II, who exercised a considerable influence on the Spanish school. <mask> depicts Philip wearing the golilla, a stiff linen collar projecting at right angles


title: Diego Velázquez

texts: from the neck. The golilla replaced the earlier court fashion of elaborate ruffed collars as part of Philip's dress reform laws during a period of economic crisis.The Prince of Wales (afterwards Charles I) arrived at the court of Spain in 1623. Records indicate that he sat for <mask>, but the picture is now lost. In 1627, Philip set a competition for the best painters of Spain with the subject to be the expulsion of the Moors. <mask> won. Recorded descriptions of his painting (destroyed in a fire at the palace in 1734) say it depicted Philip III pointing with his baton to a crowd of men and women being led away by soldiers, while the female personification of Spain sits in calm repose. <mask> was appointed gentleman usher as reward. Later he also received a daily allowance of 12 réis, the same amount allotted to the court barbers, and 90 ducats a year for dress.In September 1628, Peter Paul Rubens was positioned in Madrid as an emissary from the Infanta Isabella, and <mask> accompanied him to view the Titians at the Escorial. Rubens, who demonstrated his brilliance as painter and courtier during the seven months of the diplomatic mission, had a high opinion of <mask> but had no significant influence on his painting. He did, however, galvanize <mask>'s desire to see Italy and the works of the great Italian masters. In 1629, <mask> received 100 ducats for the picture of Bacchus (The Triumph of Bacchus), also called Los Borrachos (The Drunks), a painting of a group of men in contemporary dress paying homage to a half-naked ivy-crowned young man seated on a wine barrel. <mask>'s first mythological

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 painting, it has been interpreted variously as a depiction of a theatrical performance, as a parody, or as a symbolic representation of peasants asking the god of wine to give them relief from their sorrows. The style shows the naturalism of <mask>'s early works slightly touched by the influence of Titian and Rubens. Italian period
In 1629, <mask> was given permission to spend a year and a half in Italy.Though this first visit is recognized as a crucial chapter in the development of his style—and in the history of Spanish Royal Patronage, since Philip IV sponsored his trip—few details and specifics are known of what the painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting. He traveled to Venice, Ferrara, Cento, Loreto, Bologna, and Rome. In 1630, he visited Naples to paint the portrait of Maria Anna of Spain, and there he probably met Ribera. The major works from his first Italian period are Joseph's Bloody Coat brought to Jacob (1629–30) and Apollo in the Forge of Vulcan (1630), both of which reveal his ambition to rival the Italians as a history painter in the grand manner. The two compositions of several nearly life-sized figures have similar dimensions, and may have been conceived as pendants—the biblical scene depicting a deception, and the mythological scene depicting the revelation of a deception. As he had done in The Triumph of Bacchus, <mask> presented his characters as contemporary people whose gestures and facial expressions were those of everyday life. Following the example of Bolognese painters such as Guido Reni, <mask> painted

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 Apollo in the Forge of Vulcan on canvas prepared with a light gray ground rather than the dark reddish ground of all his earlier works.The change resulted in a greater luminosity than he had previously achieved, and he made the use of light-gray grounds his regular practice. Return to Madrid (middle period)

<mask> returned to Madrid in January 1631. That year he completed the first of his many portraits of the young prince, beginning with Prince Balthasar Charles with a Dwarf (Boston, Museum of Fine Arts). ln portraits such as Equestrian portrait of prince Balthasar Charles (1635), <mask> depicts the prince looking dignified and lordly, or in the dress of a field marshal on his prancing steed. In one version, the scene is in the riding school of the palace, the king and queen looking on from a balcony, while Olivares attends as master of the horse to the prince. To decorate the king's new palace, the Palacio del Buen Retiro, <mask> painted equestrian portraits of the royal family. In Philip IV on Horseback (1634–35), the king is represented in profile in an image of imperturbable majesty, demonstrating expert horsemanship by executing an effortless levade.The large The Surrender of Breda (1634–35), also painted for the Palacio, is <mask>'s only extant painting depicting contemporary history. Its symbolic treatment of a Spanish military victory over the Dutch eschews the rhetoric of conquest and superiority that is typical in such scenes, in which a general on horseback looks down on his vanquished, kneeling opponent. Instead, <mask> shows the Spanish general standing before his Dutch counterpart as an


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texts: equal, and extending to him a hand of consolation. The impassive, saturnine face of the influential minister Olivares is familiar to us from the many portraits painted by <mask>. Two are notable: one is full-length, stately and dignified, in which he wears the green cross of the order of Alcantara and holds a wand, the badge of his office as master of the horse; in the other, The Count-Duke of Olivares on Horseback (c. 1635), he is flatteringly represented as a field marshal during action. In these portraits, <mask> well repaid the debt of gratitude that he owed to the patron who had first brought him to the king's attention. The sculptor Juan Martínez Montañés modeled a statue on one of <mask>'s equestrian portraits of the king (painted in 1636; now lost) which was cast in bronze by the Florentine sculptor Pietro Tacca and now stands in the Plaza de Oriente in Madrid.<mask> was in close attendance to Philip, and accompanied him to Aragon in 1644, where the artist painted a portrait of the monarch in the costume as he reviewed his troops in Fraga. <mask>'s paintings of Aesop and Menippus (both c. 1636–1638) portray ancient writers in the guise of portraits of beggars. Mars Resting (c. 1638) is both a depiction of a mythological figure and a portrait of a weary-looking, middle-aged man posing as Mars. The model is painted with attention to his individuality, while his unkempt, oversized mustache is a faintly comic incongruity. The equivocal image has been interpreted in various ways: Javier Portús describes it as a "reflection on reality, representation, and the artistic vision", while Alfonso E. Pérez


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 Sánchez says it "has also been seen as a melancholy meditation on the arms of Spain in decline". Had it not been for his royal appointment,  which enabled <mask> to escape the censorship of the Inquisition, he would not have been able to release his La Venus del espejo (c. 1644–1648, English: Venus at her Mirror) also known as The Rokeby Venus. It is the first known female nude painted by a Spanish artist, and the only surviving female nude by <mask>.Portraiture

Besides the many portraits of Philip by <mask>—thirty-four by one count—he painted portraits of other members of the royal family: Philip's first wife, Elisabeth of Bourbon, and her children, especially her eldest son, Don Baltasar Carlos, whom Velázquez first depicted at about two years of age. Cavaliers, soldiers, churchmen, and the poet Francisco de Quevedo (now at Apsley House), sat for <mask>. <mask> also painted several buffoons and dwarfs in Philip's court, whom he depicted sympathetically and with respect for their individuality, as in The Jester Don Diego de Acedo (1644), whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wise and well-educated man. Pablo de Valladolid (1635), a buffoon evidently acting a part, and The Buffoon of Coria (1639) belong to this middle period. As court painter, Velázquez had fewer commissions for religious works than any of his contemporaries. Christ Crucified (1632), painted for the Convent of San Plácido in Madrid, depicts Christ immediately after death. The Savior's head hangs on his breast and a mass of dark tangled hair conceals part of the face, visually


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 reinforcing the idea of death.The figure is presented alone before a dark background. <mask>'s son-in-law Juan Bautista Martínez del Mazo had succeeded him as usher in 1634, and Mazo himself had received a steady promotion in the royal household. Mazo received a pension of 500 ducats in 1640, increased to 700 in 1648, for portraits painted and to be painted, and was appointed inspector of works in the palace in 1647. Philip now entrusted <mask> with the mission of procuring paintings and sculpture for the royal collection. Rich in pictures, Spain was weak in statuary, and <mask> was commissioned once again to proceed to Italy to make purchases. Second visit to Italy

When he set out in 1649, he was accompanied by his assistant Juan de Pareja who at this point in time was a slave and who had been trained in painting by <mask>. <mask> sailed from Málaga, landed at Genoa, and proceeded from Milan to Venice, buying paintings of Titian, Tintoretto and Veronese as he went.At Modena he was received with much favor by the duke, and here he painted the portrait of the duke at the Modena gallery and two portraits that now adorn the Dresden gallery, for these paintings came from the Modena sale of 1746. Those works presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of Pope Innocent X in the Doria Pamphilj Gallery in Rome, where <mask> now proceeded. There he was received with marked favor by the Pope, who presented him with a medal and golden chain. <mask> took a copy of the portrait—which Sir Joshua Reynolds thought was the finest picture in Rome—with him

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texts: to Spain. Several copies of it exist in different galleries, some of them possibly studies for the original or replicas painted for Philip. <mask>, in this work, had now reached the manera abreviada, a term coined by contemporary Spaniards for this bolder, sharper style. The portrait shows such ruthlessness in Innocent's expression that some in the Vatican feared that it would be seen unfavorably by the Pope; in fact Innocent was pleased with the work, and hung it in his official visitor's waiting room.In 1650 in Rome <mask> also painted a portrait of Juan de Pareja, now in the Metropolitan Museum of Art in New York City, USA. This portrait procured his election into the Accademia di San Luca. Purportedly <mask> created this portrait as a warm-up of his skills before his portrait of the Pope. It captures in great detail Pareja's countenance and his somewhat worn and patched clothing with an economic use of brushwork. In November 1650, Juan de Pareja was freed by <mask>. To this period also belong two small landscape paintings both titled View of the Garden of the Villa Medici. As landscapes apparently painted directly from nature, they were exceptional for their time, and reveal <mask>'s close study of light at different times of day.As part of his mission to procure decorations for the Room of Mirrors at the Royal Alcazar of Madrid, <mask> commissioned Matteo Bonuccelli to cast twelve bronze copies of the Medici lions. The copies are now in the Royal Palace of Madrid and the Museo del Prado. During his time in Rome, <mask> fathered a natural son, Antonio, whom he is not known ever to have seen. Return


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 to Spain and later career
From February 1650, Philip repeatedly sought <mask>'s return to Spain. Accordingly, after visiting Naples—where he saw his old friend Jose Ribera—and Venice, <mask> returned to Spain via Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which afterwards were arranged and catalogued for the king. Elisabeth of France had died in 1644, and the king had married Mariana of Austria, whom <mask> now painted in many attitudes. In 1652 he was specially chosen by the king to fill the high office of aposentador mayor, which imposed on him the duty of looking after the quarters occupied by the court—a responsible function which was no sinecure and one which interfered with the exercise of his art.Yet far from indicating any decline, his works of this period are amongst the highest examples of his style. Las Meninas

One of the infantas, Margaret Theresa, the eldest daughter of the new queen, appears to be the subject of Las Meninas (1656, English: The Maids of Honour), <mask>'s magnum opus. Created four years before his death, it serves as an outstanding example of European baroque art. Luca Giordano, a contemporary Italian painter, referred to it as the "theology of painting", and in the eighteenth century the Englishman Thomas Lawrence cited it as the "philosophy of art". However, it is unclear as to who or what is the true subject of the picture. Is it the royal daughter, or perhaps the painter himself? The king and queen are seen reflected in a mirror on the back wall, but the source of the reflection is a mystery: are the royal pair standing in the viewer's


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texts: space, or does the mirror reflect the painting on which <mask> is working?Dale Brown says <mask> may have conceived the faded image of the king and queen on the back wall as a foreshadowing of the fall of the Spanish Empire that was to gain momentum following Philip's death. In the 1966 book Les Mots et Les Choses (The Order of Things), philosopher Michel Foucault devotes the opening chapter to a detailed analysis of Las Meninas. He describes the ways in which the painting problematizes issues of representation through its use of mirrors, screens, and the subsequent oscillations that occur between the image's interior, surface, and exterior. It is said the king painted the honorary Cross of Saint James of the Order of Santiago on the breast of the painter as it appears today on the canvas. However, <mask> did not receive this honor of knighthood until three years after execution of this painting. Even the King of Spain could not make his favorite a belted knight without the consent of the commission established to inquire into the purity of his lineage. The aim of these inquiries would be to prevent the appointment to positions of anyone found to have even a taint of heresy in their lineage—that is, a trace of Jewish or Moorish blood or contamination by trade or commerce in either side of the family for many generations.The records of this commission have been found among the archives of the Order of Santiago. <mask> was awarded the honor in 1659. His occupation as plebeian and tradesman was justified because, as painter to the king, he was evidently not involved in the practice of "selling" pictures.


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 Final years

There were essentially only two patrons of art in Spain—the church and the art-loving king and court. Bartolomé Esteban Murillo, who toiled for a rich and powerful church, left little means to pay for his burial, while <mask> lived and died in the enjoyment of a good salary and pension. One of his final works was Las hilanderas (The Spinners), painted circa 1657, a depiction of Ovid's Fable of Arachne. The tapestry in the background is based on Titian's The Rape of Europa, or, more probably, the copy that Rubens painted in Madrid.It is full of light, air and movement, featuring vibrant colors and careful handling. Anton Raphael Mengs said this work seemed to have been painted not by the hand but by the pure force of will. It displays a concentration of all the art-knowledge <mask> had gathered during his long artistic career of more than forty years. The scheme is simple—a confluence of varied and blended red, bluish-green, gray and black. <mask>'s final portraits of the royal children are among his finest works and in the Infanta Margarita Teresa in a Blue Dress the painter's personal style reached its high-point: shimmering spots of color on wide painting surfaces produce an almost impressionistic effect – the viewer must stand at a suitable distance to get the impression of complete, three-dimensional spatiality. His only surviving portrait of the delicate and sickly Prince Felipe Prospero is remarkable for its combination of the sweet features of the child prince and his dog with a subtle sense of gloom. The hope that was placed at that time in the sole heir to the Spanish crown is

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 reflected in the depiction: fresh red and white stand in contrast to late autumnal, morbid colors.A small dog with wide eyes looks at the viewer as if questioningly, and the largely pale background hints at a gloomy fate: the little prince was barely four years old when he died. As in all of the artist's late paintings, the handling of the colors is extraordinarily fluid and vibrant. In 1660 a peace treaty between France and Spain was consummated by the marriage of Maria Theresa with Louis XIV, and the ceremony took place on the Island of Pheasants, a small swampy island in the Bidassoa. <mask> was charged with the decoration of the Spanish pavilion and with the entire scenic display. He attracted much attention from the nobility of his bearing and the splendor of his costume. On June 26 he returned to Madrid, and on July 31 he was stricken with fever. Feeling his end approaching, he signed his will, appointing as his sole executors his wife and his firm friend named Fuensalida, keeper of the royal records.He died on August 6, 1660. He was buried in the Fuensalida vault of the church of San Juan Bautista, and within eight days his wife Juana was buried beside him. This church was destroyed by the French around 1809, so his place of interment is now unknown. There was much difficulty in adjusting the tangled accounts outstanding between Velázquez and the treasury, and it was not until 1666, after the death of King Philip, that they were finally settled. Style and technique
It is canonical to divide <mask>'s career by his two visits to Italy. He rarely signed his pictures, and the royal archives give the

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 dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.Although acquainted with all the Italian schools and a friend of the foremost painters of his day, <mask> was strong enough to withstand external influences and work out for himself the development of his own nature and his own principles of art. He rejected the pomp that characterized the portraiture of other European courts, and instead brought an even greater reserve to the understated formula for Habsburg portraiture established by Titian, Antonio Mor, and Alonso Sánchez Coello. He is known for using a rather limited palette, but he mixed the available paints with great skill to achieve varying hues. His pigments were not significantly different from those of his contemporaries and he mainly employed azurite, smalt, vermilion, red lake, lead-tin-yellow and ochres. His early works were painted on canvases prepared with a red-brown ground. He adopted the use of light-gray grounds during his first trip to Italy, and continued using them for the rest of his life. The change resulted in paintings with greater luminosity and a generally cool, silvery range of color.Few drawings are securely attributed to <mask>. Although preparatory drawings for some of his paintings exist, his method was to paint directly from life, and x-rays of his paintings reveal that he frequently made changes in his composition as a painting progressed. Legacy
<mask> was not prolific; he is estimated to have produced between only 110 and 120 known canvases. He produced no etchings or engravings, and


title: Diego Velázquez

texts: only a few drawings are attributed to him. <mask> is the most influential figure in the history of Spanish portraiture. Although he had few immediate followers, Spanish court painters such as his son-in-law Juan Bautista Martinez del Mazo and Juan Carreño de Miranda took inspiration from his work. Mazo closely mimicked his style and many paintings and copies by Mazo were formerly attributed to <mask>.<mask>'s reputation languished in the eighteenth century, when Spanish court portraiture was dominated by artists of foreign birth and training. Towards the end of the century, his importance was increasingly recognized by intellectuals close to the Spanish court—an essay published In 1781 by Gaspar Melchor de Jovellanos said of <mask> that "when he died, the glory of Painting in Spain died with him." In 1778, Goya made a set of etchings after paintings by <mask>, as part of a project by the Count of Floridablanca to produce prints of paintings in the Royal Collection. Goya's free copies reveal a searching engagement with the older master's work, which remained a model for Goya for the rest of his career. <mask>'s work was little known outside of Spain until the nineteenth century. His paintings mostly escaped being stolen by the French marshals during the Peninsular War. In 1828, Sir David Wilkie wrote from Madrid that he felt himself in the presence of a new power in art as he looked at the works of <mask>, and at the same time found a wonderful affinity between this artist and the British school of portrait painters, especially Henry Raeburn.He was struck by the modern impression pervading <mask>'s work


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 in both landscape and portraiture. <mask> is often cited as a key influence on the art of Édouard Manet, who is often considered the bridge between realism and impressionism. Calling <mask> the "painter of painters", Manet admired the immediacy and vivid brushwork of <mask>'s work, and built upon <mask>'s motifs in his own art. In the late nineteenth century, artists such as James McNeill Whistler and John Singer Sargent were strongly influenced by <mask>. Modern recreations of classics
The respect with which twentieth-century painters regard <mask>'s work attests to its continuing importance. Pablo Picasso paid homage to <mask> in 1957 when he recreated Las Meninas in 44 variations, in his characteristic style. Although Picasso was concerned that his reinterpretations of <mask>'s painting would be seen merely as copies rather than unique representations, the enormous works—including the largest he had produced since  Guernica  in 1937—obtained a position of importance in the canon of Spanish art.Salvador Dalí, as with Picasso in anticipation of the tercentennial of <mask>'s death, created in 1958 a work entitled  Velázquez Painting the Infanta Margarita With the Lights and Shadows of His Own Glory. The color scheme shows Dalí's serious tribute to Velázquez; the work also functioned, as in Picasso's case, as a vehicle for the presentation of newer theories in art and thought—nuclear mysticism, in Dalí's case. The Anglo-Irish painter Francis Bacon found <mask>'s portrait of Pope Innocent X to be "one of the greatest portraits ever". He created several expressionist variations of this piece in the 1950s;

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 however, Bacon's paintings presented a more gruesome image of Innocent. One such famous variation, entitled Figure with Meat (1954), shows the pope between two halves of a bisected cow. Recent rediscoveries of Velázquez originals
In 2009, the Portrait of a Man in the collection of the Metropolitan Museum of Art, which had long been associated with the followers of <mask>' style of painting, was cleaned and restored. It was found to be by <mask> himself, and the features of the man match those of a figure in the painting "the Surrender of Breda".The newly cleaned canvas may therefore be a study for that painting. Although the attribution to <mask> is regarded as certain, the identity of the sitter is still open to question. Some art historians regard this new study to be a self-portrait by <mask>. In 2010 it was reported that a damaged painting long relegated to a basement of the Yale University Art Gallery might be an early work by <mask>. Thought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. Some scholars are prepared to attribute the painting to <mask>, though the Prado Museum in Madrid is reserving judgment. The work, which depicts the Virgin Mary being taught to read, will be restored by conservators at Yale.In October 2011 it was confirmed by art historian Dr. Peter Cherry of Trinity College Dublin through x-ray analysis that a portrait found in the UK in the former collection of the 19th-century painter Matthew Shepperson is a previously unknown work by <mask>. The portrait is of an unidentified man in his fifties or sixties,


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 who could possibly be Juan Mateos, the Master of the Hunt for Velázquez's patron, King Philip IV of Spain. The painting measures 47 x 39 cm and was sold at auction on December 7, 2011, for £3,000,000. Descendants
<mask>, through his daughter Francisca de Silva <mask> y Pacheco (1619–1658), is an ancestor of the Marquesses of Monteleone, including Enriquetta (Henrietta) Casado de Monteleone (1725–1761) who in 1746 married Heinrich VI, Count Reuss zu Köstritz (1707–1783). Through them are descended a number of European royalty, among them King Felipe VI of Spain through his mother Sophia of Greece and Denmark, King Willem-Alexander of the Netherlands, King Carl XVI Gustaf of Sweden, King Albert II of Belgium, Hans-Adam II, Prince of Liechtenstein, and Henri, Grand Duke of Luxembourg. Popular culture
<mask> has been portrayed by Julián Villagrán in a Spanish fantasy television series El ministerio del tiempo. <mask> in a recurring character in the series.See also
 List of works by <mask>

Notes

References

Sources
 Asturias, Miguel Angel, and P. M. Bardi (1969). L'opera completa di Velázquez. Milano: Rizzoli. .
 Carr, Dawson W., Xavier Bray, and <mask> (2006). Velázquez. London: National Gallery. .
 Harris, Enriqueta (1982). Velazquez. Ithaca, N.Y.: Cornell University Press. .
 McKim-Smith, G., Andersen-Bergdoll, G., Newman, R. (1988).Examining Velazquez. Yale University Press. .
 Ortega y Gasset, José (1953). Velazquez. New York: Random House. .
 Portús, Javier (2004). The Spanish Portrait from El Greco to Picasso [exposition, Museo nacional del Prado, 20 october 2004-6 february 2005]. London: Scala.

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