title: William P. Bidelman

texts:
 Bidelman found 28 such pairs of Venus-Jupiter conjunctions in the ~100 years before the birth of Christ, although the 3 and 2 BC conjunctions appeared closer together. Bidelman noted that John Mosley has shown the August 3 BC morning conjunction was ~4.3 arcminutes, and the June 2 BC evening conjunction was an "extremely close" 0.5 arcminutes, and Bidelman considered some historical events to determine the date of Christ's birth, and noted these conjunctions took place in Leo, a constellation associated with Judaism and the Tribe of Judah. Bidelman suggested the conjunctions in 3 and 2 BC are a plausible explanation for the Star of Bethlehem. In a brief 1991 Newsweek on Air interview about the Star of Bethlehem, when asked when and why he became interested in the topic, <mask> said he had always been an astronomer, and it is of astronomical interest.When asked whether he thought his theory demystified Christmas, Bidelman replied:

In 1992, almost 50 years after his thesis paper, Bidelman stated On revient toujours à ses premières amours ("One always returns to his first loves") when he returned to the topic of his dissertation in 1992 and he considered it "perhaps worth mentioning" that two stars seen then had completely changed their spectral appearance. In 1993, Bidelman provided data on 177 known and possible asymptotic giant branch stars, saying he was confident many would "prove to be interesting and important. Unfortunately, I don't know which ones!" <mask>'s list of high Strömgren c1 index high galactic latitude stars included promising post-AGB candidates to lead to finds of similar objects to better understand the post-AGB sub-groups


title: William P. Bidelman

type: original

texts:
 of stars. Invited to speak at the 1996 IAU Symposium on carbon stars Bidelman declined on advice from his doctor, but sent introductory comments in which he said:

Pointing out that observers sometimes "note things that don't seem to make much sense, but which later are realized to have been very significant indeed", he traced a brief history of "this stellar oddball" and concluded:

In May 1998, the Case astronomy students and graduates held a 2-day "Kth" reunion to honor <mask> and new retiree <mask>. <mask> (1969) once said that the problem of the Ap stars (1969) is that "stars of unusual spectrum are doing unusual things". In 2002, Bidelman suggested the peculiar magnetic A stars may have once been close binaries that "merged and are now in the process of learning to live as single objects", and suggested in 2005 that <mask>ki's Star may be one such object.In Case Western University's 2008 astronomy department newsletter, Chair Heather Morrison wrote they were sorry to say goodbye to Professor <mask>, who had turned 90 "and has decided to finish his distinguished career in Astronomy by retiring for a second time". Honors
<mask> was elected to the American Astronomical Society in 1944. and was a member for over 65 years. He was president of the Cleveland Astronomical Society from 1973 to 1976. <mask> was elected to the international science honor society Sigma Xi by Case Western Reserve University. The minor planet 9398 Bidelman (1994 SH3), discovered by the Arizona group Spacewatch at Kitt Peak on September 28, 1994 was named in his honor. It is an outer main belt asteroid. The peculiar supergiant star HD 30353 is named "Bidelman's

masks:
Bidelman
Peter Pesch
Bidelman
Przybyls
Bidelman
Bidelman
Bidelman


title: William P. Bidelman

texts:
 star".Personal life

<mask> <mask> was born on September 25, in 1918 in Los Angeles, California. <mask>'s father, the son of <mask> and <mask>, had the same name but Bidelman did not use the designation "Jr.," after college. When the family experienced financial difficulties, <mask> moved with his mother to Grand Forks, North Dakota where his grandparents raised him. As a boy, Bidelman wrote to Alfred H. Joy at Mount Wilson, to ask how to become an astronomer. They later served together on the Astronomical Society of the Pacific Publications Committee in 1955 and 1956. He met his future wife, Verna Shirk, in grade school and became "smitten" with her at age 10. In a Grand Forks Central High School competition, Bidelman's tribute to North Dakota was judged best, and was read on October 20, 1935 at the Washington Memorial Chapel at Valley Forge, Pennsylvania, an annual event for essays by high school students about their states.In his essay, <mask> praised North Dakota for its plains "covered with an ocean of wheat, rolling gently in the soft summer breezes", its rolling prairies, mighty rivers; International Peace Garden "in the heart of this continent", its industry, agriculture, and its "scores of untold secrets which have not been discovered to this day". He finished by quoting state poet James W. Foley, by writing: "North Dakota, hail to you!" At a 1977 IAU Symposium honoring the memory of Henry Norris Russell, Bidelman recalled reading during his high school years the "fascinating and inspiring" monthly articles Russell wrote for Scientific American. Saying it was "an important part of my early scientific education", Bidelman suggested

masks:
William Pendry
Bidelman
Bidelman
Howard Bidelman
Julia Pendry
Bidelman
Bidelman


title: William P. Bidelman

texts:
 they might be worth reprinting. Asked to make some remarks at that symposium, <mask> said he had little personal knowledge of Russell, but could believe the comments he had heard that Russell was both a great scientist and a great human being, because he had found it to be true of most other influential astronomers. In addition to Alfred Joy, <mask> recalled "with great pleasure" Bart Bok, <mask>-Gaposchkin and Martin Schwarzschild from Harvard, and "the whole motley Yerkes crew: Struve, Greenstein, Henyey, Chandrasekhar, Kuiper and all the rest", and stated he marveled at his youthful contacts with them and their passionate devotion to science and to life. He ended his speech by saying:

Among <mask>'s many interests were baseball, philately, music, and square dancing.His wife, Verna <mask> was born in 1918 in Grand Forks, North Dakota. She graduated from the University of North Dakota, and was a teacher and a poet who used her time for family, friends, and church work. The <mask>'s had four children, and also grandchildren and great-grandchildren. One daughter died in 2000, and Verna <mask> died in 2009. They were married 69 years. <mask> died at 92 on May 3, 2011 in Tennessee. Select bibliography
These journal articles are <mask><mask>'s five most-cited works on the NASA Astrophysics Data System as of July 2017.Gallery

See also

Peculiar stars
Stellar classification
Spectral atlas
Monterey Institute for Research in Astronomy

Notes

References

Further reading
The Cambridge Encyclopedia of Stars by James B. Kaler (2006). External links
An Atlas of Stellar Spectra by W. W. Morgan, <mask>enan & Edith Kellman. 1918 births
2011 deaths
People

masks:
Bidelman
Bidelman
Cecilia Payne
Bidelman
Pearl Shirk
Bidelman
Bidelman
Bidelman
William P
. Bidelman
Philip Ke


title: George Smith (footballer, born 1921)

texts:
<mask> (7 February 1921 – 14 July 2013) was an English footballer who played in the inside forward position. He played for Manchester City and Chesterfield between 1946 and 1958. <mask> was born in Fleetwood, Lancashire. He signed for Manchester City in May 1938, but had to wait until 1946 before making his debut in an official first-team match because of World War II. He went on to play 166 league games for City, and scored 75 goals. In October 1951, he moved to Chesterfield, where he spent the rest of his professional career. He played 250 league games and scored 98 league goals for the Spireites.After leaving Chesterfield in 1958, he joined non-league Mossley. In 1946, he scored all four goals in a Manchester derby win against United, who were sharing City's ground, Maine Road, after United's ground, Old Trafford, suffered bomb damage. After finishing his playing career he assumed management responsibilities. In 1964 he became Manager of football team Prestwich Heys A.F.C., currently a semi-professional football club based in Prestwich, Greater Manchester, England. Football performance
After the outbreak of war in September 1939 - and suspension of the Football League a year later - he made his senior appearance in a wartime fixture, against Stockport County in December 1939. In August 1944, following his return to Manchester from wartime service in South Africa, he scored a hat-trick against Tranmere Rovers F.C. for City in their opening match of the new season.This was <mask>'s first appearance in City's first team since 25th April 1942, as in the meantime his football career had been interrupted due to his Military service. In 1946, <mask> scored all four goals in City's 4-1 win

masks:
George Beacher Smith
Smith
Smith
Smith


title: George Smith (footballer, born 1921)

texts:
 during a famous Manchester derby win against United. The match was watched by over 62,000, and scoring all four goals - three of the four in seven minutes – lead to him being designated Man of the Match. After scoring 45 goals in 90 wartime games for City, he won a Division Two championship medal in 1946-7, notably scoring five goals for City in the game against Newport County at the end of that season. In addition to the aforementioned wartime games, <mask> also scored 80 goals in 179 peacetime City appearances. The following tabulated summary shows <mask>'s games played and goals scored for each season after the war when he played for Manchester City. Not bad, eh?*** Season 1945/46 - Played 4,  Scored  3 Goals
 *** Season 1946/47 - Played 42, Scored 23 Goals
 *** Season 1947/48 - Played 42, Scored 15 Goals
 *** Season 1948/49 - Played 33, Scored 12 Goals
 *** Season 1949/50 - Played 15, Scored  6 Goals
 *** Season 1950/51 - Played 40, Scored 21 Goals
 *** Season 1951/52 - Played 3,  Scored  3 Goals
Note that between 1939 and 1946 normal competitive football was suspended in England. <mask> signed up to serve in the Military and so missed playing in much of the war seasons. The Football League and FA Cup were suspended and in their place regional league competitions were set up. Appearances in these tournaments do not count in players' official records. Chesterfield et al
In October 1951 he bid farewell to City and moved to Chesterfield for a transfer fee of £5,000. Here he spent the majority of his remaining football-playing career. He played 250 league games for Chesterfield (nicknamed the Spireites) and scored 98 league goals for the team.After leaving Chesterfield in 1958, he

masks: Smith Smith Smith


title: George Smith (footballer, born 1921)

texts:
 joined non-league Mossley in the role of player-manager. Later in his football career he assumed additional management responsibilities. He was player-manager with Hyde United, for example, and in 1964 he became Manager of football team Prestwich Heys A.F.C. - a semi-professional football club based in Prestwich, Greater Manchester, England. Army & FA Representative XIs
<mask> joined the armed forces but before he left Manchester he did manage to make two first team appearances in the war league. Both games were score draws with Stockport County. During the Second World War he also played in Army and FA representative sides.Having been badly injured by a gunshot wound during the war whilst serving in South Africa, <mask> was in the habit of playing with one sleeve of his football shirt pulled down over his injured hand to avoid drawing attention to the wound. The gunshot wound was sustained by <mask> while in active service in East Africa. <mask> was a sergeant on secondment with the King's African Rifles when his unit was mistakenly strafed by the South African airforce. A bullet entered his right arm above his elbow, travelled down his arm, past his elbow and came out again after travelling a good six or so inches through his arm. The gunfire was from an airplane belonging to the South African Air Force, in what was classified as an incident of friendly fire. Career in later life
After <mask>'s move to Chesterfield in October 1951, he accepted the positions of player-manager at both Mossley and Hyde United. <mask> was the first Spireite (Chesterfield player) to appear in a light entertainment program on TV.He made a guest appearance in a "This is Your Life" tribute to former Man

masks: Smith Smith Smith Smith Smith Smith


title: George Smith (footballer, born 1921)

texts:
 United Manager Matt Busby in 1958. In 1958 <mask> returned to Manchester. There he worked until retirement in Kennings Auto Centre' department in the city of Manchester as Manager of the tyre store. The last five years of <mask>’s life were spent in a retirement home, namely Spurr House retirement home in Unsworth. Goodbye to all that
<mask> died after a stay at the Fairfield Hospital in Bury, UK. Coincidentally, <mask> passed away within a week of his good friend and team mate, Manchester City goalkeeper, Bert Trautmann, who died at the age of 89 on 19 July 2013. <mask> <mask> passed away peacefully on Sunday 14 July 2013, aged 92.Website Updates? I've spent a lot of time updating this wesbite about <mask> recently. Anything I've missed, or additional suggestions, then please drop me a line at davidpaulsmith at rogers.com My interest in this site stems from both the fact that <mask> was my Uncle, and I am a lifelong Manchester City fan. References

Further reading
Rippon, A (2005) Gas Masks for Goal Posts: Football in Britain During the Second World War

1921 births
2013 deaths
British Army personnel of World War II
English footballers
Association football inside forwards
Manchester City F.C. players
Chesterfield F.C. players
People from Fleetwood
Mossley A.F.C.

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Smith
Smith
Smith
Smith
George Beacher
Smith
George Smith
George Smith


title: Sheila Singh

texts:
<mask><mask> MD, PhD, FRCSC is a chief pediatric neurosurgeon at McMaster Children's Hospital in Ontario, Canada. She is also Professor of Surgery and Biochemistry, the Division Head of Neurosurgery at Hamilton Health Sciences, the Research Director for McMaster's Division of Neurosurgery, and a scientist/principal investigator appointed to the Stem Cell and Cancer Research Institute at McMaster University. She holds a Tier 1/ Senior Canada Research Chair in Human Brain Cancer Stem Cell Biology, and is Director of the McMaster Surgeon Scientist Program (SSP), which is a part of McMaster's pre-established Clinical Investigator Program (CIP) that provides research training for surgical residents. Education
<mask> graduated from McGill University in 1994 with a bachelor's degree in neurobiology and molecular genetics, and from McMaster University with an MD in 1997. She subsequently trained in neurosurgery at the University of Toronto from 1997-2007 and completed a PhD in the Surgeon Scientist Program (SSP) at McMaster University. In 2006, <mask> became certified in neurosurgery by The Royal College of Physicians and Surgeons of Canada (RCPSC) and then did a fellowship in pediatric neurosurgery at SickKids from 2006-2007. She has been recognized by invitations to serve as a grant reviewer for the NIH and CIHR.She has served as a brain tumor expert reviewer for the Pediatric Provincial Oncology Plan and the Pediatric Oncology Group of Ontario. She was a member of the Stem Cell Network AGM Steering Committee of the 2012 Till and McCulloch Meeting. She is active in the European Society for Medical Oncology and is on the editorial boards of Acta Neuropathologica Communications and of Current Pathobiology Reports. She is also a

masks:
Sheila K
. Singh
Singh
Singh


title: Sheila Singh

texts:
 scientific advisor to Arch Biopartners of Toronto. In 2017, she was named to the Royal Society of Canada's College of New Scholars, Artists, and Scientists. In 2017, she was also made a University Scholar by the President of McMaster University. While in medical school, <mask> encountered two five-year-old boys with brain tumors, both named Christopher.They were treated with the best current therapies of the time, however one flourished and the other died. This left her questioning the outcome, sparking her interest in cancer research. Research Lab
The Sheila Singh Lab research program consists of a team of around 20 undergraduate, graduate and postdoctoral students with <mask> as the principal investigator (PI) working at the Stem Cell and Cancer Research Institute in Hamilton. <mask> is the first woman to lead such a program as PI and the first scientist from McMaster to do so. <mask> discovered an abnormal stem cell, the brain tumor initiating cell (BTIC), which may be the key to understanding the formation of brain tumors. The driving idea in <mask>'s research is the idea that only a small population of cancer stem cells in a brain tumor are capable of propagating, thus focusing on the rare tumor stem cell and not every cell in the tumor. So <mask>'s lab focuses on therapies that target the BTIC in hopes that it could better halt the propagation of tumors.<mask>'s lab focuses on understanding the molecular mechanisms that govern BTIC self-renewal, building upon cell culture techniques used for isolating normal neural stem cells (NSC), applying them to brain tumors and developing a xenograft model to study BTIC activity. <mask>'s lab currently studies the regulation of BTIC signaling pathways in medulloblastomas (MB),

masks: Singh Singh Sheila Singh Singh Singh Singh Singh


title: Sheila Singh

texts:
 glioblastomas (GBM), and brain metastases (BM). <mask>'s lab found that patients that have a higher proportion of BTICs may have shorter survival and a worse prognosis, offering insight into patient prognosis and forming the basis for medical therapies aimed at the BTIC. On her inspiration for her research, <mask> said, "You see a lot of things in pediatric neurosurgery and all of them — good and bad — inspire my research. And every person who works with me has a direct connection to the ‘Why?’ of research. Very often patients and their families will come for a tour of the lab and my people get to meet them. There is a real connection.People in my lab work twice as hard because they have that direct motivation. I began my research career inspired to understand why one brain tumor patient with flourished, while the other with the same disease died. Now, my research program is dedicated to applying a developmental neurobiology approach to the study of human brain tumors. We do this by developing pre-clinical models that recapitulate the human disease. Our ultimate goal is to generate novel, targeted and effective therapies for brain tumor patients." Medulloblastoma
<mask>'s lab found that the poor patient survival associated with medulloblastomas correlates with the increased presence of BTICs. <mask>'s lab aims to study genes that regulate stem cell signaling pathways in MB patients in order to provide specific and individualized therapies that target BTIC.Current Projects

 Identify druggable targets that work in combination with Bmi1 inhibition to decrease MB progression and spinal dissemination in our therapy adapted patient-derived xenograft (PDX) model of MB recurrence. Describe the role of BPIFB4 as a potent regulator of

masks: Singh Singh Singh Singh


title: Sheila Singh

texts:
 self-renewal and specific driver of MB relapse. Identification of potent chemical compounds that specifically target recurrent MB spinal metastases. Elucidate the role of the RNA-binding proteins Msi1 and Msi2 in recurrent MB. Determine whether activation of Wnt signaling can decrease MB stem cell self- renewal and tumor progression in our MB patient-derived xenograft (PDX) model. Glioblastoma
<mask>'s lab found that the poor patient survival associated with glioblastomas correlates with the increased frequency of BTICs along with the high degree of intratumoral heterogeneity, which affect the development of treatment in GBM. <mask>'s lab aims "to identify new therapeutic targets that drive clonal evolution in treatment-refractory GBM, develop novel and empirical immunotherapeutic paradigms, and undertake preclinical evaluation of candidate therapeutic antibodies using our unique in vivo model of human GBM recurrence" with the goal of generating targeted therapies for GBM patients.Current Projects

 Preclinical development and evaluation of CAR-T cells targeting CD133 (BTIC marker). Preclinical development and evaluation of CAR-T cells targeting CD70. CRISPR-Cas9 genetic screening to identify targets that act to increase sensitivity of GBM cells to current treatment options. Profile the genetic, protein, and immune environment of a large database of matched primary and recurrent GBM patient samples. Identification of novel targets in the CD133-negative population of GBM. Brain Metastasis
<mask>'s lab has characterized a rare population of tumor-initiating cells from patient BM samples, which they termed BM-initiating cells (BMICs). Using these BMICs, they have generated preclinical patient-derived xenograft (PDX) mouse models

masks: Singh Singh Singh


title: Sheila Singh

texts:
 of brain metastases, allowing them to perform genomic studies to identify drivers of pre-metastatic and fully metastatic tumor cell states which they hope will allow them to identify druggable targets in order to uncover new therapies that can prevent and/or eradicate BM.Current Projects

 Identification of novel genes that regulate the formation of brain metastasis. Functional genomics to characterization the pre- to micro-metastatic states in brain metastasis. Identification of candidate drugs that could target the brain metastatic process, especially those with the potential to translate into the clinic as preventative therapy for primary cancer patients susceptible to brain metastasis. Support and Grants
<mask>'s lab is supported by the Stem Cell and Cancer Research Institute (SCC-RI), Hamilton Health Sciences, McMaster University, the Brain Tumour Foundation of Canada, Team Kelsey: Brain Tumour Awareness, the Ontario Institute for Cancer Research (OICR), the Brain Canada Foundation, BoxRun, Canadian Cancer Society, American Brain Tumor Association, NSERC CRSNG, Mitacs, CIHR IRSC, Stem Cell Network, The Terry Fox Research Institute (TFRI), Cancer Research Society, Jace Wars, BioCanRx, National Brain Tumor Society, Canada Foundation for Innovation, and Canada Research Chairs. <mask> and her research colleagues won a Terry Fox New Frontiers Program Project Grant from the TFRI in 2016, worth $2.75M over five years. Publications

Personal life
Her hometown is Dundas, Ontario. <mask> is married to Stevan, an architect, and has two sons, named Alexander and Rafael.References

Canada Research Chairs
McMaster University faculty
McGill University alumni
Canadian neurosurgeons
Women surgeons
Living people
Year of birth missing


title: James Green (historian)

texts:
<mask> (November 4, 1944 – June 23, 2016) was an American historian, author, and labor activist. He was Professor of History Emeritus at the University of Massachusetts Boston. Early life and education
<mask> was born in 1944 to Gerald and <mask> in Oak Park, Illinois, a suburb of Chicago. In 1966, he received a bachelor's degree from Northwestern University. During his time at Northwestern, <mask> was deeply influenced by three seminal events of 1963: President John F. Kennedy's civil rights address on national television on June 11; the assassination of civil rights leader Medgar Evers later that same evening; Martin Luther King Jr.'s "I Have a Dream" speech at the March on Washington for Jobs and Freedom on August 28; and the assassination of President Kennedy on November 22. <mask> interned in the summer of 1965 and 1966 in the office of U.S. Senator from Illinois Paul Douglas.While working in the nation's capital, <mask> met U.S. Senator from Minnesota Eugene McCarthy, and later worked on McCarthy's 1968 presidential campaign. <mask> entered Yale University to work on his doctorate in 1966. He was a member of the Student Strike Coordinating Committee which led a mass rally, teach-in and demonstration on May 1, 1970. More than 15,000 people jammed the Yale campus from Friday through Sunday to protest the arrest and murder trial of Black Panther leader Bobby Seale. Academic career
In the fall of 1970, <mask> was appointed an assistant professor of history at Brandeis University. When the magazine Radical America moved from

masks:
James Robert Green
Green
Mary Green
Green
Green
Green
Green
Green


title: James Green (historian)

texts: Madison, Wisconsin, to Boston in 1971, <mask> began writing for the former SDS-run publication, Radical America.An influential 1974 Radical America article by <mask> and co-author Allen Hunter outlining the history of school desegregation in Boston prior to the 1974 school-busing crisis, "Racism and Busing in Boston." <mask> received his Ph.D. from Yale in 1972. <mask> studied under the legendary historian C. Vann Woodward, and became acquainted with the leftist historians Eric Hobsbawm and Herbert Gutman. During this time he also was involved in the anti-war movement, which eventually sparked his interest in the history of radicalism in the United States. <mask> took a position as a lecturer in history at the University of Warwick during the 1975 to 1976 term. He became involved in the British History Workshop, a group of historians who focused research on workers and local movements rather than national trends, markets and large organizations. <mask>'s subsequent work was heavily influenced by the practices of the History Workshop, and he became an active proponent of the "new labor history" movement in the U.S.In 1977, <mask> left Brandeis and was appointed an associate professor of history and labor studies in the College of Public and Community Service at the University of Massachusetts Boston. (He was a full professor until he retired in 2014.) In December of that year and into early 1978, <mask> worked in West Virginia, covering a national strike by coal miners who had defied (for a few days) a Taft-Hartley Act

masks: Green Green Green Green Green Green Green Green


title: James Green (historian)

texts: back-to-work order by President Jimmy Carter. In 1978, <mask> co-founded the Massachusetts History Workshop with Susan Reverby and Martin Blatt, two other Boston-area labor historians. The project brought workers and academics together to explore labor history and to identify common concerns and issues. He wrote a number of articles on this effort to democratize social history as well as a number of reflections in his autobiographical book "Taking History to Heart." The project folded in the late 1980s.Oral histories the Workshop collected are now housed at the Schlesinger Library at the Radcliffe Institute for Advanced Study at Harvard. <mask>'s interest in radicalism and his experiences in West Virginia led him to become involved in the American labor movement in the 1980s. In 1981, he created a labor studies major at UMass-Boston, and started teaching leadership training workshops for unions such as the United Mine Workers of America. In 1995, <mask> founded the Labor Resource Center at the University of  Massachusetts Boston. In 1987, in addition to continuing on the faculty at UMass-Boston, <mask> was named a lecturer at the Harvard Trade Union Program (now called the Labor and Worklife Program) at Harvard Law School. In 1998, <mask> was named a Fulbright scholar and taught at the University of Genoa in Italy. In the spring of 2008, <mask> left the College of Public and Community Service and joined the History Department at University of Massachusetts Boston where he directed the Master of Arts program in Public History

masks: Green Green Green Green Green Green


title: James Green (historian)

texts:
 until 2014.Documentary film work
<mask>'s interest in labor history and involvement in the American labor movement has led him to become involved with a number of documentary films. In 1989, <mask> was supporting coal miners who had struck the Pittston Coal Group. Documentary film-maker Barbara Kopple, commissioned to create a centennial history of the United Mine Workers, was there filming the strike and employed <mask> as a consultant. The film became Out of Darkness: The Mine Workers' Story. He received an associate producer credit on the picture. In 1992 and 1993, <mask> worked as a research director and consultant on "The Great Depression," an award-winning seven-part documentary series produced by Blackside, Inc. which aired on PBS. Afterward, he served on the community advisory board of local Boston public television station, WGBH, from 1993 to 1994.From 1995 to 1996, <mask> served as a consultant to the film The Fight in the Fields: Cesar Chavez and the Farm Workers. The film later aired on PBS. In 2014 the producers of the PBS series American Experience secured the rights to <mask>'s forthcoming book (Publication Date: Feb. 2015) on the West Virginia Mine Wars. The book, The Devil is Here in these Hills, will be the basis of documentary film produced by The Film Posse in Boston. The program will air nationwide in 2016. Research
Green's research focuses on radical political and social movements in the U.S. (including new social movements), as well as the history of labor unions in the United States. <mask> writes social

masks: Green Green Green Green Green Green Green


title: James Green (historian)

texts: and political history from "the bottom up."He writes from a leftist theoretical standpoint. One of <mask>'s earliest published works, The World of the Worker, is noted for its revisionist take on American labor history. The work came about after historian Eric Foner challenged <mask> to write the history of the American labor movement from a new labor history or rank-and-file perspective. <mask>'s 2000 book, Taking History to Heart, had a deep impact in the academic history community. The book is a semi-autobiographical account of the role historical awareness plays in forging powerful, effective social movements. Writing in a colloquial style, <mask> discussed how important historical events such as the Haymarket riot, the Bread and Roses strike, and the civil rights movement influenced his own life. He vividly describes these events, and ended up not only writing popular historical narratives but showed how those stories encouraged his own participation in various causes.In many ways, the book is a written example of <mask>'s lifelong struggle to take history out of the ivory tower and make it come alive and be relevant to working people and community activists. The book received praise from academics for encouraging the reconnection of academia to society. In 2006, <mask> published Death in the Haymarket, a popular history of the Haymarket riot. Although not noted for its path-breaking research, the book was a best-seller that was reviewed favorably in various publications like The New Yorker, The Nation, Chicago Tribune,


title: James Green (historian)

texts:
 and was chosen by The Progressive as one of the best non-fiction books of the year. <mask>'s next book, The Devil is Here in these Hills: West Virginia's Coal Miners and their Battle for Freedom was published by Grove Atlantic in 2015. Memberships and awards

Awards
<mask> has been the recipient of a number of awards and honors. He was a Woodrow Wilson Foundation fellow in 1966, and he received a grant from the National Endowment for the Humanities in 1977 to deliver a series of public lectures on Boston-area labor unions.In 1977, <mask>'s article, "Tenant Farmer Discontent and Socialist Protest in Texas," won Southwestern Historical Quarterly magazine's H. Bailey Carroll Award for the best article published by the journal during the preceding year. In 1983, <mask>'s introduction to the reprint edition of Oscar Ameringer's autobiography, If You Don't Weaken, received the Bryant Spann Memorial Prize from the Eugene V. Debs Foundation as the best scholarly work of the year concerning social reform or radical activism. In 2009, The Sidney Hillman Foundation presented <mask> with the Sol Stetin award for his achievements in the field of labor history, "researching and telling the stories of working people's lives." Memberships and professional positions
From 1971 until the magazine's demise in 1999, <mask> was part of the editorial collective which oversaw the journal Radical America, and he was a frequent contributor to the publication. In 1995, <mask> founded the Labor Resource Center at UMass-Boston. <mask> is a member of the


title: James Green (historian)

texts:
 Labor and Working-Class History Association (LAWCHA). He was a vice president of LAWCHA from 2001 to 2003 and its president from 2003 to 2005.From 2001 to 2002, <mask> was an associate editor at Labor History. In February 2004, <mask> helped organize a revolt by the entire editorial board of the journal Labor History. The editorial board as well as much of the staff left that publication after a disagreement with publisher Taylor and Francis over the direction of the journal. According to Leon Fink, the former editor of Labor History, the principal issue was maintaining the journal's editorial independence. <mask> helped negotiate an agreement which led to the founding of Labor: Studies in Working-Class History of the Americas, which is co-published by LAWCHA and Duke University Press. He served as an associate editor of the new journal until 2009

<mask> is the former board president of The Welcome Project (TWP) in Somerville, MA. TWP is an organization that works with immigrants and refugees in the city of Somerville.<mask> has been a member of the Organization of American Historians since 1970. In 2008, he joined the OAH's Distinguished Lecturer program and in 2014 he joined the editorial board of OAH's The Journal of American History. <mask> was a Full Professor of History at the University of Massachusetts Boston from 1981 to 2014. Personal life
<mask> married Janet Grogan in 1988, the couple have one son. <mask> died in Boston on June 23, 2016, of complications from leukemia. He was 71. Bibliography

Solely authored

masks:
Green
Green
Green
Green
Green
Green
Green
Death Green


title: James Green (historian)

texts:
 books
(1978) Grass-Roots Socialism: Radical Movements in the Southwest, 1895-1943 (Baton Rouge: Louisiana State University Press) ()
(1998) The World of the Worker: Labor in Twentieth Century America (Paperback reprint ed- first published in 1980) (Champaign, Ill.: University of Illinois Press) ()
(2000) Taking History to Heart: The Power of the Past in Building Social Movements (Amherst: University of Massachusetts Press) ()
(2006) Death in the Haymarket: A Story of Chicago, the First Labor Movement and the Bombing that Divided Gilded Age America (New York: Pantheon Books) ()
(2015) The Devil is Here in These Hills: West Virginia's Coal Miners and Their Battle for Freedom (New York: Grove Atlantic) ()

Co-authored books
(1979) Boston's Workers: A Labor History by <mask> & Hugh C. Donahue (Boston: Boston Public Library) ()
(1996) Commonwealth of Toil: Chapters from the History of Massachusetts Workers and Their Unions by Tom Juravich, <mask> & William Hartford (Amherst, Mass.: University of Massachusetts Press) ()

Solely edited books
(1983) Workers' Struggles, Past and Present: A 'Radical America' Reader (Philadelphia: Temple University Press) ()

Solely authored articles
(1973, August) "The Brotherhood of Timber Workers, 1910-1913: A Radical Response to Industrial Capitalism in the Southern U.S.A" Past and Present No. 60
(1978, July/August) "Holding the Line: Miners' Militancy and the 1977-78 Coal Strike" Radical America 12:4
(1977, October) "Tenant Farmer Discontent and Socialist Protest in Texas" Southwestern Historical

masks:
James Green
James Green


title: James Green (historian)

texts:
 Quarterly 81:2
(1989) "Workers, Unions, and the Politics of Public History" The Public Historian 11:2
(1993, August) "Democracy Comes to Little Siberia: Steel Worker Organizing in Aliquippa, Pennsylvania, 1933-1937" Labor's Heritage 5:3
(2003) "Howard Zinn's History," Chronicle of Higher Education May 23, 2003
(2004, Spring) "Crime Against Memory at Ludlow" Labor: Studies in Working Class History of the Americas 1:1

Co-authored articles
(1974, November/December) "Racism and Busing in Boston" by <mask> & Allen Hunter Radical America. 8:6

Solely authored book chapters
(1983) "Introduction." In "If You Don't Weaken: The Autobiography of Oscar Ameringer" by Oscar Ameringer (Reprint edition) (Norman: University of Oklahoma Press) ()
(1996) "Tying the Knot of Solidarity: The Pittston Strike of 1989-1990" In United Mine Workers of America: A Model of Industrial Solidarity? by John H.M. Laslett, (ed. University Park, Pa.: Pennsylvania State University Press), ()

Co-authored book chapters
(1990) "The Long Strike: The Practice of Solidarity Among Boston Packinghouse Workers, 1954-55" by <mask> Green & Jim Bollen, In Labor in Massachusetts 1788–1988, Selected Essays. by Martin Kaufman and Kenneth Fones-Wolf, (eds.Westfield, Mass. : Institute for Massachusetts Studies)

References

Ackerman, John A. "The Impact of the Coal Strike of 1977-1978." Industrial and Labor Relations Review. 32:2 (January 1979). Brisbin, Jr. Richard A. A Strike Like No Other Strike: Law and Resistance During the Pittston Coal Strike of 1989-1990.Baltimore: Johns

masks:
James Green
James


title: James Green (historian)

texts:
 Hopkins University Press, 2002. ()
<mask> bio, <mask> Web site
<mask>, Labor Resource Center, College of Public and Community Service, UMass-Boston
Simpich, Bill. "Lessons from the 1970 Student Strike: Building a Movement That Will Be Stronger After the US Is Out of Iraq." Counterpunch. May 18, 2006.
Who's Who in America. 58th ed. New Providence, N.J.:  Marquis Who's Who, 2004.()

External links
Bryant Spann Memorial Prize, Eugene V. Debs Foundation
The Fight in the Fields
H. Bailey Carroll Award, Southwestern Historical Quarterly, Texas Historical Association
Labor and Working Class History Association
Labor and Worklife Program, Harvard Law School
Labor Resource Center, College of Public and Community Service, UMass-Boston
Radical America archives, Digital Collections, Brown University Library
Radical America Web site
Records of the Massachusetts History Workshop, Schlesinger Library, Radcliffe College
Woodrow Wilson National Fellowship Foundation
The Hillman Foundation
Grove Atlantic Press
<mask> papers, 1964-2010, University Archives and Special Collections, Joseph P. Healey Library, University of Massachusetts Boston

1944 births
2016 deaths
Academics of the University of Warwick
American documentary filmmakers
American male journalists
Brandeis University faculty
Deaths from cancer in Massachusetts
Deaths from leukemia
Harvard Law School faculty
Historians of the United States
Labor historians
Writers from Oak Park, Illinois
Northwestern University alumni
University of Massachusetts Boston faculty
Yale University

masks:
James Green
James Green
James Green
James Green


title: Josep Maria Sala

texts:
<mask> (born 27 November 1963 in Sant Hipòlit de Voltregà, Osona, Catalonia), also written <mask>, is a Spanish retired footballer who played as a midfielder. In a career spanning over two decades, he played 217 matches in La Liga with Sabadell, Real Mallorca and Albacete Balompié in the 1980s and 90s. Career

Sabadell

<mask> began his career with local Catalan club Sabadell, joining their youth team in 1982. He graduated to the senior team the same year, and made his debut in the Copa del Rey on 29 September. This came in the home second leg of Sabadell's first round tie against Júpiter at Estadi de la Nova Creu Alta. <mask> came on as a substitute as Sabadell won 4–0, securing a 5–0 aggregate victory. His first start, and first match in the Segunda División, was the 0–0 away draw with Linares on 24 October, and a week later he made his home league debut when coming on for Paquito with two minutes to play in a 1–0 win over Deportivo Alavés.<mask> had to wait until 6 January to make his first start at home, which came in a 1–1 draw with Rayo Vallecano. He ultimately made 16 appearances that season, but an 18th place finish meant that Sabadell were relegated to Segunda División B. In 1983–84, he played 24 matches, initially often as a substitute. In a home fixture against Barakaldo on 2 October, <mask> came on in place of Joan Golobart and scored his first goal to round out a 5–0 victory for Sabadell. He scored twice more that year, both coming very early in matches: a Copa del Rey second round match away at Andorra on 19 October, in which Sabadell progressed on penalties despite losing 2–1 on the day, and a 5–0 home league win over

masks:
Josep Maria Sala Boix
José María Sala Boix
Sala
Sala
Sala
Sala


title: Josep Maria Sala

texts:
 Huesca on 25 March. It was also a good year for the club, who topped their group and earned promotion straight back to the Segunda División. Sabadell spent another two seasons in the second tier, before finishing as runners-up in 1985–86 and earning promotion to La Liga for the first time since 1971–72.<mask>'s top flight debut came in Sabadell's first match of the season, a 1–0 loss to Real Betis at Estadio Benito Villamarín on 31 August, and he also started their first home match, a 2–2 draw with Real Sociedad, a week later. He scored his first La Liga goal against Cádiz at Estadio Ramón de Carranza on 5 October, a goal which turned out to be a mere consolation as Sabadell lost 3–1. This was his only goal in 23 appearances that season. In 1987–88 he was a crucial part of Sabadell's team, playing 41 matches and scoring once more, in a fabulous 3–2 home win over Real Madrid in the first leg of their Copa del Rey quarter-final. Despite these heroics, Real ultimately progressed after a 2–0 extra time win in the second leg. The success of Sabadell's cup run was not to be repeated in the league, and following a 2–0 loss to Athletic Bilbao at San Mamés on the final day of the season they found themselves in 19th place and were relegated. This turned out to be <mask>'s last match for the club, as he departed at the end of the season.Real Mallorca

<mask> signed for Real Mallorca in the summer of 1988; the islanders, like his former club, had just been relegated to the Segunda División. He was an immediate fixture in his new club's starting eleven, making his debut in the first match of the season, a 2–0 home win over Real Burgos at Lluís

masks: Sala Sala Sala


title: Josep Maria Sala

texts: Sitjar Stadium on 4 September. He managed 40 appearances that year, and helped Mallorca to 4th place in the league, which earned them a promotion playoff spot. <mask> played in both legs of the playoff against Español as Mallorca overturned a 1–0 deficit from the first leg at Sarrià Stadium to win 2–1 on aggregate and earn an immediate return to La Liga. 1989–90 saw him maintain his key role in the side, as he played 36 matches in all competitions, but the following season was to be an even better one for both player and club. <mask> made a huge 46 appearances, while Mallorca maintained their top flight status once again with a 15th place finish, and also reached the Copa del Rey final for the first time in their history. However, <mask> missed the final, held at Real Madrid's Santiago Bernabéu Stadium on 29 June, as Mallorca were defeated by Atlético Madrid thanks to an extra time goal from Alfredo.In 1991–92, <mask> continued to play an important part, playing 32 matches. He also scored his first Mallorca goal, which came in a 7–0 home demolition of Binéfar in the third round of the Copa del Rey on 19 September. He was forced to go in goal for the last ten minutes of the home fixture against Real Burgos on 10 May, after Bogdan Stelea was sent off with the scores at 1–1. <mask> conceded the resulting penalty, from Stelea's Romania international teammate Gavril Balint, but otherwise kept a clean sheet for the rest of the game. A late goal from Esteve Fradera allowed Mallorca to salvage a 2–2 draw. Come the end of the season, Mallorca found themselves bottom of the table, and Sala suffered La Liga relegation for the second time in

masks: Sala Sala Sala Sala Sala


title: Josep Maria Sala

texts:
 his career. Back in the second tier the following year, <mask> made 33 appearances and scored twice.It was a good season for Mallorca, who ended up fourth in the table and earned a promotion playoff place. <mask> played in both legs of a closely fought tie against Albacete Balompié, but the Manchegans prevailed to retain their top flight status, and condemn Mallorca to another year in the Segunda División. These were <mask>'s last matches for Mallorca, as, keen to return to the top division, he left the club at the end of the season. Albacete Balompié

Albacete, not content with beating Mallorca in the playoff, were also after their players. <mask>, along with teammate Esteve Fradera, joined Albacete ahead of the 1993–94 season. <mask> made his Albacete debut in the first match of the season, away at Athletic Bilbao on 5 September. He marked his debut at San Mamés with a goal from the penalty spot, which turned out to be a consolation prize as Albacete lost 4–1.His first home match at Estadio Carlos Belmonte followed six days later, and the result was more positive, as they drew 0–0 with the mighty Barcelona. In all, he played 38 times that season, and scored a second goal, also a penalty, in a 1–1 draw with Real Oviedo at Estadio Carlos Tartiere. The following year, <mask> made 34 appearances, but Albacete ended the season in 17th place, and therefore faced a relegation playoff. <mask> played in both legs as Albacete lost 5–2 on aggregate to Salamance. This should've meant their relegation, but they earned a reprieve following the administration scandal involving Sevilla and Celta Vigo. Badajoz

Despite Albacete's surprise

masks: Sala Sala Sala Sala Sala Sala Sala


title: Josep Maria Sala

texts:
 survival, <mask> did descend to the Segunda División, joining Badajoz in 1995. He was immediately a key part of the side, making his debut in the first match of the season, a 2–1 away loss against UE Lleida at Camp d'Esports on 3 September.His home debut came a week later in a 2–0 win over Atlético Marbella. He scored his first goal for the club on 22 October, netting a late penalty to earn Badajoz a 1–1 home draw with Logroñés. He ended up playing 36 matches that year, and scored a second goal in the 5–1 away victory over Barcelona B at Mini Estadi on 20 April. In 1996–97, <mask> made 31 appearances, but his third season with Badajoz would be his busiest. He played 44 times, but departed the club at the end of the season. His final match for Badajoz was a 2–0 home win over Ourense on 16 May 1998. Return to Albacete

After three years at Badajoz, <mask> returned to his previous employers, Albacete Balompié, ahead of the 1998–99 season.Albacete was by now in the Segunda División, following relegation in 1996, and <mask> made 40 appearances and scored one goal in his first season back with the club. Albacete were facing difficulties both on and off the pitch, and could only manage 15th place in the league. The following season was similarly difficult, although it brought a slightly better return of 10th. <mask> played 33 matches, and again scored a single goal, a penalty in a 2–1 win over Sporting de Gijón at El Molinón on 26 September. However, come the summer, <mask> left the club, for good this time. His last Albacete match was a 1–0 home loss to Getafe on 4 June 2000. Return to Sabadell

In the summer of 2000, <mask> signed for


title: Josep Maria Sala

texts:
 another of his former clubs, rejoining Sabadell after twelve years away.Like Albacete, Sabadell had fallen on somewhat harder times since he last played for them, and were now in Segunda División B. In 2000–01, <mask> made 42 appearances and got his career highest goal return, scoring six times. Sabadell ended the year third in the table, and earned themselves a place in the playoffs. <mask> played in all six playoff matches, even scoring in the first against Burgos at Estadio El Plantío, but Sabadell placed third in the group, and it was Burgos that earned promotion. <mask>'s appearances tailed off slightly over the next two years, although he remained an important part of the team. He played 29 matches in 2001–02, and 21 the following year, after which he finally retired. His final professional appearance was a nine-minute cameo in a 1–0 home loss against Burgos on 11 May 2003, coming on as a substitute for Manuel Cabezas.This brought down the curtain on a 21 year professional career in which Sala made over 650 appearances. Honours
Sabadell
Segunda División B: 1983–84
Segunda División runners-up: 1985–86 (earning promotion to La Liga)
Copa del Rey quarter-finalists: 1985–86, 1987–88

Real Mallorca
Segunda División fourth place: 1988–89 (earning promotion to La Liga)
Copa del Rey runners-up: 1990–91
Copa del Rey quarter-finalists: 1988–89

Albacete Balompié
Copa del Rey semi-finalists: 1994–95

Career statistics

1. Appearance in the 1983 Copa de la Liga Segunda División
2. Appearances in the 1988–89 Segunda División promotion playoff
3. Appearances in the 1992–93 Segunda División promotion playoff
4. Appearances in the 1994–95 La


title: Ivan Menjivar

texts:
<mask> (born May 30, 1982) is a Salvadorian-Canadian mixed martial artist who formerly fought in the featherweight division of the Ultimate Fighting Championship. Background
Menjivar was born in La Paz, El Salvador, in 1982. Fleeing the corrupt government, Menjivar moved to Montreal with his family when he was 11. He has a brother and a sister. He started training Kung-fu as a kid, eventually progressing to Brazilian jiu-jitsu. Mixed martial arts career

Early career
Menjivar formerly fought in the welterweight and lightweight divisions, before dropping to featherweight. Menjivar made his MMA debut in 2001 and fought until 2006, earning a record of 20–7.After he was defeated by Bart Palaszewski at an IFL event, he retired from MMA. Four years later, he came out of retirement for W-1 MMA, defeating Aaron Miller by triangle choke submission in round one. World Extreme Cagefighting
In November 2010, Menjivar signed with the WEC, right before its merger with the UFC. In his promotional debut, Menjivar dropped to bantamweight and faced Brad Pickett on December 16, 2010 at WEC 53, the final WEC event. After a back and forth fight, Menjivar lost via unanimous decision. The bout won Fight of the Night honors. Ultimate Fighting Championship
On October 28, 2010, WEC merged with the UFC.As part of the merger, all WEC fighters were transferred to the UFC. Menjivar defeated


title: Ivan Menjivar

texts: Charlie Valencia via first round TKO on April 30, 2011 at UFC 129, after breaking his nose with a short elbow and following up with punches to finish the fight in 90 seconds. Menjivar next faced Nick Pace on August 6, 2011 at UFC 133. The bout was held at a catchweight of 138 pounds after Menjivar failed to make weight. He won the fight via unanimous decision. Menjivar submitted John Albert with a first round rear naked choke on February 15, 2012 at UFC on Fuel TV 1. His performance earned him the Submission of the Night award.Menjivar was expected to face Renan Barão at UFC 148 on July 7, 2012. However, Barão was pulled from the bout to face Urijah Faber for the Interim Bantamweight Title on the same card. Menjivar instead faced Mike Easton at the event and lost the fight via unanimous decision. Menjivar defeated promotional newcomer Azamat Gashimov via first round submission due to an armbar on November 17, 2012 at UFC 154. The performance earned Menjivar Submission of the Night honors. Menjivar faced Urijah Faber on February 23, 2013 at UFC 157. He lost the fight via submission in the first round.Menjivar was expected to face Norifumi Yamamoto on September 21, 2013 at UFC 165. However, Yamamoto was removed from the bout and was replaced by Wilson Reis. Menjivar lost the fight via unanimous decision. <mask> faced Hatsu Hioki in a featherweight bout on March 1,


title: James Abbott McNeill Whistler

texts:
<mask>  (; July 11, 1834July 17, 1903) was an American painter active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail. The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. His most famous painting, Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood.<mask> influenced the art world and the broader culture of his time with his theories and his friendships with other leading artists and writers. Early life

New England
<mask> <mask> was born in Lowell, Massachusetts on July 11, 1834, the first child of <mask> <mask> and George Washington <mask>, and the brother of Confederate surgeon Dr. <mask> <mask>. His father was a railroad engineer, and Anna was his second wife. <mask>in trial: "I shall be born when and where I want, and I do not choose to be born in Lowell." The family moved from Lowell to Stonington, Connecticut in 1837, where his father worked for the Stonington Railroad.Three of the couple's children died in infancy during this period. Their fortunes improved considerably in 1839 when his father became chief engineer for the Boston & Albany

masks:
James Abbott McNeill Whistler
Whistler
James Abbott
Whistler
Anna McNeill
Whistler
Whistler
William McNeill
Whistler
Jamesusk


title: James Abbott McNeill Whistler

texts:
 Railroad, and the family built a mansion in Springfield, Massachusetts, where the Wood Museum of History now stands. They lived in Springfield until they left the United States in late 1842. Nicholas I of Russia learned of <mask>'s ingenuity in engineering the Boston & Albany Railroad, and he offered him a position in 1842 engineering a railroad from St. Petersburg to Moscow, and the family moved to St. Petersburg in the winter of 1842/43. <mask> was a moody child prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness. His parents discovered that drawing often settled him down and helped focus his attention. In later years, he played up his mother's connection to the American South and its roots, and he presented himself as an impoverished Southern aristocrat, although it remains unclear to what extent he truly sympathized with the Southern cause during the American Civil War.He adopted his mother's maiden name after she died, using it as an additional middle name. Russia and England

Beginning in 1842, his father was employed to work on a railroad in Russia. After moving to St. Petersburg to join his father a year later, the young <mask> took private art lessons, then enrolled in the Imperial Academy of Arts at age eleven. The young artist followed the traditional curriculum of drawing from plaster casts and occasional live models, revelled in the atmosphere of art talk with older peers, and pleased his parents with a first-class mark in anatomy. In 1844, he met the noted artist Sir William Allan, who came to Russia with a commission to paint a history of the life of

masks:
George Whistler
Whistler
Whistler


title: James Abbott McNeill Whistler

texts:
 Peter the Great. <mask>'s mother noted in her diary, "the great artist remarked to me 'Your little boy has uncommon genius, but do not urge him beyond his inclination.'" In 1847–1848, his family spent some time in London with relatives, while his father stayed in Russia.<mask>'s brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took <mask> to visit collectors and to lectures, and gave him a watercolour set with instruction. <mask> already was imagining an art career. He began to collect books on art and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in 1848, the young <mask> exclaimed that the portrait was "very much like me and a very fine picture. Mr. Boxall is a beautiful colourist... It is a beautiful creamy surface, and looks so rich."In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future direction, "I hope, dear father, you will not object to my choice." His father, however, died from cholera at the age of 49, and the <mask> family moved back to his mother's home town of Pomfret, Connecticut. His art plans remained vague and his future uncertain. The family lived frugally and managed to get by on a limited income. His cousin reported that <mask> at that time was "slight, with a pensive, delicate face, shaded by soft brown curls... he had a somewhat foreign appearance and manner, which, aided by natural abilities, made him very charming, even at that age." West Point
Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister.

masks: Whistler Whistler Whistler Whistler Whistler Whistler Whistler


title: James Abbott McNeill Whistler

texts:
 Whistler was seldom without his sketchbook and was popular with his classmates for his caricatures.However, it became clear that a career in religion did not suit him, so he applied to the United States Military Academy at West Point, where his father had taught drawing and other relatives had attended. He was admitted to the highly selective institution in July 1851 on the strength of his family name, despite his extreme nearsightedness and poor health history. However, during his three years there, his grades were barely satisfactory, and he was a sorry sight at drill and dress, known as "Curly" for his hair length which exceeded regulations. Whistler bucked authority, spouted sarcastic comments, and racked up demerits. Colonel Robert E Lee was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet. <mask>'s major accomplishment at West Point was learning drawing and map making from American artist Robert W. Weir. His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon and began by saying, "Silicon is a gas."As he himself put it later: "If silicon were a gas, I would have been a general one day". However, a separate anecdote suggests misconduct in drawing class as the reason for <mask>'s departure. First job
After West Point, <mask> worked as draftsman mapping the entire U.S. coast for military and maritime purposes. He found the work boring and he was frequently late or absent. He spent much of his free time playing billiards and idling about, was always broke, and

masks: Whistler Whistler Whistler


title: James Abbott McNeill Whistler

texts:
 although a charmer, had little acquaintance with women. After it was discovered that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the U.S. Coast Survey. He lasted there only two months, but he learned the etching technique which later proved valuable to his career.At this point, <mask> firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished <mask> with a studio and some spending cash. The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers and informed her that with money from Winans, he was setting out to further his art training in Paris. <mask> never returned to the United States. Art study in France
<mask> arrived in Paris in 1855, rented a studio in the Latin Quarter, and quickly adopted the life of a bohemian artist. Soon he had a French girlfriend, a dressmaker named Héloise.He studied traditional art methods for a short time at the Ecole Impériale and at the atelier of Marc Charles Gabriel Gleyre. The latter was a great advocate of the work of Ingres, and impressed Whistler with two principles that he used for the rest of his career: that line is more important than color and that black is the fundamental color of tonal harmony. Twenty years later, the Impressionists would largely overthrow this philosophy, banning black and brown as "forbidden colors" and emphasizing color over form. Whistler preferred self-study and

masks: Whistler Whistler Whistler Whistler


title: James Abbott McNeill Whistler

texts: enjoying the café life. While letters from home reported his mother's efforts at economy, Whistler spent freely, sold little or nothing in his first year in Paris, and was in steady debt. To relieve the situation, he took to painting and selling copies from works at the Louvre and finally moved to cheaper quarters. As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while.In spite of a financial respite, the winter of 1857 was a difficult one for <mask>. His poor health, made worse by excessive smoking and drinking, laid him low. Conditions improved during the summer of 1858. <mask> recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer Auguste Delâtre. During that year, he painted his first self-portrait, Portrait of Whistler with Hat, a dark and thickly rendered work reminiscent of Rembrandt. But the event of greatest consequence that year was his friendship with Henri Fantin-Latour, whom he met at the Louvre.Through him, <mask> was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros, and Édouard Manet. Also in this group was Charles Baudelaire, whose ideas and theories of "modern" art influenced <mask>. Baudelaire challenged artists to scrutinize the brutality of life and nature and to portray it faithfully, avoiding the old themes of mythology and allegory. Théophile Gautier, one of the first to explore translation qualities


title: James Abbott McNeill Whistler

texts:
 among art and music, may have inspired <mask> to view art in musical terms. London
Reflecting the banner of realism of his adopted circle, <mask> painted his first exhibited work, La Mere Gerard in 1858. He followed it by painting At the Piano in 1859 in London, which he adopted as his home, while also regularly visiting friends in France. At the Piano is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise.A critic wrote, "[despite] a recklessly bold manner and sketchiness of the wildest and roughest kind, [it has] a genuine feeling for colour and a splendid power of composition and design, which evince a just appreciation of nature very rare amongst artists." The work is unsentimental and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibits to come. In a second painting executed in the same room, <mask> demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening. It later was re-titled Harmony in Green and Rose: The Music Room. This painting also demonstrated <mask>'s ongoing work pattern, especially with portraits: a quick start, major adjustments, a period of neglect, then a final flurry to the finish. After a year in London, as counterpoint to his 1858 French set, in 1860, he produced another set of etchings called Thames Set, as well as some early impressionistic work, including The Thames


title: James Abbott McNeill Whistler

texts:
 in Ice.At this stage, he was beginning to establish his technique of tonal harmony based on a limited, pre-determined palette. Early career

In 1861, after returning to Paris for a time, <mask> painted his first famous work, Symphony in White, No. 1: The White Girl. The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner.In the painting, Hiffernan holds a lily in her left hand and stands upon a bear skin rug (interpreted by some to represent masculinity and lust) with the bear's head staring menacingly at the viewer. The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a private gallery under the title The Woman in White. In 1863 it was shown at the Salon des Refusés in Paris, an event sponsored by Emperor Napoleon III for the exhibition of works rejected from the Salon. <mask>'s painting was widely noticed, although upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. Countering criticism by traditionalists, <mask>'s supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world. Two years later, <mask> painted


title: James Abbott McNeill Whistler

texts:
 another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled The Little White Girl. His Lady of the Land Lijsen and The Golden Screen, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings.During this period <mask> became close to Gustave Courbet, the early leader of the French realist school, but when Hiffernan modeled in the nude for Courbet, <mask> became enraged and his relationship with Hiffernan began to fall apart. In January 1864, <mask>'s very religious and very proper mother arrived in London, upsetting her son's bohemian existence and temporarily exacerbating family tensions. As he wrote to Henri Fantin-Latour, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location. Mature career

Nocturnes

In 1866, <mask> decided to visit Valparaíso, Chile, a journey that has puzzled scholars, although <mask> stated that he did it for political reasons. Chile was at war with Spain and perhaps <mask> thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory.What the journey did produce was <mask>'s first three nocturnal paintings—which he termed "moonlights" and later re-titled as "nocturnes"—night scenes of the harbor painted with a blue or light green palette. After he returned to London, he painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens, a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to


title: James Abbott McNeill Whistler

texts: paint. In his maritime nocturnes, <mask> used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line. Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints of Hiroshige. In 1872, <mask> credited his patron Frederick Leyland, an amateur musician devoted to Chopin, for his musically inspired titles. I say I can't thank you too much for the name 'Nocturne' as a title for my moonlights! You have no idea what an irritation it proves to the critics and consequent pleasure to me—besides it is really so charming and does so poetically say all that I want to say and no more than I wish!At that point, <mask> painted another self-portrait and entitled it Arrangement in Gray: Portrait of the Painter (c. 1872), and he also began to re-title many of his earlier works using terms associated with music, such as a "nocturne", "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. <mask>'s nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France. His good friend Fantin-Latour, growing more reactionary in his opinions, especially in his negativity concerning the emerging Impressionist school, found <mask>'s new works surprising and confounding. Fantin-Latour admitted, "I don't understand anything there; it's bizarre how one changes. I don't recognize

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 him anymore." Their relationship was nearly at an end by then, but they continued to share opinions in occasional correspondence.When Edgar Degas invited <mask> to exhibit with the first show by the Impressionists in 1874, <mask> turned down the invitation, as did Manet, and some scholars attributed this in part to Fantin-Latour's influence on both men. Portraits
The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining <mask>, including Camille Pissarro and Monet, while Manet and Degas stayed in France. Like <mask>, Monet and Pissarro both focused their efforts on views of the city, and it is likely that <mask> was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes. <mask> was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan. <mask>'s Mother

By 1871, <mask> returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled Arrangement in Grey and Black No.1, but usually referred to as <mask>'s Mother. A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait.He had her stand at first, in his typically slow and experimental way, but that proved too tiring so the seated pose was adopted. It took dozens of sittings to complete. The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition. The deceptively simple design is in fact a balancing act of

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texts: differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her face, dress, and chair. <mask> commented that the painting's narrative was of little importance, yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons. The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue.Critics thought the painting a failed "experiment" rather than art. The Royal Academy rejected it, but then grudgingly accepted it after lobbying by Sir William Boxall—but they hung it in an unfavorable location at their exhibition. From the start, <mask>'s Mother sparked varying reactions, including parody, ridicule, and reverence, which have continued to today. Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood"; others employed it as a fitting vehicle for mockery. It has been satirized in endless variations in greeting cards and magazines, and by cartoon characters such as Donald Duck and Bullwinkle the Moose. <mask> did his part in promoting the picture and popularizing the image. He frequently exhibited it and authorized the early reproductions that made their way into thousands of homes.The painting narrowly escaped being burned in a fire aboard a train during


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 shipping. It was ultimately purchased by the French government, the first <mask> work in a public collection, and is now housed in the Musée d'Orsay in Paris. During the Depression, the picture was billed as a "million dollar" painting and was a big hit at the Chicago World's Fair. It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with <mask>'s aesthetic theories. In recognition of its status and popularity, the United States issued a postage stamp in 1934 featuring an adaptation of the painting. In 2015, New Yorker critic Peter Schjeldahl wrote that it "remains the most important American work residing outside the United States." Martha Tedeschi writes:

<mask>'s Mother, Wood's American Gothic, Leonardo da Vinci's Mona Lisa and Edvard Munch's The Scream have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer.These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture. Other portraits

Other important portraits by <mask> include those of Thomas Carlyle (historian,1873), Maud Franklin (his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), Lady Meux (socialite, 1882), and Théodore Duret (critic, 1884). In the 1870s, <mask> painted full-length portraits of F.R. Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room (see Peacock Room below). <mask> had been

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 disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings. In response, Whistler staged his first solo show in 1874.The show was notable and noticed, however, for <mask>'s design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories. A reviewer wrote, "The visitor is struck, on entering the gallery, with a curious sense of harmony and fitness pervading it, and is more interested, perhaps, in the general effect than in any one work." <mask> was not so successful a portrait painter as the other famous expatriate American John Singer Sargent. <mask>'s spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this. He also worked very slowly and demanded extraordinarily long sittings. William Merritt Chase complained of his sitting for a portrait by <mask>, "He proved to be a veritable tyrant, painting every day into the twilight, while my limbs ached with weariness and my head swam dizzily. 'Don't move!Don't move!' he would scream whenever I started to rest." By the time he gained widespread acceptance in the 1890s, <mask> was past his prime as a portrait painter. Technique
<mask>'s approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894:

He worked with great rapidity and long hours, but he used his colours thin and covered the canvas with innumerable coats of paint. The colours increased in depth and intensity as the work progressed. At first the entire figure was painted in


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 greyish-brown tones, with very little flesh colour, the whole blending perfectly with the greyish-brown of the prepared canvas; then the entire background would be intensified a little; then the figure made a little stronger; then the background, and so on from day to day and week to week, and often from month to month. ... And so the portrait would really grow, really develop as an entirety, very much as a negative under the action of the chemicals comes out gradually—light, shadows, and all from the very first faint indications to their full values.It was as if the portrait were hidden within the canvas and the master by passing his wands day after day over the surface evoked the image. Printmaking

<mask> produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings. Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects—including a "nocturne" at Limehouse; while others depict the Faubourg Saint-Germain in Paris, and Georgian churches in Soho and Bloomsbury in London. The etchings include portraits of family, mistresses, and intimate street scenes in London and Venice. <mask> gained an enormous reputation as an etcher. Martin Hardie wrote "there are some who set him beside Rembrandt, perhaps above Rembrandt, as the greatest master of all time.Personally, I prefer to regard them as the Jupiter and Venus, largest and brightest among the planets in the etcher's heaven." He took great care over the printing of his etchings and the choice of paper.

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 At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of surface tone. Butterfly signature and painting settings
<mask>'s famous butterfly signature first developed in the 1860s out of his interest in Asian art. He studied the potter's marks on the china he had begun to collect and decided to design a monogram of his initials. Over time this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit.He took great care in the appropriate placement of the image on both his paintings and his custom-made frames. His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings to their settings, and further to the design of an entire architectural element, as in the Peacock Room. The Peacock Room

Harmony in Blue and Gold: The Peacock Room is <mask>'s masterpiece of interior decorative mural art. He painted over the original paneled room designed by Thomas Jeckyll (1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf. Painted in 1876–1877, it is now considered a high example of the Anglo-Japanese style. Frederick Leyland left the room in <mask>'s care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection. Whistler let his imagination run wild, however: "Well, you know, I just painted on.I went on—without design or sketch—putting in


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 every touch with such freedom ... And the harmony in blue and gold developing, you know, I forgot everything in my joy of it." He completely painted over 16th-century Cordoba leather wall coverings first brought to Britain by Catherine of Aragon that Leyland had paid £1,000 for. Having acquired the centerpiece of the room, <mask>'s painting of The Princess from the Land of Porcelain, American industrialist and aesthete Charles Lang Freer purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist Val Prinsep. Freer then had the contents of the Peacock Room installed in his Detroit mansion. After Freer's death in 1919, The Peacock Room was permanently installed in the Freer Gallery of Art at the Smithsonian in Washington, D.C. The gallery opened to the public in 1923. A large painted caricature by <mask> of Leyland portraying him as an anthropomorphic peacock playing a piano, and entitled The Gold Scab: Eruption in Frilthy Lucre – a pun on Leyland's fondness for frilly shirt fronts – is now in the collection of the Fine Arts Museums of San Francisco.Ruskin trial
In 1877 <mask> sued the critic John Ruskin for libel after the critic condemned his painting Nocturne in Black and Gold: The Falling Rocket. <mask> exhibited the work in the Grosvenor Gallery, an alternative to the Royal Academy exhibition, alongside works by Edward Burne-Jones and other artists. Ruskin, who had been a champion of the Pre-Raphaelites and J. M. W. Turner, reviewed <mask>'s work in his publication Fors Clavigera on July 2, 1877. Ruskin praised Burne-Jones, while he attacked <mask>:

For Mr.


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 <mask>'s own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay [founder of the Grosvenor Gallery] ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. <mask>, seeing the attack in the newspaper, replied to his friend George Boughton, "It is the most debased style of criticism I have had thrown at me yet." He then went to his solicitor and drew up a writ for libel which was served to Ruskin.<mask> hoped to recover £1,000 plus the costs of the action. The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while <mask>'s financial condition continued to deteriorate. It was heard in the Exchequer Division of the High Court on November 25 and 26, 1878 before Baron Huddleston and a special jury. Counsel for John Ruskin, Attorney General Sir John Holker, cross-examined <mask>:

<mask> had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations. The other witnesses for him were unconvincing and the jury's own reaction to the work was derisive. With Ruskin's witnesses more impressive, including Edward Burne-Jones, and with Ruskin absent for medical reasons, <mask>'s counter-attack was ineffective. Nonetheless, the jury reached a verdict in favor of <mask>, but awarded a mere farthing in nominal damages, and the court costs were split.The cost of

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 the case, together with huge debts from building his residence ("The White House" in Tite Street, Chelsea, designed with E. W. Godwin, 1877–8), bankrupted him by May 1879, resulting in an auction of his work, collections, and house. Stansky notes the irony that the Fine Art Society of London, which had organized a collection to pay for Ruskin's legal costs, supported him in etching "The Stones of Venice" (and in exhibiting the series in 1883), which helped recoup <mask>'s costs. <mask> published his account of the trial in the pamphlet Whistler v. Ruskin: Art and Art Critics, included in his later The Gentle Art of Making Enemies (1890), in December 1878, soon after the trial. <mask>'s grand hope that the publicity of the trial would rescue his career was dashed as he lost rather than gained popularity among patrons because of it. Among his creditors was Leyland, who oversaw the sale of Whistler's possessions. <mask> made various caricatures of his former patron, including a biting satirical painting called The Gold Scab, just after <mask> declared bankruptcy. <mask> always blamed Leyland for his financial downfall.Later years
[[File:Mother of Pearl and Silver The Andalusian.jpg|thumb|left|Mother of Pearl and Silver: The Andalusian (1888–1900), National Gallery of Art, Washington, D.C.<ref>{{cite web |url=http://www.nga.gov.au/Exhibition/Edwardians/Detail.cfm?IRN=127658&BioArtistIRN=17463&MnuID=3 |title=National Gallery of Art webpage describing "Mother of pearl and silver: The Andalusian |publisher=Nga.gov.au |access-date=July 22, 2013}}</ref> (Model: Ethel Whibley)]]

After the trial, <mask> received a commission to do


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texts: twelve etchings in Venice. He eagerly accepted the assignment, and arrived in the city with girlfriend Maud, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent. Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at Sotheby's. He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as "the artist's only positive virtue is idleness—and there are so few who are gifted at it." His new friends reported, on the contrary, that <mask> rose early and put in a full day of effort. He wrote to a friend, "I have learned to know a Venice in Venice that the others never seem to have perceived, and which, if I bring back with me as I propose, will far more than compensate for all annoyances delays & vexations of spirit."The three-month assignment stretched to fourteen months. During this exceptionally productive period, <mask> finished over fifty etchings, several nocturnes, some watercolors, and over 100 pastels—illustrating both the moods of Venice and its fine architectural details. Furthermore, <mask> influenced the American art community in Venice, especially Frank Duveneck (and Duveneck's 'boys') and Robert Blum who emulated <mask>'s vision of the city and later spread his methods and influence back to America. Back in London, the pastels sold particularly well and he quipped, "They are not as good as I supposed. They are selling!" He was actively engaged


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 in exhibiting his other work but with limited success. Though still struggling financially, he was heartened by the attention and admiration he received from the younger generation of English and American painters who made him their idol and eagerly adopted the title "pupil of <mask>".Many of them returned to America and spread tales of <mask>'s provocative egotism, sharp wit, and aesthetic pronouncements—establishing the legend of <mask>, much to his satisfaction. <mask> published his first book, Ten O'clock Lecture in 1885, a major expression of his belief in "art for art's sake". At the time, the opposing Victorian notion reigned, namely, that art, and indeed much human activity, had a moral or social function. To <mask>, however, art was its own end and the artist's responsibility was not to society, but to himself, to interpret through art, and to neither reproduce nor moralize what he saw. Furthermore, he stated, "Nature is very rarely right", and must be improved upon by the artist, with his own vision. Though differing with <mask> on several points, including his insistence that poetry was a higher form of art than painting, Oscar Wilde was generous in his praise and hailed the lecture a masterpiece:

not merely for its clever satire and amusing jests ... but for the pure and perfect beauty of many of its passages ... for that he is indeed one of the very greatest masters of painting, in my opinion. And I may add that in this opinion Mr. <mask> himself entirely concurs.<mask>, however, thought himself mocked by Oscar Wilde, and from then on, public sparring ensued leading to a total breakdown of their friendship,


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texts: precipitated by a report written by Herbert Vivian. Later, Wilde struck at <mask> again, basing the murdered artist in his novel The Picture of Dorian Gray after <mask>. In January 1881, <mask> died. In his mother's honour, thereafter, he publicly adopted her maiden name McNeill as a middle name. <mask> joined the Society of British Artists in 1884, and on June 1, 1886, he was elected president. The following year, during Queen Victoria's Golden Jubilee, <mask> presented to the Queen, on the Society's behalf, an elaborate album including a lengthy written address and illustrations that he made. Queen Victoria so admired "the beautiful and artistic illumination" that she decreed henceforth, "that the Society should be called Royal."This achievement was widely appreciated by the members, but soon it was overshadowed by the dispute that inevitably arose with the Royal Academy of Arts. <mask> proposed that members of the Royal Society should withdraw from the Royal Academy. This ignited a feud within the membership ranks that overshadowed all other society business. In May 1888, nine members wrote to <mask> to demand his resignation. At the annual meeting on June 4, he was defeated for re-election by a vote of 18–19, with nine abstentions. <mask> and 25 supporters resigned, while the anti-<mask> majority (in his view) was successful in purging him for his "eccentricities" and "non-English" background. With his relationship with Maud unraveling, <mask> suddenly proposed to and married Beatrice Godwin (also called 'Beatrix' or 'Trixie'), a former pupil and the widow of his architect Edward William Godwin.Through his friendship

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title: James Abbott McNeill Whistler

texts: with Godwin, <mask> had become close to Beatrice, whom Whistler painted in the full-length portrait titled Harmony in Red: Lamplight (GLAHA 46315). By the summer of 1888 <mask> and Beatrice appeared in public as a couple. At a dinner Louise Jopling and Henry Labouchère insisted that they should be married before the end of the week. The marriage ceremony was arranged; as a member of Parliament, Labouchère arranged for the Chaplain to the House of Commons to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony. The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the Pall Mall Gazette, so that the event receive publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud.<mask>'s reputation in London and Paris was rising and he gained positive reviews from critics and new commissions. His book The Gentle Art of Making Enemies was published in 1890 to mixed success, but it afforded helpful publicity. In 1890, he met Charles Lang Freer, who became a valuable patron in America, and ultimately, his most important collector. Around this time, in addition to portraiture, <mask> experimented with early colour photography and with lithography, creating a series featuring London architecture and the human figure, mostly female nudes. He contributed the first three of his Songs of Stone lithographs to The Whirlwind a Neo-Jacobite magazine published by his friend Herbert Vivian. <mask> had met Vivian in the late 1880s when both were members of the Order of the White Rose, the first


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texts: of the Neo-Jacobite societies. In 1891, with help from his close friend Stéphane Mallarmé, Whistler's Mother was purchased by the French government for 4,000 francs.This was much less than what an American collector might have paid, but that would not have been so prestigious by <mask>'s reckoning. After an indifferent reception to his solo show in London, featuring mostly his nocturnes, <mask> abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892 and resided at n° 110 Rue du Bac, Paris, with his studio at the top of 86 Rue Notre Dame des Champs in Montparnasse. He felt welcomed by Monet, Auguste Rodin, Henri de Toulouse-Lautrec, and by Stéphane Mallarmé, and he set himself up a large studio. He was at the top of his career when it was discovered that Trixie had cancer. They returned to London in February 1896, taking rooms at the Savoy Hotel while they sought medical treatment. He made drawings on lithographic transfer paper of the view of the River Thames, from the hotel window or balcony, as he sat with her.She died a few months later. In 1899, Charles Freer introduced <mask> to his friend and fellow businessman Richard Albert Canfield, who became a personal friend and patron of Whistler's. Canfield owned a number of fashionable gambling houses in New York, Rhode Island, Saratoga Springs and Newport, and was also a man of culture with refined tastes in art. He owned early American and Chippendale furniture, tapestries, Chinese porcelain and Barye bronzes, and possessed the second-largest and most important Whistler collection in the world prior to his death in 1914. In May 1901, Canfield


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texts: commissioned a portrait from <mask>; he started to pose for Portrait of Richard A. Canfield (YMSM 547) in March 1902. According to Alexander Gardiner, Canfield returned to Europe to sit for Whistler at the New Year in 1903, and sat every day until May 16, 1903. <mask> was ill and frail at this time and the work was his last completed portrait.The deceptive air of respectability that the portrait gave Canfield caused <mask> to call it 'His Reverence'. The two men were in correspondence from 1901 until <mask>'s death. A few months before his own death, Canfield sold his collection of etchings, lithographs, drawings and paintings by <mask> to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City. In the final seven years of his life, <mask> did some minimalist seascapes in watercolor and a final self-portrait in oil. He corresponded with his many friends and colleagues. <mask> founded an art school in 1898, but his poor health and infrequent appearances led to its closure in 1901.He died in London on July 17, 1903, six days after his 69th birthday. He is buried in Chiswick Old Cemetery in west London, adjoining St Nicholas Church, Chiswick. <mask> was the subject of a 1908 biography by his friends, the husband and wife team of Joseph Pennell and Elizabeth Robins Pennell, printmaker and art critic respectively. The Pennells' vast collection of Whistler material was bequeathed to the Library of Congress. The artist's entire estate was left to his sister-in-law Rosalind Birnie Philip. She spent the rest of her life defending his reputation and


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 managing his art and effects, much of which eventually was donated to Glasgow University. Personal relationships

Whistler had a distinctive appearance, short and slight, with piercing eyes and a curling mustache, often sporting a monocle and the flashy attire of a dandy.He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant self-promoter and egoist, he relished shocking friends and enemies. Though he could be droll and flippant about social and political matters, he always was serious about art and often invited public controversy and debate to argue for his strongly held theories. <mask> had a high-pitched, drawling voice and a unique manner of speech, full of calculated pauses. A friend said, "In a second you discover that he is not conversing—he is sketching in words, giving impressions in sound and sense to be interpreted by the hearer." <mask> was well known for his biting wit, especially in exchanges with his friend and rival Oscar Wilde.Both were figures in the Café society of Paris, and they were often the "talk of the town". They frequently appeared as caricatures in Punch, to their mutual amusement. On one occasion, young Oscar Wilde attended one of <mask>'s dinners, and hearing his host make some brilliant remark, apparently said, "I wish I'd said that", to which <mask> riposted, "You will, Oscar, you will!" In fact, Wilde did repeat in public many witticisms created by <mask>. Their relationship soured by the mid-1880s, as <mask> turned against Wilde and the Aesthetic Movement. When Wilde was publicly acknowledged to be a homosexual in


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 1895, <mask> openly mocked him. <mask> reveled in preparing and managing his social gatherings.As a guest observed:

One met all the best in Society there—the people with brains, and those who had enough to appreciate them. <mask> was an inimitable host. He loved to be the Sun round whom we lesser lights revolved ... All came under his influence, and in consequence no one was bored, no one dull. In Paris <mask> was friends with members of the Symbolist circle of artists, writers and poets that included Stéphane Mallarmé and Marcel Schwob. Schwob had met <mask> in the mid-1890s through Stéphane Mallarmé they had other mutual friends including Oscar Wilde (until they argued) and <mask>'s brother-in-law, Charles Whibley. In addition to Henri Fantin-Latour, Alphonse Legros, and Courbet, <mask> was friendly with many other French artists. He illustrated the book Les Chauves-Souris with Antonio de La Gandara.He also knew the Impressionists, notably Édouard Manet, Monet, and Edgar Degas. As a young artist, he maintained a close friendship with Dante Gabriel Rossetti, a member of the Pre-Raphaelite Brotherhood. His close friendships with Monet and poet Stéphane Mallarmé, who translated the Ten O'Clock Lecture into French, helped strengthen respect for <mask> by the French public. <mask> was friendly with his fellow students at Gleyre's studio, including Ignace Schott, whose son Leon Dabo <mask> later would mentor. <mask>'s lover and model for The White Girl, Joanna Hiffernan, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic painting L'Origine du monde, possibly leading to the

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