title: Lois Weber

texts: 800-313-5780 When the founder left the company due to ill health, Weber and Smalley left. They returned to Universal Pictures after being promised feature-length films by Carl Laemmle. Weber and Smalley starred in Scandal, a movie about the consequences of gossip mongering.In 1916, <mask> directed 10 feature-length films for release by Universal, nine of which she also wrote, and she became Universal Studios' highest-paid director, earning $5,000 a week. She enjoyed complete freedom in overseeing most stages of the film-making process, which included choice of stories and actors, writing of scripts, as well as direction. Universal head Carl Laemmle, who was known more for his frugality and cunning business sense than philanthropy, said of <mask>: "I would trust <mask> with any sum of money that she needed to make any picture that she wanted to make." I was sure that she would bring it back. <mask> said that a real director should be absolute and that the general public does not want serious entertainment rather than frivolous. He knows the effects he wants to produce, and he alone should have authority in the arrangement, cutting, and anything else that may seem necessary to do to the finished product. What other artist's work has been interfered with?The work of a picture director is creative. The Dumb Girl of Portici, adapted from Daniel Auber's 1828 opera La muette, was one of a dozen features made by <mask> and Smalley when they were transferred to Universal's Bluebird Photoplays brand in 1916. The film starred a man as Masaniello. It opened on April 3, 1916 at the Globe Theatre in Manhattan. <mask> wanted to become the editorial page of the studio, and to "provoke a middle-class sense of responsibility for those less fortunate than themselves, and to stimulate moral reforms", and he specialized in making films that stressed both high quality and moral rectitude. The trial of Charles Stielow, an innocent man who was almost executed, influenced the opposition to capital punishment, as well as alcoholism and opium addiction in Hop, the Devil's brew, which were all successful at the box office. <mask> disassociated herself from the women's suffragist movement despite the predominance of strong women in her films.Where are my children? <mask> made an indirect case for birth control in The Illborn, which was released on April 16, 1916. Mary MacLaren made her debut in the film. Several trick photography scenes and an emphasis on multiple exposures convey information or emotions visually. Every time a character becomes pregnant, a child's face is exposed over their shoulder. The National Board of Review disapproved of the film for showings to mixed audiences, but later approved it for adult showings. The film was banned in Pennsylvania because it "tended to debase or corrupt morals", but Universal won a case in 1916 to show the film after the district attorney filed a suit against the theater manager and the Universal exchange president.There is controversy, the threat of censorship, and the banning of Where Are My Children? The box office success of the film, estimated to have grossed in excess of $3 million, in an era where ticket prices were less than 50c each, and "rocketed <mask>'s name to larger audiences, bigger box-office returns, and an even higher annual return", was <mask>'s fame was spread by the film. Kevin Brownlow states that the film attracted 100,000 in two weeks in Australia. A preservation print reconstructed from incomplete prints was copyrighted by the Library of Congress in 2000. In 1916, <mask> directed Shoes, a film that was based on a short story by Herron that had been published in Collier's magazine earlier that year. Herron was inspired by Jane Addams's 1912 book A New Conscience and an Ancient Evil.The struggles of working-class women for consumer goods and upward mobility are depicted in the nonfiction book. The most booked production of 1916 was the one starring Mary Maclaren as Eva Meyer, a poverty stricken shopgirl who needs to replace her only pair of shoes and is so desperate that she sells her virginity for a new pair. The restored version made its debut in North America in July 2011. The grassroots Pershing Square Restoration Society used a scene from the restored "Shoes" to promote their campaign to restore the historic park. On May 13, 1917, Universal released The Hand That Rocks the Cradle, "one of the most vigorous films ever made in support of legalized birth control", a follow-up to the previous year's top money-maker. The film was directed by <mask> and Smalley and starred them as a doctor's wife arrested and imprisoned for illegally distributing family planning information. Influenced by the recent trial and imprisonment of pioneer birth control advocate Margaret Sanger, the film drew explicitly on her headline-generating activism.In 1915, the United States Supreme Court ruled that films did not constitute free speech, and the New York Court of Appeals ruled that a film on family planning may be banned. In order to avoid powerful censorship boards in the northeast and midwest, The Hand That Rocks the Cradle was distributed primarily in the southern and western regions of the United States. The year before. <mask> denounced attempts to alter or suppress her film when The Hand That Rocks the Cradle opened in Los Angeles in June 1917. The script and marketing materials for The Hand That Rocks the Cradle make it clear that <mask> was in favor of voluntary motherhood. In June 1917, <mask> became the first American female director to establish and run her own movie studio when she formed her own production company with the financial assistance of Universal. She leased a self-contained estate and had offices, dressing rooms, scenic and property rooms.Smalley was made studio manager and the Smalleys lived on the studio lot. "<mask> and Smalley were often co-credited as directors, but it was the wife who clearly had the artistic vision to drive the business partnership forward," Stamp said. By this time, <mask>'s "idealized collaborative marriage" with Smalley had begun to show signs of decline, which was accelerated by the increased focus of critics and journalists on <mask> as the dominant filmmaker, at the expense of Smalley, after 1916. As early as 1913, some saw <mask> as the "fertile brain" in the partnership, with Smalley seen as an indolent womanizer, which resulted in arguments and shouting matches. <mask> was against the idea of assembly line-style studio film making. <mask> aimed for quality film making rather than efficient bookkeeping by concentrating on only one production at a time and mobilizing her entire workforce around that effort. <mask>'s independence allowed her to shoot her films in sequence, as she preferred, rather than out of order.<mask> productions were a good investment according to William D. Routt. The company made cheap movies in the later years, using a small cast and shooting on location. Its somewhat sensational topics and titles guaranteed at least a modest box office return, and at times may have done better than that. The success of <mask>'s films of the 1910s is attributed to their representation of the conflict of the era between the traditional view of women and the freedom of the emerging "New Woman and the emerging consumer culture". <mask> was a stage performer, a Church Army Worker, a film maker and a childless advocate of birth control who "radiates domesticity" according to Mahar. <mask> was clearly a New Woman by virtue of her career, but she was also publicly identified as the wife of her first husband. <mask>'s image was instrumental in defining her particular place in film-making practices, and women's roles within early Hollywood generally, as well as her wifely, bourgeois persona, which mirrored the film industry's idealized conception of its.While <mask>'s beliefs reflected modern values, as did her career as a filmmaker that was atypical for women of her era, she had internalized much of what the Victorians deemed proper behavior for women. The Victorian ideal of marriage was promoted by the Smalleys. <mask> was the only woman granted membership in the Motion Picture Directors Association in 1917, and from 1917 she supported the Hollywood Studio Club, a residence for struggling would-be stars. After the United States entered World War I, <mask> served on the board of the Motion Picture War Service Association. A thousand-bed hospital was raised by the Association. <mask> was hired by the Fox Film Corporation to direct Queen of the Seas, in which Annette Kellerman swam and dove naked. She was replaced by John G. Adolfi.<mask> broke her arm in two places when she fell in the Barker Brothers store in Los Angeles in 1918. Her arm was still causing her problems seven months later. <mask> found it difficult to pay the bills and to find the capital to finance her own productions, despite continuing to work at Universal and renting out her studio to other independent producers. By December 1918, <mask> had left Universal and signed a contract to direct Stewart for $3,500 a week. "My unchanging policy will be great star, great director, great play, great cast," he wrote in a letter to <mask>. You can get these without restriction. Neither expense, time, or effort should be spared.Results are what I'm after. The two films <mask> made with Stewart were mixed reviews. <mask> signed a contract with Famous Players-Lasky to direct five films for $50,000 each, plus one-third of the profits, and guaranteed first-run bookings in Paramount theaters. Smalley and <mask> bought the two-level home at 1917 N. Ivar Avenue in Hollywood in January 1920. The studio facilities on Santa Monica Boulevard in Los Angeles were purchased by <mask> in October 1920, three years after she had leased them. <mask> was regarded as fearless in the production of her pictures as she once was in her struggle for a living, and her indubitable position is that of one of the best directors of the screen. One newspaper wrote that "<mask> is not only the foremost woman director, she's the whole works" and attributed her success to having a feminine touch lacking in most man-made films".The prohibition of the importation of European films into the United States was advocated by <mask> in an effort to protect the American film industry. <mask> anticipated the possibility of both color and three-dimensional films in May of 1921. <mask> followed in the footsteps of other post-war filmmakers and turned her attention to marriage and domestic life with melodramas such as To Please One Woman, What's Worth While. What do men want from their wives? <mask>'s moralising, propagandistic tone was unsuited as the United States entered the Jazz Age in the 1920s. Her crusading was unwanted and her views were considered "quaint" by this time. Her fall from favor was due to her inability to adapt to changing tastes and her refusal to glamorize consumerist excess in her films.Paramount executives decided not to distribute the fourth film in their arrangement with <mask>, What Do Men Want?, after an advance screening in February 1921. A domestic melodrama about a philandering husband and a faithful wife, and to cancel their arrangement with <mask> to distribute her films. After making 13 films, Lois Weber Production collapsed and she had to release all of her contracted staff. Her career as a Hollywood director was over when she directed a few other movies. F.B. After reading the articles "Impoverished College Teaching" and "Boycotting the Ministry" in the April 30, 1921 issue of Literary Digest, <mask> created a melodramatic narrative to bring the issue to light. The Blot was her most successful film from this period and probably <mask>'s best-known film today.Injecting the values of capitalist America that measures the value of people in wealth and property, the film shows compromises and choices impoverished women are forced to make to achieve social mobility and financial security. It addresses class, money, and ethnicity, and condemns capitalistic materialism and linked consumerism with sexual exploitation. <mask>'s Christian ethos shines through this plot, as the text disapproves of both the new consumerist immigrant class and the old aristocratic one. <mask> advocates service to the needy despite assumptions. <mask>'s technique is similar to that of William C. deMille, with its use of detail, and emphasis on naturalism. The same method of direction was used by <mask>. <mask> filmed the story of a college professor's family in real houses, using a special lighting rig, and gave supporting roles to non-actors.<mask> used point-of-view cutting from the perspective of the professor's wife to emphasize the film was a woman-centered narrative. The Blot is described as "so un-Griffithian as to seem almost modernistically open-ended", while others see it as "the Los Olvidados of

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title: Lois Weber

type: paraphrased

texts: the literally". <mask> was forced to distribute The Blot through the F.B. due to the collapse of her distribution deal with Paramount. Warren Corporation, a newly formed small independent company, would also distribute a film by Canadian women producers. The Blot was released on September 4, 1921, but did little box office, and vanished after its run. <mask>'s films didn't make money at the box office after The Blot. Robert Gitt of the UCLA Film & Television Archive restored and re-released The Blot in 1986 after it was rediscovered by the American Film Institute in 1975.Kevin Brownlow and David Gill produced the video for The Blot and it was released on home video and DVD. F.B. was part of the deal to distribute The Blot. What Do Men Want? was released by Warren. The New York Times praised <mask> for her casting and technical aspects of the film, but dismissed it as a "simplified sermon" that provided "pat answers". After the New York City premiere of The Blot, <mask> and Smalley sailed for Europe with <mask>'s sister and brother-in-law to try to save their marriage. They traveled through Europe, Egypt, China, and India. They were in Rome in December of 1921 with plans to travel to the Orient.On April 7, 1922, <mask> and Smalley returned to the United States. On June 24, 1922, <mask> obtained a divorce from Smalley, who was described as both alcoholic and abusive, but kept him as a friend and companion. The Los Angeles Examiner published their divorce on January 12, 1923. The industry in transition was evident in the fact that D. W. Griffith was out of favor, as well as the fact that von Stroheim could not adapt to production changes demanded by the industry. "In an age of studio conglomeration and vertical integration, few independents could survive, a reality that hit women particularly hard: both Alice Guy- Blaché and Nell Shipman closed their production companies during this period as well." Will Hays was beginning to assert more control over studio releases. <mask> directed A Chapter in Her Life, based on the 1903 novel of the same name, and a remake of a 1915 film called Jewel, which she had directed previously with Smalley.The Hunchback of Notre Dame and A Chapter in Her Life were part of a slate of literary adaptions that Universal released that year. The film starring Claude Gillingwater was released in 1923. Universal now occupies a significantly different market position than it had during the height of <mask>'s career there in the mid-1910s, thanks to a chain of theaters under its control, like emerging studio giants MGM and Paramount. The studio relied on independent theaters in small towns and rural areas because the bulk of urban first-run theaters were closed to Universal. <mask> was no longer the studio's female directing talent. Universal's trade ads made a clear pitch to small-town exhibitors, offering them "quality" pictures at reasonable prices, and access to first-run pictures many studios reserved for their large urban venues. Nostalgia has a home video and DVD of A Chapter in Her Life.While <mask> was praised for her direction in A Chapter in Her Life, critics felt the film's subject matter was out of step with the times. Film Daily dubbed the material 'old fashioned', with other critics objecting to the film's 'Pollyanna' themes. <mask> intended to write plays and a novel after leaving Universal. She traveled to Europe again and spent time at the Colorado summer home of her friend, novelist Margaretta Tuttle, who had written the novel Feet of Clay, which was later made into a 1924 film by Cecil B. deMille. At the time, <mask> complained of both the control exerted by consolidated studios as well as the ever more strenuous censorship of the Hays Code: "I have received many offers, but in each case I'm hampered with too many conditions." ... The producers will tell you how much you can pay for a picture and how long it will take.All this could be true. When they say they will cut your picture, that's too much. It would be interesting to know why <mask> has made no films in the past year or so, as it is almost a crime for such wonderful director material to be lying inactive. <mask> didn't make a movie until 1925 after he suffered a nervous collapse. <mask> supposedly "retired from public life" and was rumored to have entered a mental facility to treat her mental depression. <mask> announced her engagement to Captain Harry Gantz at the end of January 1925, a retired army officer who had served as a second lieutenant in the Philippine Constabulary from 1907 to 1911. In October 1914, he was transferred from the 23rd Infantry to the Aviation Section of the U.S. Signal Corps and became a pioneer pilot.On September 1, 1915, the two of them were married. At the time of his engagement to <mask>, he was a wealthy orange rancher and the owner of a 140-acre ranch. <mask> was out of a retirement which was more nearly a despondent withdrawal from public life. According to Anthony Slide, Gantz was "something of an opportunist, who persuaded <mask> to marry him, and co-incidentally let him manage her considerable fortune." <mask> was hired by Carl Laemmle to take charge of all story development for a $5 million production initiative based around the adaptation of popular novels. The Hunchback of Notre-Dame was released in 1922 and The Phantom of the Opera in 1925. Another novel which Universal decided to film was Uncle Tom's Cabin, for which <mask> completed an adaptation for a film to be directed in 1926 by Harry A. Pollard, who starred as Uncle Tom in a 1913 version and was, by 1923, Universal's leading director, with nine consecutive<mask> was one of the highest paid women in the business after signing a new distribution deal with Universal. <mask>'s first "comeback" movie was The Marriage Clause, which she adapted from the short story "Technic" by Dana Burnet in The Saturday Evening Post of May 16, 1925. It starred Francis X. Bushman and brought a contract player to international prominence. On September 12, 1926, it was released. <mask> was signed to direct Sensation Seekers, a romantic drama based on Ernest Pascal's novel Egypt, in June of 1926. Pollard had been replaced as director of Uncle Tom's Cabin by <mask> just before her wedding, as he had been hospitalized in Manhattan with blood poisoning and a broken jaw from a New York dentist. <mask> stopped work on Sensation Seekers and was willing to travel to Louisiana to direct the location scenes for Uncle Tom's Cabin.The Los Angeles Times reported on June 15 that Gantz had obtained a license to marry <mask>. On June 30, 1926, a justice of the peace married a couple at the home of a writer in Santa Ana, California. <mask> reduced her age to match her husband at their wedding. Smalley married a music teacher. Pollard emerged from the hospital "disfigured for life, but undaunted, ready once more to resume his megaphone" after five months in the hospital. <mask> wasn't required for Uncle Tom's Cabin. <mask> directed Sensation Seekers on March 20, 1927.The comedy film Topsy and Eva was directed by <mask> and features the Duncan Sisters in blackface. The Universal version of Uncle Tom's Cabin was adapted from the original novel by <mask>. She tried to make a serious adaptation, but the studio decided that it should be a comedy. She thought some of the scenes to be shot were offensive to African Americans, such as a stork dropping a black baby into a trash can. Del Lord was assigned to direct Topsy and Eva. <mask> told young women to avoid careers in film making. <mask> directed her last silent movie, The Angel of Broadway, which was released on October 3, 1927.The demise of silent movies and the advent of sound technology ended <mask>'s comeback in 1927. Variety thought that The Angel of Broadway''s sentimentality would appeal to the mass, but not to sophisticated urban audiences: "For New York this title is a dud, but in the hinterland it may well be esteemed box office." There is a very good commercial property for the territory west of Hoboken. <mask> owned and operated <mask>'s Garden Village in Los Angeles by February 1927. In the late 1920s, <mask> and Gantz sub-divided the El Rancho ranch, creating the upscale "Brookdale Heights", with the 300–400 residential lots advertised for $1,500 to $3,000 each, and houses priced from $8,000 to $9,000 each. The Gantzes built a Spanish-style residence with a tower retreat for <mask> on another part of their property. When <mask> was asked in April 1928 when she might direct again, she replied "when I find a producer who thinks I have intelligence enough to be let alone and go ahead with my own unit."<mask> got the chance again after five years. <mask> was living with her mother and nephew in Los Angeles when she was separated from Gantz. C. Stanley Chapman was the son of Charles C. Chapman. <mask> was managing an apartment building in California when he was separated from Gantz. The Unshod Maiden was a shortened version of Shoes released by Universal in February of 1932. <mask> was hired by United Artists as a script doctor in June of 1932 to work on Cynara. <mask> was signed to direct screen tests by Universal in February 1933.250 girls and young women from dramatic schools were interviewed by <mask> within weeks. <mask> was offered another directing contract by Universal in 1933, but she was removed from the project abruptly and it was transferred to a reluctant William Wyler. They spent five weeks on location in Hawaii. There is adatabase on-line with California passenger and crew lists. The company is called Ancestry.com Operations Inc. As she had been hired by the Seven Seas Corporation to direct Virginia Cherrill (then the fiancée of Cary Grant) and Mona Maris in Cane Fire, a tale of racial prejudice and miscegenation on a Hawaiian sugar plantation. The film was shot on the plantations of the Kekaha Sugar Company and the Waimea Sugar Company and at Alexander McBryde's Lawai Kai estate.White Heat was released as a limited success on June 15, 1934, with <mask> saying that the film "was not a hit but will not lose any money". It was shown on NBC's station W2XBS on June 21, 1940, but is now considered a lost film. <mask> and Gantz divorced in 1935. The Hartford Courant published "<mask> Weber" on November 14, 1939. <mask> was admitted to Good Samaritan Hospital in critical condition in November of 1939 because of a stomach ailment that had been bothering her for years. She died from a bleeding ulcer two weeks later. She was older than 60 years old.Her sisters and friends were at her bedside. Her Variety obituary was only two paragraphs long. There was a mention in the Los Angeles Examiner. Hedda Hopper wrote a tribute for the Los Angeles Times. The Los Angeles Times reported that more than 300 people attended <mask>'s funeral. The location of <mask>'s remains is unknown after she was cremated at the Los Angeles Crematory. Despite the efforts of her sister, <mask>'s memoir, The End of the Circle, was stolen in the 1970s and was never published.On February 8, 1960, <mask> was awarded a star on the Hollywood Walk of Fame. The <mask> Award has been given out by The Buffalo Dreams Fantastic Film Festival. Tea with <mask> is based on <mask>'s talks at the Hollywood Studio Club. It was recorded and shown at the Cinecon Film Festival. Further reading Acker, Ally. The pioneers of the cinema were Reel Women. New York in 1991.Foster is the name of the woman. The Dictionary of Women Film Directors is an international one. London, 1995 Richard Koszarski. 1976. Hollywood directors from 1914-1940. Oxford University Press.The Library of Congress has a catalog. The person is Lowe, by the way. The Dictionary of Women in Early American films was published in 1895. In 2005. The Birth Control Films of Margaret Sanger and <mask> was written by Martin F.Norden. Coming. Interviews with Martin F<mask>.The University Press of Mississippi is located in Jackson, Mississippi. Tom and Sara Pendergast wrote a book. The International Dictionary of Films and Filmmakers was published. There are two directors. Detroit, MI was founded in 2000. Anthony, slide. The director who lost her way in history is <mask>.The Greenwood Press was published in 1996. Stamp,Shelley. "'Exit Flapper, Enter Woman' or <mask> in Jazz Age Hollywood" The framework was in the fall of 2010. Stamp,Shelley. <mask> was in Early Hollywood. The University of California Press.John C. and James M. Welsh. There is an encyclopedia of filmmakers. There is a new edition of Vol. Two. New York, 2002. Amy L., ed. Women filmmakers have films.New York and London were in 1998. Pioneers: First Women Filmmakers was written by Douglas, Illeana, and others. The Library of Congress and Kino Classics published a novel. Information about several films created by <mask> Smalley can be found on pages 52–57. The films of <mask> are featured on the third disc of this

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title: William Boericke

texts: <mask><mask> was an Austrian-born American physician who was influential in the field of homeopathy. He is known in the field as the editor of the Pocket Manual. <mask>, MD, his brother, included a mini-repertory in the ninth edition. After the end of World War II, <mask> and his family moved to the United States from Asch, Austria, which was part of the Austrian Empire. The Boerickes moved to Cleveland. <mask>e's stepmother was Henriette C. née Jaenig, the second husband of <mask>e's father. Boericke was the founding editor of The California Homeopath.The first five volumes were published monthly. Dewey became co-editor with volume six. The editor with volume eight was Charles Lewis Tisdale. The name was changed to The Pacific Coast Journal of Homeopathy with volume nine in 1892. From 1910 to 1915, Boericke was the editor. The journal closed in 1940 under the editorship of one of Boericke's sons. The publication was the official publication of the medical societies of California, Oregon, and Washington.The Pacific Homeopathic Medical College and the Hahnemann Hospital were founded by Boericke. In October 1884, Boericke graduated from the first class of the Hahnemann Medical College of San Francisco. The University of California, San Francisco, Medical School absorbed the Hahnemann Medical College in July of 1918. The University appointed Boericke as its first homeopathic lecturer in 1922, after he had held the position at the original college. The school dropped homeopathy from the curriculum in 1939. <mask>'s uncle, Francis Edmund Boericke, founded a bookstore in Philadelphia in the 19th century. They began to make and sell remedies after Constantine Hering's suggestion.In six months, Tafel left to take a teaching position in the U.S. The Naval Academy. Francis Boericke married the sister of Rudolph Tafel. Francis Boericke took in the Tafel brothers as apprentices and kept the small book store. Tafel left for the West in the 19th century. Francis Boericke graduated from the Homeopathic Medical College of Pennsylvania in 1863 with a medical degree. He formed a partnership with Adolph Tafel, Boericke & Tafel, a publishing company, a retailer, and a manufacturer, in Philadelphia in 1869.<mask>e moved to Philadelphia to work for the Boericke pharmacy after graduating from public high school. Boericke & Tafel opened a branch in San Francisco called "Pioneer Homeopathic Pharmacy" in 1870. <mask> ran it. <mask>e graduated from the medical college in Philadelphia in 1880 after moving back to the city in 1876. He attended the Vienna Medical School for a year. <mask> and Ernest Albert Schreck purchased the Pioneer Homeopathic Pharmacy in the spring of 1884 and renamed it Boericke & Schreck. The Runyon Company Schreck died in 1886.Schreck's half interest in the firm was purchased by Edward Wheelock Runyon in October 1890. Boericke, Runyan & Ernesty became known as Boericke, Runyan & Ernesty around 1894. Ernesty retired after selling his interest to Boericke and Runyon. The tradename for Boericke and Runyon's popular non-prescription home-remedy medicines was EOPA. The Eopa Company was a subsidiary of Boericke and Runyon. The Eopa Company was national until the early 1950s. Boericke & Tafel opened a pharmacy in Oakland in 1877.They sold it to <mask>, who had been their manager. Boericke and Schreck bought it from Brueck in 1886. When <mask>icke died in 1929, approximately three-fourths of the stock in Boericke & Tafel descended to his four surviving sons. At the end of the 19th century, Boericke & Tafel became the largest manufacturer of homeopathic medicines in the United States. In 1987 Boericke & Tafel was acquired by a subsidiary of the Willmar Schwabe Group of Germany. Boericke & Tafel moved to California in 1992. The marketing and distribution departments were moved to Nature's Way in Utah and the manufacturing to the Netherlands and Mexico were closed in 2005.Boericke and Tafel acquired the company sometime after 1950. Boericke, who was internationally known in the field of homeopathy, flourished in several dimensions of it during its rise in the United States. He was a popular clinical physician, prolific academic writer, publisher, medical journal editor, owner of several pharmacies, medicine manufacturer, medical school professor, and published researcher. Boericke's era of homeopathy was transparent and well- published to the extent that it was criticized by the mainstream medical community in North America. Boericke was well-known and influential in Europe, particularly Germany, where the people spoke the language of Boericke's childhood. At the end of the 19th century, most of the U.S. cities didn't have a hospital. In 1890, there were 93 regular medical schools, of which 14 were exclusively homeopathic and 8 were eclectic.In 1900, there were 121 regular medical schools, of which 22 were exclusively homeopathic and 10 were eclectic. In 1900, there were more than 100 homeopathic hospitals, over 60 orphan asylums and old people's homes. In the early 20th century, the teaching of homeopathy in the United States declined rapidly. The last purely homeopathic medical school closed in 1920, although the Hahnemann Medical School in Philadelphia continued to offer homeopathy until the 1940s. The criticism of Boericke's era is not completely different to the criticism of the 21st century. As of 2010, only Arizona, Connecticut, and Nevada license MDs and DOs to practice homeopathy, compared to North America, Europe and India. <mask>e moved back to San Francisco after finishing medical school.He married the daughter of a Massachusetts merchant in San Francisco on August 22, 1884. <mask> and Kate Boericke had seven children, five of which were sons and two of which were daughters. He was a surgeon and published articles in medical journals. His middle name was from a friend of <mask>e. Charles Boericke was a physician, surgeon, and influential figure in the field of medicine. The German and English versions were produced in 1922 and 1921, respectively. There is a manuscript at the University of California, San Francisco.The original manuscript was worked from by Boericke and Haehl. There are articles in the Pacific Coast Journal of Homeopathy. No. 8, No. In May 1905, pps. "Hahnemann's Doctrine of Psora in the Treatment of Disease in Children" 29, No. August 1894, pps."Homeopathy is a specialty in therapies", Pacific Coast Journal of Homeopathy. 3, No. In December 1895, pps. "Pain and Its Homeopathic Treatment" was published in the North American Journal of Homeopathy. 46, No. May 1898, pps. There are External links about the manuscript of Samuel Hahnemann's Organon der Heilkunst, Special Collections, University of California, San Francisco.

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William Boerick


title: Edwin Harleston

texts: The founding president of the Charleston, South Carolina branch of the National Association for the Advancement of Colored People was an American artist named <mask>. He was not included in the Charleston Renaissance. On March 14, 1882, he was born in Charleston, South Carolina. He was one of five surviving children of the <mask> family, who owned the Harleston Funeral Home. His father was descended from a white planter and one of his slaves, while his mother was descended from several generations of free people of color. <mask> was the valedictorian of the school and won a scholarship to study there. He studied chemistry and sociology at Atlanta University.A lifelong friend of Du Bois. After graduating in 1904, <mask> stayed on for a year as a teaching assistant in both sociology and chemistry while planning the next step in his education. He decided to attend the Boston Museum of Fine Art's school despite being admitted to Harvard University. He studied under some of the best painters of the 20th century. Over the summer, he attended the Art Institute of Chicago. <mask> returned to South Carolina in 1913 to help his father run the funeral home until 1931, the year both he and his father died. He rose to be president of Charleston's newly formed branch of the NAACP after becoming active in local civil rights groups.He led a campaign to get the local public school system to hire black teachers. <mask>'s realist style was influenced by both his Boston training and his wife's photographic work. Grace Towns, the first African-American woman elected to the Georgia General Assembly and philanthropist Pierre S. du Pont were among the notables he painted portraits of. He painted genre scenes of the daily life of Charleston's African-American citizens, as well as its rising middle class. He was out of step with the rising modernity of the 1920s and wanted to portray black people and their lives in a realistic way. W. E. B described <mask>. Even though he was responsible for running the funeral home, Du Bois was still the "leading portrait painter of the race".<mask> and Forrest opened a studio across the street from the funeral home in 1920. This studio, which had both workspace and a public gallery to promote their artwork, was the first such public art establishment for Charleston's African-American citizens. One of Harleston's best-known works, Miss Sue Bailey with the African Shawl, is based on a photograph by Elise. The painting shows <mask>'s commitment to portraying his sitters with dignity. He entered the painting in the awards because he was so happy with it. The murals that <mask> helped paint for Fisk University are now considered one of Douglas's most important works. The year before <mask> died, this project was completed.In 1930, <mask> painted Douglas's portrait with the unfinished mural in the background, emphasizing the sitter's profession and character while avoiding any suggestion of the picturesque. The painting of Miss Sue Bailey with the African Shawl is one of the reasons why this mural is vastly different from his usual painting style. He could adjust to working with other artists because of the vibrant range of shade he used in the mural. The top prize in NAACP-sponsored contests in 1925 and 1931 was won by <mask>. Despite his modest success, <mask> was not included in the artistic circles of the Charleston Renaissance with which his work is associated. Julia Peterkin, who won a Pulitzer Prize for her writing about African-American life, appears to have visited Harleston. DuBose Heyward's novel Mamba's Daughters was based on a character that he never met in person.The planned 1926 exhibition of his work at the Charleston Museum was blocked by racial prejudice and segregation and was promoted by the city's mayor, Thomas Porcher Stoney. The funeral home business was hard hit by the Great Depression. Harleston lectured at black colleges to make money. In April 1931, <mask>'s father died of pneumonia and less than a month later, <mask> himself died of the same disease. Some of <mask>'s paintings are in the collections of several museums. The South Carolina Historical Society holds Harleston's papers. There is a Rose Manuscript, Archives, and Rare Book Library.Further reading Ball, Edward. The rise of an elite black family in the South is the subject of The Sweet Hell Inside. William Morrow was born in 2001. Carol Sears. "<mask> Harleston". The University of South Carolina-Aiken. Painter of an Era was written by <mask>.Detroit: Your Heritage House. There is a catalog with a bibliography. <mask> was a portrait painter. Emory University was founded in 1994. There are external links to Stuart A. Charleston Renaissance 20th-century American painters American male painters 20th-century African-American painters died in the Rose Manuscript, Archives and Rare Book Library.

masks:
Edward Augustus Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Legacy Harleston
Edwin Augustus
Harleston
Harleston


title: Saroj Khan

texts: <mask> was born on November 22, 1948 and died on July 3, 2020. She was born in India. She was the first woman to work in Bollywood. She choreographed more than 3000 songs. She died of a sudden cardiac arrest in July 2020. She was born early in her career. After partition of India, her parents migrated to India.She started her career as a child artist at the age of three with the film Nazarana as baby Shyama, and was a background dancer in the late 1950s. She was married at the age of 13 to B. Sohanlal, who was 43 years old at the time, and was already married with 4 children. After having three children, including one that died as an infant, she married a businessman and changed her name to Islam. Sukaina khan is the daughter of the couple and is known to run a dance institute. She got her break as an independent choreographer after working with Sadhana Shivdasani's Geeta Mera Naam. She received praise for her work with Sridevi, as well as for her work in Mr India and Nagina. She became one of the most successful Bollywood choreographers.<mask> and Dixit worked together again in Gulaab Gang. She was a member of the advisory board. <mask> <mask> appeared on a reality dance show in 2005 as a member of the jury. She appeared in the second season of the show. She is a judge on the show Ustaadon Ka Ustaad. She appeared on the show with <mask> <mask>. This show was choreographed by her.She was one of the judges on the show in December of 2008. She was a judge on the third season of a popular show, which began on 27 February 2009, and was aired on Sony Entertainment Television ( India). <mask> <mask> was a judge on the dance reality show. She hosted and completed Nachle Ve with <mask> <mask>. The <mask> <mask> Story was a documentary produced by PSBT and Films Division of India. She was a judge in a dance competition. She won three National Film Awards and eight Filmfare Awards.<mask> <mask> died of cardiac arrest on July 3, 2020 at the age of 71, after he was admitted to a hospital for breathing difficulties. <mask> <mask> was the first recipient of the filmfare Best Choreography Award. The award was instituted by Filmfare after they watched <mask>'s song "Ek Do Teen" from Tezaab. <mask> <mask> won the Filmfare awards three times in a row from 1989 to 1991. She won 8 Filmfare Best Choreographer Awards. <mask> defended the practice of casting couch, stating that the film industry provides people employment and doesn't rape and abandon them. She apologized for her comments.1948 births 2020 deaths 20th-century Indian dancers 20th-century Indian women artists 21st-century Indian dancers 21st-century Indian women artists

masks:
Saroj Khan
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Khan
Saroj
Khan
Khan


title: Masahiro Nakatani

texts: He is an outfielder and first baseman for the Fukuoka SoftBank Hawks of the NPB. He played for the Hanshin Tigers in NPB. A native of Fukuoka, he began playing baseball in grade school and went on to play for the Futsukaichi Lions in junior high, where he participated in national tournaments. He was an outfielder at the Fukuoka Koudai Joto High School. He was elected as team captain in his second year, but his team never made it past the elimination rounds. He attended the same high school as Ryutaro Umeno, who was a year ahead, and he started as an outfielder and graduated as a catcher. The Hanshin Tigers selected Nakatani in the 3rd round of the professional baseball draft.He signed as a catcher with a contract of 50 million and an annual salary of 6 million. He received the jersey number 60. Nakatani was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 They changed his training regimen at the end of the season because he played mostly as an outfielder and not as a catcher. Nakatani spent most of the 2012 season in the minor league. He was selected to play in the mid-season Fresh All Star Game on July 18 and was selected as the game's Most Valuable Player. He made his official debut as the starting right fielder in the match against the Chunichi Dragons on August 23.He did not record a hit in any of the 5 games he played. He was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 The Tigers changed Nakatani's position from catcher to outfielder. He was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 Nakatani was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 His home run count increased. A spot in the main squad was finally earned by Nakatani after his improved performance in the minor leagues.When he went hitless in the next matches, he was sent back to the farm, and he recorded his first official hit as a pro on May 9. He was selected as the League's Most Valuable Player for the month of July. He was named the Western League's Most Valuable Player after batting.340 with 9 home runs and 40 runs scored in 94 games. Nakatani spent the early part of the 2016 season in the farm, where he underwent training to improve his batting form. He was called to play with the main squad in June. He hit his first career home run a few days later. His appearances gradually increased until October, mostly as a center fielder or as a pinch hitter, and he finished the season with 14 RBIs, 4 home runs and a batting average of.266 in 64 games.Nakatani was competing with young guns Shun Takayama and Fumihito Haraguchi for playing time in the outfield or at first base in the early part of the season. He reached 5 home runs by the 3rd week of May, after going on a hitting spree. He was rewarded by being assigned the clean up spot for the first time in a May 28 match against the Yokohama DeNA BayStars, and continued to be a regular starting player in the next couple of months. On June 15, he went 5-for-5 against the Lions, and on July 9, he hit a two-run home run. He received the Sanspo Excellent Player Award for his performance during the Hanshin Tigers Gekirei Series. He was leading the team in home runs by July 23. He hit home runs in 3 consecutive matches against the Tokyo Yakult Swallows on August 22.He hit his 20th home run of the season on September 18 against the Hiroshima Toyo Carp at Koshien Stadium. He became the first Hanshin right-handed hitting lifer since Osamu Hamanaka in 2006 to hit 20 home runs. In 133 main squad game appearances, he led the team in hits with 99 and home runs with 20. His performance earned him a 12 million pay raise and an annual salary of 36 million. Nakatani was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 Nakatanie didn't make it into the main squad. When the main squad needed batting reinforcement, he got called to play on May 22.Nakatani walked off with his first career walk off hit in the 9th frame of the May 26 game against the Giants. From June onwards, his performance deteriorated, and with the improving performance of other outfielders, his starts began to decrease. He only appeared in 77 games and appeared in 26 of them. Nakatani played for Hanshin in 62 games and for the farm team in 43 games. Nakatani was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 The 2020 season was delayed because of the COVID-19 Pandemic. Nakatani spent the majority of the year with Hanshin's main team, batting.235 with 2 home runs and 16 runs in 70 games.Hanshin's farm team began the 2021 season with Nakatani after poor performance in the previous seasons. Nakatani had a.266 average and 5 home runs with the farm team. Nakatani was traded to the Fukuoka SoftBank Hawks in exchange for Niho. There are External links to <mask> <mask>'s career statistics.

masks: Masahiro Nakatani


title: Miranda Raison

texts: <mask> is an English actress. <mask> was born in 1977. Her mother is a woman. <mask> played a showgirl in the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks", and her father is a jazz pianist. Raison's parents separated when she was five years old. Her education was paid for by her grandfather, who attended five boarding schools. She moved to Felixstowe College after being bullied at her previous school.She was trained at the academy. She played June Stanley in The Man Who Came to Dinner. <mask> was in a production of William Shakespeare's "Othello" at the Theatre Royal, York. She played the role of Davina in Don't Just Lie There, Say Something! from February 27 to April 7 2001. The name was changed to The Mill, Sonning. She played Ben-Hur's love interest in a production of the play at the Battersea Arts Centre. She played the death obsessed bisexual Desiree in Pains of Youth at the Battersea Arts Centre, which was described as making her death wish seem tragic rather than silly.In 2010 she played the title role in Anne Boleyn, a new play by Howard Brenton, who had also been involved in the script for Spooks, which Raison went on to appear in. <mask> played Anne Boleyn in Henry VIII. She played Ann in a play called "Oliver Lewis" at the Bush Theatre in 2011. In June/July 2012 she appeared in a production of The Physicists: A Comedy in Two Acts at the Donmar Warehouse, playing the roles of Lina Rose, the lead character's ex-wife, and Monika Settler, the lead's attending nurse. Raison starred in The River with Dominic West at the Royal Court Theatre. After rave reviews, tickets became the most sought-after theatre tickets in London. She played Anne Faulkner in the theatrical version of Strangers on a Train at the Gielgud Theatre.She was in Hello/Goodbye from January to February 2015. She was a member of the Kenneth Branagh Theatre Company in The Winter's Tale and Harlequinade from October 2015 to January 2016 The wife of Kenneth Branagh's character was played by <mask>. She said that she was grateful for the opportunity and that she had a bad experience with Branagh in 2011. She enjoyed learning from her. In 2004, <mask> was cast as 'Heather' in Match Point, the first Woody Allen film to be made in London. She appeared in a film called Deuce Bigalow: European Gigolo, which she said was the most brutal of all von Trier films.We spent a whole night crying. She described the experience as "regrettable from start to finish" and a "hideous, hideous moment and a great lapse of judgement" on her part. <mask>'s breakthrough role was as Jo Portman in the television drama series Spooks. She requested that the production company let her go because she wanted to follow up on theatre opportunities. In the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks" she played a show girl whose opening scene involved singing to a musical number for which Raison's father played the piano. She was on the show Plus One. She wore a fat suit in the comedy showcase pilot.She played a model in a comedy drama after leaving Spooks. There was a small role for her in My Week with Marilyn. She enjoyed working with British talent and her fascination with Marilyn Monroe. She played a DI in the second series of Vexed. Her character in the third series of Silk was a practice manager who shook up the firm and a potential love interest for her former Spooks co-star. She played the lead interrogator in the "Tactical Questioning" portion of the lead character's training in I Am Soldier. She joined the cast of Spotless in July of last year.<mask> reprised her role as 'Sylvie' in 6 episodes of Dark Heart and also appeared in 6 episodes of Nightflyers. <mask> will be joining the main cast of Warrior for the second season. <mask> joined the first season of Sister Boniface Mysteries in September of 2021. She appeared in a radio comedy in 2005. She has voiced a number of video game characters, including a character in the Dragon Age series. <mask> provided several voices in Mass Effect: Andromeda. She voiced three characters in The Secret World.<mask> has voice-acted in several Big Finish Doctor Who audios, including The Davros Mission and The Wreck of the Titan, as well as playing a regular companion to the Sixth Doctor. She provides additional voices in other Big Finish audio productions. She is a member of the cast of Thomas & Friends and provides the voice of Millie, who was first introduced in King of the Railway. She has been narrating since July of last year. She is a member of the Aldeburgh Golf Club. While separated from her first husband, she began a relationship with her Married Single Other co-star. She had a daughter in the same year she married again.She is proficient in French, Italian and Spanish. Jack Huston is distantly related to <mask>. <mask> was a Chairman of Christie's. There are links to filmography and voice overs.

masks:
Raison
Miranda Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Paul Raison


title: Frederick Burlingham

texts: In the silent era, <mask> was an American journalist, explorer, cinematographer, and producer. His most notable works are his films depicting Alpine landscapes and his mountain-climbing expeditions in Europe between 1913 and 1918, his explorations of Borneo in 1920, and his excursions to various sites in the United States and Canada in the early 1920s. He published How to Become an Alpinist, which is illustrated with his photographs, in 1914. <mask> initially produced films while working in London for the British and Colonial Kinematograph Company, but later developed his films independently and released them under contract with licensed distributors. <mask> was the second of four children of William and <mask> and was born in Baltimore, Maryland in 1877. According to the federal census of 1880, <mask>'s father worked as a "Pump maker" in Baltimore, where the Burlinghams were still living that year. <mask> was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217<mask> was able to write and travel because of his career in journalism, which began in the late 1890s. He worked for a number of New York City newspapers. He went to London in 1904 after a brief stint as a reporter and editor. He moved to Paris in 1909 where he continued his career in journalism and was described by some citizens in the French capital as "A'Back-to-Nature' Tramp". After years of working for newspapers, <mask> decided to study cinematography in 1912 to use the motion-picture camera to record his travels and to share his experiences with audiences in a far more visual, dynamic way. <mask> left Paris at the end of 1912 and returned to London, where he was hired by the British and Colonial Kinematograph Company. The company assigned him to travel to Switzerland in 1913 to film ski-jumping, curling, sleighing, and other Alpine winter sports.He was able to record his trek through deep snow at the Bernina Path, as well as the ascents of the Matterhorn, Mont Blanc, and the Jungfrau with a set of tripods and a bulky hand-cranked movie camera. As he traveled to Mount Vesuvius, he captured additional scenic footage. He filmed a descent into the volcano's interior. <mask> and his assistants had to use ropes to descend over 1200 feet to the bottom of the cone to escape the fumes of sulphuric fumes. The British and Colonial Company distributed <mask>'s films The Ascent of the Matterhorn and Descent into the Crater of Vesuvius as well as 21 other short films. Most of the short subjects were depictions of the countryside and resorts in southern France, Switzerland, and the lake district of northern Italy. <mask> had experience as a mountaineer when he was hired by British and Colonial.He had traveled to the Alps and was familiar with members of the French and Swiss mountain-climbing communities, which included his future wife Léontine, whom he met in Paris and married in London in 1912. He talked about some of his climbs in How to Become An Alpinist, which he published in London in 1914. A chapter that introduces readers to the "galaxy" of women climbers in the sport and to their accomplishments in that period is included in the book. With World War I entering its second year in 1916, <mask> relocated to Switzerland to continue the production of his films. He launched return-expeditions to the Matterhorn, Mont Blanc, the Jungfrau, and other Alpine locations far removed from the war's effects because the widening armed conflict continued to restrict and disrupt European travel outside the neutral territory of Switzerland. After the United States entered the war in April 1917, <mask> returned to New York City with his personal film library of over 30,000 feet of master negatives from his European travels. He registered for American military service in Manhattan, where he resumed his work as a producer of educational films.The war in Europe ended two months after <mask> was supposed to serve. After World War I, <mask> continued to re-edit and release his films in the United States, including The Ascent of the Matterhorn, Mont Blanc, and Descent into the Crater of Vesuvius. He traveled to new places to film. From late 1919 through 1920, he traveled to Southeast Asia to explore and film the landscapes and native peoples of that region, including the Dayak culture of Borneo. <mask>ham adventures" produced from his most recent travels, beginning with The Wild Men of Borneo. Before and after his trip to Borneo, he filmed excursions to various locations in the United States and Canada, including the Suwannee River that runs from southern Georgia into Florida.<mask> worked on a book about Borneo and wrote articles for The National Geographic and other science and film publications during the last three years of his life. During his years living and traveling in Europe, <mask> met many fellow Alpine climbers and hiking enthusiasts, including a wealthy French widow who he married in London in 1912. When <mask> died in New York City in June 1924, he and Léontine were still married, although newspapers reported she was in Switzerland. A heart attack was the cause of <mask>'s death. His body was moved to Cincinnati, Ohio, where he lived with his brother, and he was identified on his passport applications as his "permanent residence" in the United States. The gravesite of <mask> is next to his parents and siblings. Leading American film-industry publications announced <mask>'s death.The Film Daily paid tribute to their colleague "Burly" on June 15, 1924. <mask>'s footage of his 1913 ascents of the Matterhorn and Mont Blanc were lost early on in his employment with British and Colonial, but the trade paper shared an anecdote about how his relaxed, unconventional personality once cost him a newspaper job in Paris in 1912. The company's Endell Street processing plant in London was destroyed in a fire in October of that year. <mask>'s other travel books are believed to be lost. The British National Film Archives hold two of his films. One of <mask>'s films is held in the "Norwegian Archives", but online searches of the holdings of the Norwegian Film Institute and broader searches through the European Union's "Film Gateway" reveal no <mask>'s films. A complete copy of his 1913 release, Ascent of the Matterhorn, is preserved in Switzerland and is available for viewing on the YouTube video-streaming service.The film was found in a cabinet in Switzerland. The first documentary filming of an ascent of an Alpine peak was lost in the ocean. Burlington's work in photography and illustrations can be found in period trade journals, papers, and books. There are 63 photographs in his 1914 volume How to Become an Alpinist.

masks:
Frederick Harrison Burlingham
Burlingham
Frederick
Lillian Burlingham
Frederick
Frederick
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlinghamurling
Burlingham
Burlingham
Burlingham
Frederick
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham
Burlingham


title: Taryn Simon

texts: <mask> is an American multidisciplinary artist who works in photography, text, sculpture, and performance. <mask>'s work has been featured in the Venice Biennale and he is currently residing and maintaining a studio practice in New York City. <mask> was a Guggenheim Fellow in 2001. <mask> was born in New York City and attended Brown University, where she received a degree in art semiotics. She attended the Rhode Island School of Design while at Brown. She received her degree in 1997. In 2000, <mask> was given an assignment by New York Times Magazine to photograph men who had been wrongly convicted, which inspired her to explore photography's role in the criminal justice system.She was able to travel across the United States photographing and interviewing people who were wrongly convicted. The Innocents depicts individuals sentenced to death or given life sentences due to mistaken identity, who were exonerated and released after DNA evidence proved their innocence. The subjects were photographed at sites significant to their wrongful conviction, such as the scene of the crime, alibi, or arrest. The series was exhibited in galleries and museums such as MoMA PS1, the Museum of Contemporary Photography, and the Gagosian Gallery. She wrote that photography's ability to blur truth and fiction is one of its most compelling qualities. Photography's ambiguity, beautiful in one context, can be devastating in another, as I saw as I got to know the men and women in this book. According to <mask>'s website, Black Square: Black Square is an ongoing project in which <mask> collects objects, documents, and individuals within a black field that has precisely the same measurements as Kazimir Malevich's 1915 suprematist work.There are consequences of man's inventions. In an interview with Kate Fowle of the Garage Museum of Contemporary Art, <mask> described the first sculptural iteration of the project, Black Square XVII: The goal was to construct a black square made from vitrified nuclear waste that would hold within it a letter that I had written to the future A stable, solid mass resembling polished black glass is created by the process of vitrification. It is one of the safest and most effective ways to store and neutralize radioactive waste. The nuclear waste is stored in a steel container reinforced with concrete outside of Moscow. <mask> said that it will remain at the facility until its radioactive properties have diminished to levels deemed safe for human exposure and exhibition. An American Index of the Hidden and Unfamiliar reveals objects, sites, and spaces that are important to America's foundation, mythology, or daily functioning but remain unknown to a public audience.Nuclear waste storage facility, black bear in hibernation, and the art collection of the CIA are some of the unseen subjects. <mask> wanted to confront the divide between public and expert access. There are 70 colour plates in the book. Ronald Dworkin wrote a commentary while the curators wrote an introduction. In 2006 it was exhibited at the Whitney Museum of American Art. It was on view in Germany in 2007. She discussed the project with a photographer.In a historical period in which many people are trying to hide the truth from the people, an artist like <mask> <mask> is an important counter- force. <mask> has persuaded a few denizens of hidden worlds not to shelter when the light is on, but to pose proudly for her invading lens. She traveled to Jordan to shoot a young Iraqi actress who pretended to have been raped and burned by American soldiers. <mask> arranged for the photograph to be shown at the Venice Biennale to draw attention to the situation of Zubaidi, who is seeking asylum in the U.S. after receiving death threats from family members who consider Redacted pornographic. In a conversation published in Artforum: De Palma: Look, the hard thing, De Palma and <mask> discussed their work and methods. When you have a project, you think about how you are going to photograph the scene until you actually do it. The camera view is just as important as what is in front of it.I am obsessed with how I am shooting the scene. You wake up with ideas in the middle of the night when you are making a movie, but you don't actually shoot it. When you objectify the ideas that are banging around in your head, they get away from you. They are objectified and no longer haunt you. The haunting can be torturous. I don't think I enjoy making my work. It is a labor.According to <mask>'s website, A Living Man Declared Dead and Other Chapters, I–XVIII: was produced over a four-year period from 2008 to 2011. The internal forces of psychological and physical inheritance collide with the external forces of territory, power, circumstance, or religion in each of the eighteen 'chapters' that make up the work. The subjects documented by <mask> include: Zionism and Jewish establishments in Pre-Israel Palestine, feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein's son Uday, and the living dead in India. The relationships among chance, blood, and other components of fate are mapped in her collection. It probes complex narratives in contemporary politics and organizes this material within a system that connects identity, lineage, history, and memory. In The Washington Post, Philip Kennicott wrote: <mask>'s chapters, although seemingly dry and archival, emerge as remarkably profound meditations on how we sort through the world, what ethical and moral impulses we honor and which ones we squelch. Her work insists on a more rational relationship to photographs.The archive of global desires and perceived threats was taken at both the U.S. Customs and Border Protection Federal Inspection site and the airport. The John F. Kennedy International Airport has a postal service facility. <mask> photographed items that were seized from passengers and express mail entering the United States from abroad. The images and lists of <mask> embrace both order and disorder, and open up a third space within the cracks of these forms of control: a space of the surreptitious, the forgotten, the bizarre and the banal, exposed to the cold light of the camera. It is possible to find cultural differences and similarities by looking at top image results for given search terms across local engines throughout the world. Visitors can refine or expand their comparisons from the 57 countries currently available, and sort by GDP or alphabetical order. Ben Davis wrote that "<mask> suggested that the site might cut against the illusion of flattening on the Web, offering some way of recovering a sense of the local."Lauren Cornell, the former Director of Rhizome, stated, "The Image Atlas proposes a singular method of retrieving and comparing pictures, to demonstrate the difference in a world supposedly flattened by the forces of the global economy." The New York Public Library's picture archive contains over one million prints, postcards, posters, and images and is the largest circulating picture library in the world. <mask> sees the archive as a way to search the internet. She highlights the impulse to archive and organize visual information and points to the invisible hands behind seemingly neutral systems of image gathering in The Picture Collection. It was created in response to the online database Image Atlas. The title of <mask>'s Birds of the West Indies is taken from the "definitive taxonomy" of the same name by the American ornithologist James Bond. Ian Fleming used Bond's name for his novel's main character.The co-opting of a name was the first in a series of replacements that would become central to the construction of the Bond narrative. A photographic inventory of the women, weapons, and vehicles of James Bond films made over the past fifty years is the first element of <mask>'s work. The visual database of interchangeable variables used in the production of fantasy examines the economic and emotional value generated by their repetition. <mask> portrays herself as the ornithologist James Bond, identifying, photographing, and classifying all the birds that appear in the 24 films of the James Bond franchise. <mask>'s discoveries can be found in the fictional space of the James Bond universe, but they are not connected to reality. <mask> <mask> maps, excavates, and records the gestures that became entombed beneath and within theFondation Louis Vuitton's surfaces during its five-year construction. The art collection of Bernard Arnault, one of the world's wealthiest individuals and owner of the largest luxury conglomerate in the world, was designed by Frank Gehry.<mask> looks at the social, political, and economic forces that push against power and privilege. The items include copper and aluminum cables sold to scrap dealers, cement used by a father to build the walls of his daughter's bedroom, and an oak tree that a worker took to Poland, planted, and named after his boss. The value of these objects is transformed by the custody and movement of them. The photographs and sculptures of Paperwork and the Will of Capital are about the signing of political accords, contracts, treaties, and decrees in which powerful men flank floral centerpieces to convey the importance of the signatories and the institutions they represent. The 1944 United Nations Monetary and Financial Conference in New Hampshire addressed the globalization of economies after World War II. The World Bank and the International Monetary Fund were established. <mask> noticed the ubiquity of floral displays at these occasions.To focus attention on the workings of power at these signings, she created a re-creation of the flower arrangements. The flowers were a way to signal the importance of the occasion. They are not just decorations. The people are not around. The documents are not there. The isolated arrangements can only be seen with the help of their caption. According to <mask>'s website, in An Occupation of Loss, professional mourners broadcast their mourning rituals.Their sonic mourning is performed in recitations that include northern Albanians, which seek to excavate "uncried words", Wayuu, which safeguard the soul's passage to the Milky Way, and Greek Epirotic laments, which bind the story of a life with its afterlife. Within a monumental sculptural setting, An Occupation of Loss combines performance, sound, and architecture and considers the anatomy of grief and the intricate systems we use to manage contingencies of fate and the uncertain universe. . The space that grief creates is often marked by a lack of language. . The void that can be filled by religion, nihilism, militancy, and anything can be opened by loss. The Park Avenue Armory and Artangel commissioned An Occupation of Loss.After being admitted through a side second-story entrance, 50 or so viewers descend a long staircase to see 11 cement silos or circular towers almost 50 feet high, opened at the top and arranged in a semicircle, according to Jerry Saltz. It is a giant pipe organ. There is a slightly elevated oblong opening at the foot of each tower. People may duck inside. Professional mourners from 11 different countries sit on a bench in intimate quarters. He describes mixed feelings as he listens to the mourners express their grief. There are publications about the innocents.New York: Umbrage. An American Index of the Hidden and Unfamiliar is a 2nd ed. The Whitney Museum of American Art has an exhibition catalogue. Steidl, 2007, Gttingen. Gttingen: Steidl, 2008, 2nd ed. Hatje Cantz is the author of 2012Contraband. Gttingen: Steidl/New York.Hatje Cantz wrote A Living Man Declared Dead and Other Chapters I and II. Tate Modern/Neue Nationalgalerie has an exhibition catalogue. The Nationalgalerie Staatliche Museen is in Berlin and London. Birds of the West Indies and Field Guide to Birds of the West Indies are the second edition of the Wilson Center of Photography/Gagosian Gallery. Hatje Cantz, Rear Views, and the Department of Foreign Propaganda are included. Paperwork and the Will of Capital was published by Tate Publishing. The Picture Collection was published by Hatje Cantz Verlag.An Occupation of Loss was published in Paris. The Guggenheim fellowship was in New York. The Foam Fotografie Amsterdam received the Paul Huf Award. The Silver medal lead award was presented in Germany. The International Center of Photography received an award in 2008. TheDeutsche Brse Photography Prize was finalist in 2009. The 2010 Discovery Award was held in Provence, France.The author book award was held in Provence, France. The Contemporary Book Award was given to A Living Man Declared Dead and Other Chapters. An intimate connection with the science or fine art of photography is one of the reasons for being awarded the Royal Photographic Society's honorary fellowship. Jake and <mask> have been married since 2010. They have two children. They live in New York. <mask> <mask>: "Behind Closed Doors", New York Times Magazine, 17 December 2006 An interview with <mask> <mask> on Charlie Rose, 16 March 2007, "Lens Crafters", Time Magazine, 29 May 2008The artist talks about her exhibition A Living Man Declared Dead and Other Chapters, 3 June 2011.

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title: Amanda Church

texts: The artist is known for his paintings that reference the human figure and other elements. Her works suggest recognizable body parts, objects, and perspectival elements in an otherwise abstract field. <mask>'s distinctive use of contrasting style elements has been consistently noted by critics such as Hyperallergic's Cora Fisher, who described <mask>'s work as "whimsically overruling the left-right brain dichotomy as well as the traditionally gendered axis that divides geometric and decorative <mask> received several awards, including a Guggenheim Fellowship and a Pollock-Krasner Foundation grant. Her work has appeared in publications such as The New York Times. Her paintings have been exhibited in major U.S. cities as well as internationally, in galleries and museums such as the Brooklyn Museum of Art and the Aldrich Museum. She works in New York.<mask> has spent most of her life in and around New York City. She studied painting and drawing at the New York studio school after graduating from college. The first area group show she participated in was "Ooze" at Black and Herron in Soho. Her first solo exhibitions were at two different galleries. She was featured in a number of group shows at the Brooklyn Museum of Art, the Aldrich Museum, Hallwalls, and the Newhouse Center for Contemporary Art. Since then, <mask> has shown his work throughout the United States, in New York, Boston, and Los Angeles, as well as in London, Milan, Brussels, and Istanbul. <mask> has contributed reviews to art publications such as ARTnews, Art in America, and Art on Paper.She received coverage in The New York Times, The New Yorker and Time Out. In 2003 she was invited to participate in a fashion-art collaboration project organized by the Italian luxury fashion house Fendi in partnership with the New Museum. The Chef handbag was embellished by <mask> and other contemporary artists and will be auctioned later that year. She designed her own line of beachwear, based on her paintings. The designs were on display at the Bass Museum in Miami. <mask> is best known for abstract oil-on-canvas paintings that allude to real-world elements. Her work bridges established art traditions, combining elements from representational movements such as Pop and Surrealism with an abstract modernist approach.The juxtaposition of biomorphic forms which are flesh-like in shape and color against moreangular, purely shapes is one example of her post-pop, post-minimal style being noted by art critics. The paintings are flat in their use of color and have strong lines. <mask>'s paintings are often described in different ways, such as "distinct yet universal" or "distant yet familiar." <mask>'s use of light-hearted elements, such as a cartoon-like aesthetic, to depict potentially unnerving scenes of distorted and severed limbs is a subject of commentary. <mask>'s paintings were described as "disarming and disturbing" by critic John Yau. <mask>'s use of line, color, narrative and even perspective is suggestive of sexual suggestiveness for many observers. In her first decade of work, <mask>'s artwork often appeared as self-contained protozoan subjects set at a distance against a flat, monochrome backdrop.<mask>'s works in that show were described as "funky, biomorphic geometries" by The Boston Globe's Cate McQuaid. Some early subjects evoked creamy desserts for reviewers, including one that New York Times art critic Ken Johnson likened to ice cream. Her solo exhibition, "Liquid Love", and "Three Strong Painters" are examples of these scenes morphing into canvases with divided, multicolor backgrounds featuring an interplay of subjects with a greater number of protuberances. More complex compositions of limbs and torsos are included in later works. Man with a Big Heart is an example of a work in the "Minimal Baroque" show that places a "mini-Mondrian grid" in a field of organic shapes. The intimacy and abstraction inherent in viewing objects or people at close range is mirrored in the later works. The exhibition "Heads and Tales" at Espacio 20-20 in Puerto Rico featured shapes reminiscent of heads and buttocks at various close-up distances.Her contribution to the group show "Territory" at Crush Curatorial included close views of finger-like protuberances. There were magnified views of humanoid curves in geometric settings in her solo exhibition. With titles such as "Voyeurs" and "Bedheads," many of the paintings suggest erotic scenarios. The erotic close-up, the camera zooming in on parts of bodies, flesh and furniture, cue your mind to complete, was written by Simon in his review. The New York Foundation for the Arts and the Pollack-Krasner Foundation gave awards to the Public Recognition Church. Her work can be found in public and private collections, including the New Jersey State Museum. There are external links to the official website of the Guggenheim and the artist page of the High Noon Gallery.

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title: Paul Veyne

texts: <mask> is a specialist of Ancient Rome. He is a former student of the cole Normale Supérieure and member of the cole franaise de Rome. Veyne was born in Aix-en-Provence. At the age of eight, he discovered a piece of an Amphora on a Celtic site, and from a background which he described as "uncultured", he took up archaeology and history. Roman civilization was the most well-known in the environment in which he grew up. He studied the Roman collections at the archaeological museum in Lille after moving with his family. He believes that his interest in the Greeks and Romans stems from his chance discovery as a child.He joined the Communist Party of France after a sudden political awakening in front of the bas-relief that celebrates the liberation of the city at the bottom of the Boulevard St.Michel. He left the party four years later without ever having a political conviction. The bad treatment of the Algerians at the hands of the colonials revolted him just as much as the atrocities of the Nazis. His shock was not social or political, but moral. <mask> attended the cole Normale Supérieure in Paris. He settled in Aix-en-Provence as a professor at the University of Provence after being a member of the cole franaise de Rome. In his years in Aix, he published his provocative Comment on écrit l'histoire, an essay on the epistemology of history.<mask>'s essay declared history to be a "true tale" at a time when French historiography favored quantitative methods. He became interested in the narrative aspects of scientific history through his essay. In 1975, his monograph on Evergetism showed that Veyne's concept of narrative differed from the common use, and that his differences with the hegemonic Annales school was smaller. The book is a comprehensive study of the practice of gift-giving, more in line with the anthropologically influenced histoire des mentalités of the third Annalistes generation than with "old-fashioned" narrative history. Raymond Aron, Veyne's former heir apparent, supported Veyne in entering the Collge de France. When Veyne failed to cite the name of Aron in his first lecture, he aroused his displeasure, and according to Veyne, he was subjected to persecution by Aron ever since. The chair of Roman history was held by Veyne from 1975 to 1999.In 1978 a new essay on Foucault as a historian was added to <mask>'s epistemological essay. Veyne moved away from the insistence on history being a narrative to focus on how the work of Foucault changed historical thinking. According to Veyne, the Foucauldian'revolution' was to highlight the way the objects were brought into being, rather than the objects themselves. Veyne established himself as an important interpreter of his colleague with this essay. The relationship between the historian of antiquities and the philosopher influenced Foucault's turn towards antiquity in the second volume of the History of Sexuality, as well as his reading of liberalism in his public lectures. In 2008 Veyne published a full-length book on Foucault, which reworked some of the themes from his 1978 essay, expanding it to an intellectual portrait. <mask>ne lives in the Vaucluse.The honours of 1990 include the Knight of the Legion of Honour and Officer of the Legion of Honour. Le pain et le cirque, Paris, Le Seuil, 1976. Le Seuil was the location of L'inventaire des différences. Le Seuil, 1983, Les Grecs ont-ils cru  leurs mythes. Le Seuil was the location of L'élégie érotique romaine. Histoire de la vie privée is a book. I was in Paris and Le Seuil.René Char, Paris, Gallimard, 1990. The société romaine was in Paris and Le Seuil. The revised translation of Sénque, Entretiens, Lettres  Lucilius was published in 1993. Le quotidien et l'intéressant had a conversation with Catherine Darbo-Peschanski. In partnership with F. Frontisi-Ducroux and F. Lissarrague, Paris, Gallimard, 1998. Sexe et pouvoir is in Rome, Paris, and Tallandier. L'empire gréco-romain is located in Paris.Foucault, sa pensée, sa personne, Paris. The chefs-d'uvre de la peinture italienne is located in Paris. AlbinMichel, Paris, je ne m'ennuierai pas. Palmyre. La Villa des Mystres  Pompéi is located in Paris. Art et Artistes. Robert Laffont, coll., Une insolite curiosité, Paris.2020 is the year of Bouquins. The History of Private Life: From Pagan Rome to Byzantium was published in 1984. An essay on the Constitutive Imagination, Chicago, University of Chicago Press, was published in 1988. <mask> is an alumni of the cole Normale Supérieure and of the University of Provence.

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