title: Otto Maria Carpeaux

texts:
<mask> (March 9, 1900 – February 3, 1978), born <mask>, was an Austrian-born Brazilian literary critic and multilingual scholar. Career overview
<mask> was born <mask> in 1900 in Vienna, Austria-Hungary, to a Jewish family, and lived there until 1939. At the age of 20, he enrolled at the University of Vienna to study Law. In 1925, he received a PhD in letters and philosophy and began working as a journalist. Later, he also studied exact sciences and mathematics in Leipzig, sociology and philosophy in Paris, comparative literature in Naples, and politics in Berlin. At some point in his life, Karpfen converted to Roman Catholicism, adding <mask> to his name and using Fidelis as his surname for some time. This conversion was evident in his political books (such as Wege Nach Rom) and his thinking, and led to his participation in the right-wing government of Engelbert Dollfuss.When the Anschluss occurred and the Nazis took over Vienna, Carpeaux fled to Belgium. He stayed there for about a year and, at the break of the Second World War, he went to Brazil. Carpeaux did not speak Portuguese at first, and he mastered the language on his own, eventually also frenchifying his lastname to "<mask>", considering that it would seem more prestigious among Brazilian intellectuals. At first, he was given a simple rural job, but he gradually established himself as a literary critic. His first published article was on Franz Kafka, on the newspaper Correio da Manhã, something he did out of desperation when living under severe conditions. He was to introduce writers such as Robert Musil and Kafka to Brazilian audiences, along with the literary criticism of Wilhelm Dilthey, Benedetto Croce, Walter Benjamin and others. His first book in Portuguese came in 1942, A Cinza do Purgatório.Two years later, he became director of Fundação Getúlio Vargas library. He also published essays on philosophers and sociologists such as Friedrich Engels and Max Weber, as well as on Brazilian writers he came to discover when in the country, writing on Carlos Drummond de Andrade e Graciliano Ramos. Perhaps the peak of <mask>'s production was his eight-volume História da Literatura Ocidental (History of Western Literature), available only in Portuguese, in spite of being in public domain. Carpeaux took eight years to write his masterwork, from 1941 to 1947. Late critic José Lino Grünewald labelled it one of the brightest moments of the language in prose, despite the fact that Carpeaux was not a native speaker. It is also unique in that it focuses on creating links between all periods, in order to create an organic vision of the literary history he is telling. The book also include more than 8,000 brief criticisms and expositions of the majority of the figures discussed along the way, minus the ones cited in passing; all are dealt with in their original languages, both in expositions and quotations and in the bibliography offered.The total bibliographical amount of cited works is on the merge of 30,000 books or more. In this series, Carpeaux begins with an analysis of classical Greek and Latin literatures and proceeds until the twentieth century avant-garde movements such as surrealism and dadaism, encompassing every major literary establishments in between. For this reason, it has been called "definitive, encyclopaedic and multidisciplinary, a fundamental work in Brazilian literary and cultural bibliography". To Antonio Candido, Carpeaux's "universal vision allows him to surmount the eventual limitations of critic nacionalism, whose historic function is important in certain moments, but which must not serve to obliterate the true dimension of the literary phenomena, which, through its own nature, is transcendental as well as national. Carpeaux demonstrates in other moments how Brazilian literature benefits from being seen in a double perspective, such as his, capable of increasing insight and break routine." Never abandoning his abomination to militarism and tyranny, Carpeaux opposed to the Brazilian Military Regime and abandoned his literary writings by 1968, in order to participate more actively on political debate. However, he did participate in the composition of an encyclopedia called Mirador.He maintained his convictions as a right-wing thinker, and died of a heart attack in 1978. Recently, his essays have been compiled by Brazilian philosopher and journalist Olavo de Carvalho, with an added introduction. Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux. Carpeaux's other works include a dense history of German literature, several books of literary criticism, a popular history of Western music and various political writings. Works
 (1942). Cinza do Purgatório. Rio de Janeiro: Casa do Estudante do Brasil (Departamento Cultural).(1943). Origens e Fins. Rio de Janeiro: Casa do Estudante do Brasil (Departamento Cultural). (1951). Pequena Bibliografia Crítica da Literatura Brasileira. Rio de Janeiro: Ministério da Educação e Saúde, Serviço de Documentação [Letras e Artes, 1964]. (1953).Respostas e Perguntas. Rio de Janeiro: Ministério da Educaçao e Saúde, Serviço de Documentaçao. (1953). Retratos e Leituras. Rio de Janeiro: Edição da "Organização Simões". (1958). Presenças.Ministério da Educação e Cultura, Instituto Nacional do Livro. (1958). Uma Nova História da Música. Zahar [José Olympio, 1967; Alhambra, 1977; Ediouro, 1999]. O Livro de Ouro da História da Música: Da Idade Média ao Século XX, Rio de Janeiro: Ediouro 2001. (1959–66). História da Literatura Ocidental (8 Vol.)Rio de Janeiro: Edições O Cruzeiro [Alhambra, 1978–87; Editora do Senado Federal, 4 Vol., 2008; Leya Brasil, 10 Vol., 2012]. (1960). Livros na Mesa, Estudos de Crítica. Rio de Janeiro: Livraria São José. (1963). Novelas Alemãs. São Paulo: Editora Cultrix.(1964). A Literatura Alemã. São Paulo: Editora Cultrix [Nova Alexandria, 1994]. (1965). A Batalha da América Latina. Rio de Janeiro: Editôra Civilização Brasileira. (1965).O Brasil no Espelho do Mundo. Rio de Janeiro: Editôra Civilização Brasileira. (1968). As Revoltas Modernistas na Literatura. Rio de Janeiro: Ed. de Ouro. (1968).Tendências Contemporâneas na Literatura. Um Esbôço. Rio de Janeiro, Ed. de Ouro, 1968. (1968). Vinte e Cinco Anos de Literatura. Rio de Janeiro: Editôra Civilização Brasileira.(1971). Hemingway: Tempo, Vida e Obra. Bruguera. (1976). Reflexões e Realidade. Rio de Janeiro: Fontana. (1978).Alceu Amoroso Lima. Paz e Terra. (1992). Sobre Letras e Artes. São Paulo: Nova Alexandria. (1999). Ensaios Reunidos, 1942-1978 (Vol.1).Rio de Janeiro: UniverCidade Editora. (2005). Ensaios Reunidos, 1946-1971 (Vol.2). Rio de Janeiro: UniverCidade Editora. (2014). Caminhos para Roma: Aventura, Queda e Vitória do Espírito. São Paulo: Vide Editorial.References

Further reading
 <mask> e Silva, "A Missão Civilizatória de <mask> <mask>," Jornal Opção, 8 de agosto de 1999. Olavo de Carvalho, "<mask> <mask>." In Portuguese Literary & Cultural Studies. Special Issue, No. 4. João Cezarde Castro Rocha (org. ), University of Massachusetts, Dartmouth, 2000.Pedro Maciel, "O Historiador das Idéias," Digestivo Cultural, Novembro 2002. Sérgio Augusto, "O Melhor Presente que a Áustria nos Deu", Digestivo Cultural, 2002. Mauro Souza Ventura, De Karpfen to Carpeaux. Rio de Janeiro: Topbooks, 2002. José Roberto Teixeira Leite. Di Cavalcanti e Outros Perfís. São Paulo: Edifieo, 2007.Leandro Konder, "<mask> <mask> (1900-1978)," Revista Espaço Acadêmico, No. 82, 2008. Ivo Barroso, "A História de Carpeaux," O Estado de São Paulo, Novembro de 2008. Mauro Souza Ventura, "<mask> Carpeaux Leitor de Walter Benjamin," GHREBH, Vol. 1, No. 15, 2010. Ademir Luiz da Silva, "O Maior dos Escritores de Segunda Ordem: A Polêmica Crítica Carpeaux-Mann," Via Litterae, Vol.2, No. 2, jul./dez. 2010. J. C. Guimarães, "Carpeaux e Alguns Profetas," Jornal Opção, No. 1889, Setembro de 2011. Franklin Jorge, "Otto Maria Carpeaux e a Literatura," Blecaute, Ano 4, No. 12, Setembro de 2012.J. C. Guimarães, "A Odisseia do Espírito," Jornal Opção, No. 1948, Novembro de 2012. J. C. Guimarães, "A Odisseia do Espírito: Final," Jornal Opção, No. 1949, Novembro de 2012. External links
Online works
 História da Literatura Ocidental (4 volumes) on Federal Senate's website
 O Bárbaro Barbado
 A Obra de Max Weber
 Música do Diabo e de Deus
 Jacob Burckhardt: Profeta da Nossa Época
 As Nuanças de Jens Peter Jacobsen
 A Idéia das Universidades e as Idéias das Classes Médias
 Visão de Graciliano Ramos
 Poesia e Ideologia

Other
 Mauriac e Seus Críticos
 <mask> Carpeaux, O Digno Farejador do Universo
 A Primeira Entrevista, no Brasil, de Otto <mask>peaux
 Grandes Entrevisas: <mask> <mask>
 Carpeaux, um Gênio, Humilhado e Ofendido no Correio da Manhã
 O Lugar de Otto Maria Carpeaux no Campo da Crítica
 “Reacionário” ou “Progressista”? A Disputa Acadêmica e Editorial em Torno da Memória de Otto Maria Karpfen/Carpeaux
 Outro Retrato do Brasil: Cultura e História na Obra Crítica de Otto Maria Carpeaux

1900 births
1978 deaths
Austrian emigrants to Brazil
Brazilian people of Austrian-Jewish descent
Brazilian Jews
Austrian literary critics
Jewish emigrants from Austria after the Anschluss
Brazilian literary critics
Brazilian anti-communists
Brazilian Roman Catholics
Austrian Roman Catholics
Converts to Roman Catholicism from Judaism
University of Vienna alumni

masks:
Otto Maria Carpeaux
Otto Karpfen
Carpeaux
Otto Karpfen
Maria
Carpeaux
Carpeaux
José Maria
Otto Maria
Carpeaux
Otto Maria
Carpeaux
Otto Maria
Carpeaux
Otto Maria
Otto Maria
Maria Car
Otto Maria
Carpeaux


title: James Luna

type: original

texts:
<mask> (February 9, 1950March 4, 2018) was a Payómkawichum, Ipi, and Mexican-American performance artist, photographer and multimedia installation artist. His work is best known for challenging the ways in which conventional museum exhibitions depict Native Americans. With recurring themes of multiculturalism, alcoholism, and colonialism, his work was often comedic and theatrical in nature. In 2017 he was awarded a Guggenheim Fellowship. <mask> was born in 1950 in Orange, California. He moved to the La Jolla Indian Reservation in California in 1975. In 1976, he earned a Bachelor of Fine Arts degree at the University of California, Irvine, and in 1983, he earned a Master of Science degree in counseling at San Diego State University.In 2011, he received an honorary doctoral degree from the Institute of American Indian Arts. <mask> was an active community member of the La Jolla Indian reservation. He served as the director of the tribe's education center in 1987, and the community was often a focal point of his photography and writing. He taught art at the University of California, San Diego and spent 25 years as a full-time academic counselor at Palomar College in San Marcos, California. Artwork
A self-proclaimed "American Indian Ceremonial Clown", "Culture Warrior," and "Tribal Citizen", <mask>'s artwork was known for challenging racial categories and exposing outmoded, Eurocentric ways in which museums have displayed Native American Indians as parts of natural history, rather than as living members of contemporary society. While <mask> began his art career as a painter, he soon branched out into performance and installation art, which he did for over three decades. He used objects, references to American popular culture, and his own body in his work.He performed over 58 solo exhibitions starting in 1981 and partook in group exhibitions and projects across the United States and the world. His artistry was often referred to as both disruptive and radical for its stark confrontations with colonialism, violence, sexuality, and identity. Some of his best known pieces are:

The Artifact Piece (1987/1990)
In The Artifact Piece (1987) at the San Diego Museum of Man, <mask> lay naked except for a loincloth and still in a display case filled with sand and artifacts, such as <mask>'s favorite music and books, as well as legal papers and labels describing his scars. The work looked like a museum exhibit and was set in a hall dedicated to traditional ethnographic displays. The marks and scars on his body were acquired while drinking, fighting, or in accidents. Critics praised <mask>'s ability to challenge conventional understandings and displays of the Native American identities and presumptions about his own personhood by putting his own body on display. He performed "The Artifact Piece" in 1990 at The Decade Show in New York City.Take a Picture With a Real Indian (1991–93)
In the early 1990s, <mask> stood outside of Washington DC's Union Station and performed Take a Picture With a Real Indian. <mask> describes the performance by saying:Standing at a podium wearing an outfit, I announce: “Take a picture with a real Indian. Take a picture here, in Washington, D.C. on this beautiful Monday morning, on this holiday called Columbus Day. America loves to say ‘her Indians.’ America loves to see us dance for them. America likes our arts and crafts. America likes to name cars and trucks after our tribes. Take a picture with a real Indian.Take a picture here today, on this sunny day here in Washington, D.C.” And then I just stand there. Eventually, one person will pose with me. After that they just start lining up. I’ll do that for a while until I get mad enough or humiliated enough. In utilizing and engaging a public audience, <mask> taps into common cultural commodification of Native American culture. Such a trend manifests in the idea of the "McIndian"; the idea that Native culture is something that can be massed produced, consumed, and enjoyed without acknowledging the deep history of oppression Native Americans have endured. In My Dreams: A Surreal, Post-Indian, Subterranean Blues Experience (1996)
In this performance, <mask> is acclaimed for having challenged the trope that Native Americans are "peoples of memory" in ways that white culture may envy as being more purely spiritual.In one scene, he performs a "traditional" dance with crutches to reveal how white demand for Native performance is both limiting and inauthentic. In another, he puts his diabetes on display, giving himself insulin on stage which is said by critics to be emblematic of the binary of the "wild" but "controlled" Native American. His final scene in this performance is a tribute to Dean Martin, which serves to reverse white tributes to Native peoples back on to his white audiences. By having a Native American Indian idolize a white person in a way that is relatively fanatic, <mask> revealed the problematic manner in which white people can idolize Native American figures. Emendatio (2005)
In 2005 the National Museum of the American Indian sponsored him to participate in the Venice Biennale. The piece he created, Emendatio, included three installations, Spinning Woman, Apparitions: Past and Present, and The Chapel for Pablo Tac, as well a personal performance in Venice, Renewal dedicated to Pablo Tac (1822–1841), a Luiseño Indian author and scholar, who went to study in Rome, where he died. Utilizing cultural aspects of both the Lusieno people and his own family, <mask>'s installations and performance expose the affects that the poor translation of Native identities as well as globalization has had in oppressing narratives of Native American memory while inspiring both "white envy" and "liberal guilt".Honors and awards
Throughout his career, <mask> received many awards. Including:
 1998: LACE Fellowship (Los Angeles Contemporary Exhibitions, California)
 1998: C.O.M.B.O Grant for Literary Studies (San Diego, California)
 1991: Bessie Creator Award (New York Dance Theatre Workshop, New York)
 1991: Fellowship in Sculpture (Western States Arts Federation's; Santa Fe, New Mexico)
 1992: Grant for work in Performance, (California Arts Council; Sacramento, California)
 1992: Offsite Installation Grant (Capp Street Project; San Francisco, California)
 1992: Rockefeller Foundation Intercultural Film/Video Fellowship (New York)
 1993: Best Live Short Subject Award for The History of the Luiseno People: La Jolla Reservation Christmas 1990 (American Indian Film Festival; San Francisco, California)
 1994: Faculty Residency (Skowhegan School of Painting; Skowhegan, Maine)
 1994: Distinguished Visiting Faculty Award (University of California, Davis)
 1995: Native American Public Broadcasting Consortium Video Grant, “Bringing it All Back Home” video project
 2000: Andrea Frank Foundation Grant
 2000: Arts International Grant
 2001: U.S.–Japan Creative Arts’ Program Fellowship, Japan-U.S. Friendship Commission
 2001: University of California Regents Lecture (University of California, San Diego)
 2001: Dorantes Lecturer (Santa Barbara City College, California)
 2002: Creative Capital Award
 2007: Eiteljorg Fellowship for Native American Fine Art
 2011: Honorary PhD from the Institute of American Indian Arts, in Santa Fe, New Mexico
 2015: Native Arts and Cultures Foundation National Arts Fellowship
 2017: Guggenheim Fellowship

Quotes
"I truly live in two worlds. This 'two world' concept once posed too much ambiguity for me, as I felt torn as to whom I was. In maturity I have come to find it the source of my power, as I can easily move between these two places and not feel that I have to be one or the other, that I am an Indian in this modern society."Yes. The people are getting up there to have their picture taken with an Indian, just like they would have their picture taken with the bull statue on Wall Street. It’s there for the taking.Indian people always have been fair game, and I don’t think people quite understand that we’re not game. Just because I’m an identifiable Indian, it doesn’t mean I’m there for the taking.But in the long run I’m making a statement for me, and through me, about people’s interaction with American Indians, and the selective romanticization of us." <mask> had a fatal heart attack in New Orleans, Louisiana, on March 4, 2018, aged 68. See also
List of Native American artists
List of indigenous artists of the Americas
Visual arts by indigenous peoples of the Americas

References

External links
 The Performance Art of <mask>, official site
 <mask>, Emendatio, National Museum of the American Indian
<mask>, Vision Project, by Shanna Ketchum-Heap of Birds
<mask>, "I've Always Wanted to be an American Indian"

Native American performance artists
Native American installation artists
1950 births
2018 deaths
American artists of Mexican descent
Luiseño people
Native American male artists
21st-century Native Americans
People from Orange, California
University of California, Irvine alumni
San Diego State University alumni
20th-century Native Americans
20th-century American artists
21st-century American artists
University of California, San Diego faculty

masks:
James Luna
Background Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Luna
Death Luna
James Luna
James Luna
James Luna
James Luna


title: Yuri Orlov

texts:
<mask> (, 13 August 1924 – 27 September 2020) was a particle accelerator physicist, human rights activist, Soviet dissident, founder of the Moscow Helsinki Group, a founding member of the Soviet Amnesty International group, and Professor of Physics at Cornell University. He was declared a prisoner of conscience while serving nine years in prison and internal exile for monitoring the Helsinki human rights accords as a founder of the human rights movement in the Soviet Union. Early career
<mask> was born into a working-class family on 13 August 1924 and grew up in a village near Moscow. His parents were Klavdiya Petrovna Lebedeva and <mask>. In March 1933, his father died. From 1944 to 1946, <mask> served as an officer in the Soviet army. In 1952, he graduated from the Moscow State University and began his postgraduate studies at the Institute for Theoretical and Experimental Physics where he later worked as a physicist.In 1956, <mask> nearly lost his scientist career due to his speech at the party meeting about discussion of the report "On the Personality Cult and its Consequences" by Khrushchev at the 20th Congress of the CPSU. He publicly called Stalin and Beria "killers who were in power" and put forward the requirement of "democracy on the basis of socialism." For his pro-democracy speech in 1956, he was expelled from the Communist Party of the Soviet Union and fired from his job. What is the meaning of life? That your soul may outlive your remains in something sacred and should escape decay ... I have again looked at, added up, corrected, and sized up what I have been doing during these last years and have seen that this is good ... (<mask>, 1980)

<mask> obtained the Candidate of Sciences degree in 1958 and the Doctor of Sciences degree in 1963. He became an expert on particle acceleration.In 1968, he was elected a corresponding member of the Armenian Academy of Sciences after he found work at the Yerevan Physics Institute. In 1972, he came back to Moscow and worked at the Institute of Terrestrial Magnetism. Dissidence
In September 1973, when Pravda published a statement by a group of prominent academicians denouncing Andrei Sakharov's anti-patriotic activity, <mask> decided to support him, while recollecting the well memorized spells of the 1930s, in which some academicians demanded the death penalty for others already arrested; later some of these academicians themselves were arrested; and then third academicians, still alive, demanded the death penalty for them. Defending Sakharov, <mask> on 16 September 1973 wrote "Open Letter to L.I. Brezhnev about the Reasons for the Intellectual Backwardness in the USSR and Proposals to Overcome It" which appeared in underground samizdat circulation. The Western press published the letter in 1974 but publication in the Russian press was only in 1991. In the early 1970s, the article by <mask> "Is a Non-Totalitarian Type of Socialism Possible?"also appeared in underground samizdat circulation. In 1973, he was fired after becoming a founding member of the first Amnesty International group in the Soviet Union. In May 1976, he organized the Moscow Helsinki Group and became its chairman. Andrei Sakharov praised <mask> for systematically documenting Soviet violations of the human rights provisions of the Helsinki accords. <mask> ignored orders to disband the Moscow Helsinki Group when the KGB told him the group was illegal. The KGB head <mask> determined, "The need has thus emerged to terminate the actions of <mask>, fellow Helsinki monitor Ginzburg and others once and for all, on the basis of existing law." Arrest and trial
On 10 February 1977, <mask> was arrested.In March 1977, <mask> published the article about his arrest "The road to my arrest." In a closed trial, he was denied the right to examine evidence and to call witnesses. The courtroom was filled with some 50 individuals selected by the authorities, while supporters and friends of <mask>, including Andrei Sakharov, were barred from entering because there was no room. <mask>'s summation was interrupted many times by the judge and the prosecutor and by spectators who shouted "spy" and "traitor." According to <mask>'s wife Irina, hostile spectators in the courtroom applauded the sentence and shouted: "You should have given him more." <mask> at the trial argued that he has a right to criticize the government and a right to circulate such criticism under the freedom of information provisions of the Helsinki Accords. <mask> also argued that he circulated such information for humanitarian, not subversive, reasons.On 15 May 1978, <mask> was sentenced to seven years of a labor camp and five years internal exile for his work with the Moscow Helsinki Group. Protests over <mask>'s trial
US President Jimmy Carter expressed his concern over the severity of the sentence and the secrecy of the trial. Washington senator Henry M. Jackson said, "The <mask> trial, and the Ginzburg and Shcharansky incarcerations, are dramatic cases in point" when discussing Soviet breaches of law. The US National Academy of Sciences officially protested against the trial of <mask>. In the summer of 1978, 2,400 American scientists including physicists at the University of California's Lawrence Berkeley Laboratory created Scientists for Sakharov, Orlov and Shcharansky (SOS), an international movement to promote and protect the human rights of scientists. An initiator of SOS was American physicist Andrew Sessler, its chairman was Prof. Morris Pripstein. Scientists at CERN have spoken out against <mask>'s imprisonment for "disseminating anti-Soviet propaganda".43 physicists have called off Soviet trips to protest his jailing. Imprisonment and exile

For a year and a half, <mask> was imprisoned in Lefortovo Prison, then Perm Camp 35 and 37. In Perm Camp 37, he mounted three hunger strikes to make the prison authorities return his confiscated writings and notes. Two articles written by him in the camp were smuggled and published abroad. On 5 July 1983, Austrian Chancellor Bruno Kreisky sent the Soviet leader <mask> a letter asking for his release to Austria, but it was intentionally not answered. The New York-based Helsinki Watch issued a statement about <mask>'s health deterioration, "He has frequent headaches and dizzy spells, resulting from an old skull injury. He suffers from kidney and prostate inflammation, low blood pressure, rheumatic pains, toothaches, insomnia and vitamin deficiency.Medical care in the labor camp is extremely inadequate." <mask> suffered from tuberculosis. He lost a good deal of weight and most of his teeth. <mask>'s wife said he looked emaciated and that she was "very fearful for my husband's health. The authorities are gradually killing him." In 1984, <mask> was exiled to Kobyay in Siberia and was allowed to buy a house with a garden. On 14 November 1985, Professor George Wald raised the case of <mask> in a talk with the Soviet leader Mikhail Gorbachev who answered he had not heard of <mask>.Deportation and US citizenship
On 30 September 1986, the KGB proposed to expel <mask> from the Soviet Union after depriving him of his Soviet citizenship and met with approval from the Central Committee of the Communist Party of the Soviet Union. <mask>'s discharge from Siberian exile was part of the U.S.–Soviet deal to release journalist Nicholas Daniloff. <mask>'s release from exile and expulsion from the USSR lifted hopes among Westerners that the Helsinki process might finally start yielding progress. US President Jimmy Carter said, "As for <mask>, we're very delighted with this happy occurrence. We would like to meet with him if he comes to this country, but I don't know that he will. I have no way of knowing his plans." On 10 December 1986, <mask> was awarded the Carter-Menil Human Rights Prize of $100,000.In 1987, <mask> began work at Cornell University as a scientist and professor. <mask> was a visiting Fellow at the European Organization for Nuclear Research (CERN) in 1988/89. A member of the American Academy of Arts and Sciences, <mask> studied particle accelerator design, beam interaction analysis and quantum mechanics. He has authored and co-authored numerous research papers, articles on human rights, and an autobiography, Dangerous Thoughts (1991). In 1990, Gorbachev restored Soviet citizenship to <mask> and other 23 prominent exiles and emigres who lost the right in the period from 1966 to 1988. <mask> told Gorbachev, "I would say you have a very great power in your hands, the K.G.B., and you should therefore carry out your reforms without fearing anyone at all. Afterward, you should liquidate the K.G.B., because it is a cancer."On 18 July 1991, <mask> and Elena Bonner wrote an open letter about the fact that Soviet army and special troops have been systematically deporting thousands of Armenians from Azerbaijan to Armenia. In 1993, <mask> received American citizenship. In 1995, the American Physical Society awarded him the Nicholson Medal for Humanitarian Service. In 2005, he was named the first recipient of the Andrei Sakharov Prize, awarded biennially by the American Physical Society to honor scientists for exceptional work in promoting human rights. In 2020, a few days before <mask> died, the American Physical Society awarded him the 2021 Robert R. Wilson Prize for Achievement in the Physics of Particle Accelerators for his scientific work and for "embodying the spirit of scientific freedom." In 2004, <mask> expressed his opinion about Russia and Vladimir Putin by saying, "Russia is flying backwards in time. Putin is like Stalin, and he speaks in the language of the thug, the mafia."On 24 March 2005, <mask> wrote a letter to Putin to express disquiet over the criminal prosecution of Anna Mikhalchuk, <mask>v, and Ludmila Vasilovskaya in the case concerning the Sakharov Museum exhibition on religion. <mask> participated in two documentaries about the Soviet dissident movement, They Chose Freedom in 2005, and Parallels, Events, People in 2014. He was a member of the Human Rights Watch Asia Advisory and Academic Freedom Committees, and member of the Honorary 25th Anniversary Committee, Global Rights. <mask> died on 27 September 2020, aged 96. References

Some publications

Further reading
  <mask>lov Cornell University Homepage

Video

1924 births
2020 deaths
People from Moscow
Moscow State University alumni
Russian physicists
Soviet physicists
20th-century American physicists
Russian nuclear physicists
Soviet nuclear physicists
Soviet dissidents
Soviet human rights activists
Moscow Helsinki Group
Communist Party of the Soviet Union members
Expelled members of the Communist Party of the Soviet Union
Amnesty International people
Amnesty International prisoners of conscience held by the Soviet Union
Soviet prisoners and detainees
Soviet expellees
People denaturalized by the Soviet Union
Soviet emigrants to the United States
Cornell University faculty
Fellows of the American Academy of Arts and Sciences
Russian memoirists
Russian political writers
Soviet people of World War II
21st-century American physicists
Inmates of Lefortovo Prison
Russian prisoners and detainees
People associated with CERN
Moscow Institute of Physics and Technology alumni
People with acquired American citizenship

masks:
Yuri Fyodorovich Orlov
Yuri Orlov
Fyodor Pavlovich Orlov
Orlov
Orlov
Yuri Orlov
Orlov
Orlov
Orlov
Yuri Orlov
Orlov
Orlov
Yuri Andropov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Yuri Andropov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Orlov
Yuri Samoduro
Orlov
Orlov
Yuri Or


title: Andrew Pendlebury

texts:
<mask> (born 1952) is an Australian guitarist-songwriter. From 1977 to 1981 was a member of The Sports and from 1986 to 1988 he joined Slaughtermen. He has undertaken other projects and issued four solo albums. At the ARIA Music Awards of 1993, <mask>'s solo work, Don't Hold Back That Feeling, won the ARIA Award for Best Adult Contemporary Album. From 2003 he has been a member of The Mercurials. Early years
<mask> was born in Melbourne, Victoria in 1952 and grew up there. His father, Laurence "Scott" <mask> (1914–1986); and mother, Eleanor Constance "Nornie" Gude (8 December 1915 – 24 January 2002); were both visual artists.His older sister, Anne Lorraine <mask> (born 21 August 1946), became a stage, film and TV actress. In May 1953 Scott won the Dunlop Art Contest, with a first prize of A£300, ahead of Arthur Boyd. From the age of four years Pendlebury studied classical violin learning Bach and Vivaldi. After completing secondary education, Pendlebury followed his parents into visual arts and exhibited art works, which were "mainly impressionistic-style landscapes". Inspired by Django Reinhardt and Jimi Hendrix, Pendlebury taught himself guitar and began a career in music. By 1979 Anne appeared in the ABC-TV drama series, Twenty Good Years. Scott's portrait of his two children, Anne and <mask> (actress and musician respectively), was a finalist for the 1979 Archibald Prize.In the mid-1970s <mask> was a member of The Sharks with Peter Crosbie on keyboards. In 1976 he joined an R&B, country outfit, The Myriad Band, with Carrl Myriad on guitar and vocals, Mark Ferrie on bass guitar, Phil Smith on drums, and Chris Wilson on organ. This line-up provided three live tracks, "Ballad of the Station Hotel", "Rock 'n' Roll Highway" and "Glenrowan", for a Various Artists album, Live at the Station (1977). Career

1977-1987: The Sports, The Dugites, Slaughtermen

In August 1977 <mask> left Myriad to join an R&B, rockabilly group, The Sports. The Sports had formed a year earlier with Stephen Cummings on lead vocals, Ed Bates on guitar, Paul Hitchins on drums, Robert Glover (ex-Myriad) on bass guitar and Jim Niven on piano. Upon joining Pendlebury also assisted Cummings with songwriting. The band released their first album, Reckless, in 1978 on Mushroom Records, which peaked at No.43 on the Australian Kent Music Report Albums Chart. It provided four charting singles. "Who Listens to the Radio", co-written by Cummings and Pendlebury, peaked at No. 45 on the United States Billboard Pop Singles chart in November 1979. Their second album, Don't Throw Stones, consolidated their Australian chart success, peaking at No. 9, Their third album, Suddenly, featured a slicker, more pop sound, and charted at No. 74.During his time with The Sports, <mask> worked on side projects, including The Gentlemen with Bates, Wayne Duncan (Daddy Cool) on bass guitar, and Freddie Strauks (Skyhooks) on drums. The Sports fourth album, Sondra (No. 20), was released in 1981. By the end of 1981 The Sports had disbanded. Pendlebury spent a year with The Dugites alongside The Sharks' bandmate, Crosbie on keyboards and backing vocals, and Lynda Nutter on lead vocals. During his brief tenure they issued the related mini-album, No Money (August 1982). In 1983 he joined the Stephen Cummings Band reuniting with Cummings and Ferrie.<mask> played on Cummings' first solo album Senso (released August 1984) and subsequent three albums, This Wonderful Life (September 1986), Lovetown (January 1988) and A New Kind of Blue (March 1989). <mask> also toured Australia with Stephen Cummings' Lovetown. From 1986 <mask> joined a post-punk, Southern gospel group, Slaughtermen, with Ferrie, Ian Stephen on vocals, piano and organ; and Des Hefner on drums. The group released two albums, Still Lovin' You (1986) and Melbourne, Memphis and a Mansion in the Sky (1988), before <mask> began to focus on his solo career. 1987-2000: Solo albums
In July 1987 <mask> released his debut solo album, Between the Horizon and the Dockyard, on Cleopatra Records which was co-produced by Pendlebury with Mark Woods. For the album he was backed by Ferrie and drummer Peter Jones, with Cummings guesting on lead vocals for "She Set Fire to the House", which was issued as a single in September. According to Australian rock music historian, Ian McFarlane, the album showcased "an eclectic mix of styles from country swing, Spanish, Bluegrass, jazz and rock".In 1988 Pendlebury released his second solo album, Tigerland, which was followed in 1990 by Zing Went the Strings on WEA Records. On both albums <mask> worked with Pete Linden (pedal steel), Paul Grabowsky (piano), Stephen Hadley (bass), J. J. Hacket (drums), Shane O'Mara, Nick Smith, Cummings, Doug de Vries and Michael Williams. For his fourth solo album, Don't Hold Back That Feeling (1992), Pendlebury enlisted guest vocalists including Chris Wilson, Deborah Conway, Kate Ceberano and Dave Steel. The album was critically acclaimed and, the following year, won the ARIA Award for Best Adult Contemporary Album at the ARIA Music Awards of 1993. In 1993 he collaborated with De Vries on an album Karate and again in 1995 to record Trouble and Desire for ABC Music. In 1999 McFarlane had described <mask> as having "pursued a career that garnered him much critical acclaim, but little in the way of mainstream success. Although occasionally compared with Tommy Emmanuel, Pendlebury has preferred to follow a more low-key, highly specialised path away from the limelight".2002-present: The Mercurials
In 2002 Pendlebury reunited with Ferrie and formed a twin guitar duo; the following year they released an album, Late Night at the Nicholas Building. When they added a third member, Adi Sappir, an Israeli cellist, they were named, The Mercurials. Their first performance was at the Ian Potter Gallery in the National Gallery of Victoria in December 2003. In March 2004 they appeared at the Adelaide Fringe Festival, which was followed by appearances at the 2006 Port Fairy Folk Festival and Mt Beauty Music Muster. In July 2005 The Mercurials released their debut self-titled album. This was followed by a second one, Tangents in 2008, and a third album, Silver and Gold in 2009. Discography

Albums

Singles

Awards and nominations

ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music.Pendlebury has won one award from two nominations. |-
| 1991
| Zing... Went the Strings
| ARIA Award for Best Adult Contemporary Album
|
|-
| 1993
| Don't Hold Back that Feeling
| ARIA Award for Best Adult Contemporary Album
|
|-

References

General
  Note: Archived [on-line] copy has limited functionality. Specific

1952 births
ARIA Award winners
Australian guitarists
Living people

masks:
Andrew Scott Pendlebury
Pendlebury
Andrew Scott Pendlebury
Pendlebury
Pendlebury
Drew Pendlebury
Pendlebury
Andrew Pendlebury
Pendlebury
Pendlebury
Pendlebury
Andrew Pendlebury
Pendlebury
Pendlebury
Pendlebury
Pendlebury


title: J. D. Souther

texts:
<mask> "J.D.<mask> (born November 2, 1945) is an American singer, songwriter, and actor. He has written and co-written songs recorded by Linda Ronstadt and the Eagles. <mask> is probably best known for his songwriting abilities, especially in the field of country rock. He co-wrote some of the biggest hits for the Eagles, including "Best of My Love", "Victim of Love", "Heartache Tonight", and "New Kid in Town". "How Long", which appears on the Eagles' Long Road Out of Eden, was written by <mask> and originally recorded on his first solo album in 1972. Souther recorded two major hit songs in his solo career: "You're Only Lonely" (1979) and "Her Town Too" (1981), a duet with longtime friend <mask>.Career
<mask> was born in Detroit, Michigan, United States, and raised in Amarillo, Texas. As a musician and songwriter, he was greatly influenced in his formative years by fellow Texan Roy Orbison. His first recordings were with local group 'The Cinders' who traveled to nearby Norman Petty Studios in Clovis, New Mexico. Their first 45 rpm record was released on the tiny RIC label in 1965, then Norman Petty successfully shopped their recordings to Warner Brothers for a second single release as 'John David and The Cinders' in 1966. After moving to Los Angeles in the late 1960s, <mask> met musician and songwriter Glenn Frey, and eventually the two became roommates and musical collaborators, and for a time performed as a folk duo using the name Longbranch Pennywhistle. Their lone, eponymous album was released in 1970 on <mask> Bowen's Amos Records. After recording an eponymous solo studio album in 1972, <mask> next teamed up with Chris Hillman and Richie Furay to form the Souther–Hillman–Furay Band.The group released two albums but creative tensions and lack of record sales led to the band's demise. He wrote "Run Like a Thief", which appeared on Home Plate by Bonnie Raitt in 1975. <mask> has contributed as a singer to works written by other artists, including backing vocals with <mask>; on "The Light Is On" for Christopher Cross on his eponymous debut album; on the songs "False Faces" and "Loose Ends" on <mask>'s 1976 LP Nether Lands; and, with Fogelberg, as the Hot Damn Brothers on Fogelberg's 1975 LP Captured Angel. He scored his biggest solo hit with the 1979 song "You're Only Lonely" from the album of the same name, which reached number 7 on the Billboard Hot 100 and held the number 1 spot on the Adult Contemporary chart for five consecutive weeks. The Eagles recording "Heartache Tonight," written by Souther, Bob Seger, Glenn Frey, and <mask>, was released in 1979 and became the band's final chart-topping song on the Hot 100. Souther briefly dated Linda Ronstadt and co-produced her Don't Cry Now album, as well as writing songs for several of her multi-platinum albums, including "Faithless Love" from Heart Like a Wheel and "White Rhythm and Blues" on Living in the USA. Souther also recorded several additional duets with Ronstadt including "Prisoner in Disguise," "Sometimes You Can't Win," and "Hearts Against the Wind," which was featured in the 1980 film Urban Cowboy.A collaboration with his old friend <mask> called "Her Town Too" (from Taylor's platinum-certified Dad Loves His Work album) reached number 11 on the Hot 100 and number 5 on the AC chart in 1981. In 1987, he contributed to, performed on, and did the vocal arrangements for the Roy Orbison and Friends: A Black and White Night concert and video. That same year he collaborated with Clannad, providing guest vocals for their album Sirius. He sang the Platters' "Smoke Gets in Your Eyes" in Steven Spielberg's 1989 film Always, and wrote the theme song to the 1989-1992 sitcom Anything But Love. The <mask> hit song "The Heart of the Matter" (1989) was also co-written by <mask>. On October 14, 2008, <mask> released If the World Was You, his first new studio release in nearly 25 years. In the fall of 2009, he released a follow up live album titled Rain - Live at the Belcourt Theatre, featuring a blend of old and new material.On May 31, 2011, <mask> released Natural History, featuring new versions of his songs recorded by other artists. On October 9, 2012, he released Midnight in Tokyo, an EP that was recorded live. On June 14, 2013, <mask> was inducted into the Songwriters Hall of Fame and called "a principal architect of the Southern California sound and a major influence on a generation of songwriters." He wrote the song "Wishing on Another Lucky Star", featured on the soundtrack of the movie Permanent Record. <mask> co-wrote "Doin' Time for Bein' Young", a song performed by <mask> for the soundtrack of the 1990 <mask>pp movie Cry-Baby. Actor
<mask> played the character of <mask> in the (1989–1990) third season of the television drama Thirtysomething and Ted in the film Postcards from the Edge (1990). He appeared in the audiobook of <mask>'s A Salty Piece of Land.<mask> played <mask> in the television movie Purgatory in 1999 and <mask> in My Girl 2. <mask> also appeared in the 2012 mystery thriller Deadline. He had a recurring role in the first season of country music drama series Nashville, which premiered in October 2012 and he reprised his role in a 2017 episode of the fifth season. Personal life
<mask> married Alexandra Sliwin, a member of the group Honey Ltd., in March 1969; they divorced in 1972. He dated Linda Ronstadt and Stevie Nicks in the 1970s. <mask> Sill's song "Jesus Was a Crossmaker" was written for <mask>, who she said broke her heart after a short affair. In December 2002, <mask> moved from the Hollywood Hills to Nashville, Tennessee.In 2004, he married Sarah Nicholson from Bansha, Ireland; they divorced in 2010. Discography

Albums

Singles

References

External links

1945 births
American male actors
American country singer-songwriters
American rock musicians
American rock singers
American rock songwriters
Columbia Records artists
Country musicians from Michigan
Elektra Records artists
Living people
Singers from Detroit
Souther–Hillman–Furay Band members
Tascosa High School alumni
Warner Records artists
Singer-songwriters from Michigan

masks:
John David
" Souther
Souther
Souther
James Taylor
Souther
Souther
Jimmy
Souther
Souther
Don Henley
Dan Fogelberg
Don Henley
James Taylor
Don Henley
Souther
Souther
Souther
Souther
Souther
James Intveld
Johnny De
Souther
John Dunaway
Jimmy Buffett
Souther
Jesse James
Jeffrey Pommeroy
Souther
Souther
Judee
Souther
Souther


title: George Whyte

texts:
<mask><mask> (born 11 July 1933 in Budapest; died 31 August 2012 in London) was an author, composer, dramatist and art collector. His early education was at Highgate Junior School. A British national of Hungarian Jewish extraction, the Holocaust and the loss of many members of his family in Auschwitz have influenced his creative works which have increasingly focused on the struggle against social injustices especially racism. Career
A world authority on the Dreyfus Affair, his Dreyfus Trilogy, created for the Dreyfus Centenary in 1994 has been widely performed and televised. Making extensive use of archival material, he has evolved a powerful dramatic style defined by Götz Friedrich as a 'Protokol für das Musiktheater' wherein the drama is heightened by opposing texts, repeatedly sung and declaimed, which confront the listener with an escalation of the moral conflict. His literary work 'The Dreyfus Affair – A Chronological History' (publ. Palgrave Macmillan, 2006) is recognized as the major reference book on the subject.His latest creation 'Golem 13' was the cultural highlight of the Czech Presidency of the European Union (June 2009). It was premiered at the National Theatre of Prague and commemorated the 400th anniversary of the death of Rabbi Loew, the Maharal, credited with the creation of the Golem of Prague to defend the Jews of the Ghetto. In Golem 13, a Kabbalistic Drama in 2 Acts, (set to music by Noam Sheriff), Whyte dares a balancing act between the past and the future. The first act takes place in the 16th century, the second act, in the future, 500 years later, when the Jewish people, threatened once again, create Golem 13 for their protection. In this visionary work, there appears on the operatic stage, for the first time, a superhuman being composed of Kabbalistic spirituality and advanced technology, to be of eventual significance to all of mankind. Whyte readily collaborates with other composers and artistic talents and constructs his work so that it is adaptable for stage, television and radio. His administrative experience in the performing arts has contributed to the evolution of an artistic legacy largely devoted to the commemoration of the injustices suffered by the Jewish people.<mask> was inter alia Chairman of the British National Export Council for the Arts (1967–1973); founder member of the international committee of the Artur Rubinstein Piano Competition (1976–1988) and Chairman of the Royal Opera House 'The Holocaust A Commemoration in Music' (1987/88). Since 1988 Whyte he has been the Chairman of cultural events at 'Remembering for the Future' (London). For over 20 years he has researched the Dreyfus Affair which has made him a world authority on the subject. Since 1998 he has been Chairman of the Dreyfus Society for Human Rights (London and Bonn). Publications
<mask><mask>'s works have been published by (inter alia) Palgrave Macmillan (UK and US), Inter Nationes, Artial and Coda Editions; distributed by Boosey & Hawkes Bote and Bock Berlin; his stage works have been premiered by the Deutsche Oper Berlin, Oper der Stadt Bonn, Theater Basel, New York City Opera, Opernhaus Zürich, Jüdisches Museum Berlin, National Theatre Prague and broadcast on numerous TV channels and radio networks, including WDR, Channel 4, CBS, France Culture, BBC, Sweden STV1, Slovenia RTV, SLO, Finland YLE and Hungary MTV . In Czech, Czech Theatre Institute, Translations by the Goethe Institute,
 'Admission is not acceptance – Reflections on the Dreyfus Affair' Antisemitism, London Valentine Mitchell, 2007; Paris: French, Edition Le Manuscript/UNESCO 2008; Spanish: Buenos Aires Lilmod 2009; Russian: Moscow Xonokoct, 2010,
 'Die Dreyfus Affaere - Die Macht des Vorurteils', Peter Lang, Frankfurt, 2010,
 'The Dreyfus Affair - A Trilogy of Plays', Oberon Books, London, January 2011.

masks:
George R
. Whyte
George Whyte
George R
. Whyte


title: Childe Hassam

texts:
<mask> (; October 17, 1859 – August 27, 1935) was an American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and lithographs over the course of his career, and was an influential American artist of the early 20th century. Early years

Hassam was known to all as "Childe" (pronounced like child), a name taken from an uncle. Hassam was born in the family home on Olney Street on Meeting House Hill in the Dorchester neighborhood of Boston, on October 17, 1859. His father, <mask> (1825–1880), was a moderately successful cutlery businessman with a large collection of art and antiques. He descended from a long line of New Englanders.His mother, Rosa Delia Hawthorne (1832–1880), a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne. His father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took <mask> Hassam to be of Middle Eastern descent—speculation which he enjoyed stoking. In the mid-1880s, he took to painting an Islamic-appearing crescent moon (which eventually degenerated into only a slash) next to his signature, and he adopted the nickname "Muley" (from the Arabic "Mawla", Lord or Master), invoking Muley Abul Hassan, a fifteenth-century ruler of Granada whose life was fictionalized in Washington Irving's novel Tales of the Alhambra. <mask> demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, but his parents took little notice of his nascent talent. As a child, Hassam excelled at boxing and swimming at Dorchester High School.A disastrous fire in November 1872 wiped out much of Boston's commercial district, including his father's business. Hassam left high school after two years (at age 17), and by 1880 his family had moved to nearby Hyde Park. Despite his uncle's offer to pay for a Harvard education, Hassam preferred to help support his family by working. His father arranged a job in the accounting department of publisher Little, Brown & Company. During that time, Hassam studied the art of wood engraving and found employment with engraver George Johnson. He quickly proved an adept "draughtsman" and produced designs for commercial engravings such as letterheads and newspapers. Beginning to paint artistically, his preferred medium was watercolor, mostly outdoor studies, and around 1879 began creating his earliest oils.Career

Early career

1880s

In 1882, Hassam became a free-lance illustrator (known as a "black-and-white man" in the trade), and established his first studio. He specialized in illustrating children's stories for magazines such as Harper's Weekly, Scribner's Monthly, and The Century. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, where he took life painting classes. By 1883, Hassam had exhibited watercolors in his first solo exhibition at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter he was known as "<mask> <mask>". He also began to add a crescent symbol in front of his signature, the meaning of which remains speculative, possibly an allusion to his penchant for implying Middle Eastern or Turkish origins. Having had relatively little formal art training, Hassam was advised by his friend and fellow Boston Art Club member Edmund H. Garrett to join him on a two-month "study trip" to Europe during the summer of 1883.They traveled throughout the United Kingdom, the Netherlands, France, Italy, Switzerland, and Spain, studying the Old Masters together and creating watercolors of the European countryside. Hassam was particularly impressed with the watercolors of J. M. W. Turner. Sixty-seven of the watercolors that Hassam painted on this trip formed the basis of his second exhibition in 1884. During this period, <mask> taught at the Cowles Art School. He also joined the "Paint and Clay Club", expanding his contacts in the art community, which included prominent critics and "the readiest and smartest of our younger generation of artists, illustrators, sculptors, and decorators—the nearest thing to Bohemia that Boston can boast." Friends found him to be energetic, robust, outgoing, and unassuming, capable of self-mockery and considerate acts, but he could be argumentative and wickedly witty against those in the art community who opposed him. Hassam was particularly influenced by the circle of William Morris Hunt, who like the great French landscape painter Jean-Baptiste-Camille Corot, emphasized the Barbizon tradition of working directly from nature.He absorbed their credo that "atmosphere and light are the great things to work for in landscape painting." In 1885, a noted critic, in part responding to Hassam's early oil painting A Back Road (1884), stated that "the Boston taste for landscape painting, founded on this sound French school, is the one vital, positive, productive, and distinctive tendency among our artists today...the truth is poetry enough for these radicals of the new school. It is a healthy, manly muscular kind of art." In February 1884, after a courtship of several years, Hassam married Kathleen Maude (or Maud) Doane (born 1861), a family friend. Throughout their life together, she ran the household, arranged travel, and attended to other domestic tasks, but little is known about their private life. By the mid-1880s, Hassam began painting cityscapes; Boston Common at Twilight (1885) was of his first. He joined a few other progressive American artists who were taking to heart the advice of French academic master Jean-Léon Gérôme, who abandoned his traditional subject matter and told his American peers, "Look around you and paint what you see.Forget the Beaux-Arts and the models and render the intense life which surrounds you and be assured that the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity." However, one Boston critic firmly rejected <mask>'s choice of urban subject matter as "very pleasant, but not art." Although he had shown steady improvement in his oil painting, his watercolors continued provided consistent financial success. He returned with his wife to Paris where in 1886 they were able to engage a well-located apartment/studio with a maid near the Place Pigalle, the center of the Parisian art community. With the exception of fellow American artist , they lived among the French and socialized little with other American artists studying abroad. <mask> had moved to France to study figure drawing and painting at the prestigious Académie Julian. He took advantage of the formal drawing classes with Gustave Boulanger and Jules Joseph Lefebvre, but quickly moved on to self-study, finding that "[t]he Julian academy is the personification of routine...[academic training] crushes all originality out of growing men.It tends to put them in a rut and it keeps them in it", preferring instead, "my own method in the same degree". His first Parisian works were street scenes, employing a mostly brown palette. He sent these works back to Boston and their sale, combined with that of older watercolors, provided him with sufficient income to sustain his stay abroad. In the autumn of 1887, Hassam painted two versions of Grand Prix Day, employing a breakthrough change of palette. In this dramatic change of technique, he was laying softer, more diffuse colors to canvas, similar to the French Impressionists, creating scenes full of light, done with freer brush strokes. He was likely inspired by French Impressionist paintings which he viewed in museums and exhibitions, though he did not meet any of the artists. Hassam eventually became one of the group of American Impressionists known as "The Ten".The completed pictures he sent home also attracted attention. One reviewer commented: "It is refreshing to note that Mr. <mask>, in the midst of so many good, bad, and indifferent art currents, seems to be paddling his own canoe with a good deal of independence and method. When his Boston pictures of three years ago...are compared with the more recent work...it may be seen how he has progressed." <mask> contributed four paintings to the Exposition Universelle of 1889 in Paris, winning a bronze medal. At that time, he remarked on the emergence of progressive American artists who studied abroad but who did not succumb to French traditions:
The American Section...has convinced me for ever of the capability of Americans to claim a school. Inness, Whistler, Sargent and plenty of Americans just as well able to cope in their own chosen line with anything done over here...An artist should paint his own time and treat nature as he feels it, not repeat the same stupidities of his predecessors...The men who have made success today are the men who have got out of the rut. As for the French Impressionists, he wrote "Even Claude Monet, Sisley, Pissarro and the school of extreme Impressionists do some things that are charming and that will live."<mask> was later called an "extreme Impressionist". His closest contact with a French Impressionist artist occurred when <mask> took over Renoir's former studio and found some of the painter's oil sketches left behind. "I did not know anything about Renoir or care anything about Renoir. I looked at these experiments in pure color and saw it was what I was trying to do myself." 1890s

The couple returned to the United States in 1889, taking residence in New York City. He resumed his studio illustration and in good weather produced landscapes out-of-doors. He found a studio apartment at Fifth Avenue and 17th Street, a view that he painted in one of his first New York oils, Fifth Avenue in Winter.The fashionable street was traveled at that time by horse-drawn carriages and trolleys. It was one of his favorite paintings and he exhibited it several times. It skillfully uses a distinctive dark palette of blacks and browns (normally considered "forbidden colors" by strict Impressionists) to create a winter urban panorama, which Le Figaro praised for its "American character". For his Washington Arch in Spring (1890), he instead demonstrated a bright pastel palette suffused with white similar to what Monet might have employed. The sudden shift expanded his options and his range. Through the 1890s, his technique increasingly evolved toward Impressionism in both oil and watercolor, even as the movement itself was giving way to Post-Impressionism and Fauvism. During his European stay, he continued to favor street and horse scenes, avoiding some of the other favorite depictions of the Impressionists, such as opera, cabaret, theater, and boating.He also painted garden and "flower girl" scenes, some featuring his wife, including Geraniums (1888) which he presented at the Salon exhibition in 1889. He managed to exhibit at all three Salon shows during his Paris stay but won only one bronze medal. <mask> became close friends with fellow American Impressionist artists J. Alden Weir and John Henry Twachtman, whom he met through the American Water Color Society, and over the following months he made many connections in the art community through other art societies and social clubs. He contributed works from his European stay to several exhibitions and shows. Hassam enthusiastically painted the genteel urban atmosphere of New York that he encountered within walking distance of his apartment, and avoided the squalor of the lower-class neighborhoods. He proclaimed that "New York is the most beautiful city in the world. There is no boulevard in all Paris that compares to our own Fifth Avenue...the average American still fails to appreciate the beauty of his own country."He captured well-dressed men in bowler hats and top hats, fashionable women and children out and about, and horse-drawn cabs slowly making their way along crowded thoroughfares lined by commercial buildings (which were generally less than six stories high at that time). Hassam's primary focus would forever continue to be "humanity in motion". He never doubted his own artistic development and his subjects, remaining confident in his instinctual choices throughout his life. It was through Theodore Robinson, who was working alternatively in America and France, that he, Twachtman, and Weir kept in close touch with Claude Monet, who was residing in Giverny at the time. The four Americans represented the core of American Impressionism, dedicated to painting what was real for them, what was familiar and close at hand, out-of-doors when possible, and with the immediacy of light and shadow—which though exaggerated and falsely colored at times—makes a purposeful impact or impression. The urban scene provided its own unique atmosphere and light, which Hassam found "capable of the most astounding effects" and as picturesque as any seaside scene. The challenge for the urban Impressionist, however, was that activity moved very quickly, and therefore, getting down a complete impression in oil was next to impossible.To compensate, Hassam would find a suitable location, make sketches of the components of his planned painting, then return to the studio to construct a total impression that was actually a composite of smaller scenes. During the summers, he would work in a more typical Impressionist location, such as Appledore Island, the largest of the Isles of Shoals off New Hampshire, then famous for its artist colony. Social life on the island revolved around the salon of poet Celia Thaxter who hosted artists and literary figures. The group was a "jolly, refined, interesting and artistic set of people...like one large family." There <mask> recalled, "I spent some of my pleasantest summers...(and) where I met the best people in the country." Hassam's

masks:
Frederick Childe Hassam
Frederick Fitch Hassam
Childe
Hassam
Childe
Hassam
Hassam
Hassam
Hassam
Hassam
Hassam
Hassam
Hassam
Hassam
Hassam


title: Childe Hassam

texts:
 subjects for his paintings included Thaxter's flower garden, the rocky landscape, and some interior scenes rendered with his most impressionistic brush strokes to date. In Impressionist fashion, he applied his colors "perfectly clear out of the tube" to unprimed canvas without pre-mixing.Artists displayed their work in Thaxter's salon and were exposed to wealthy buyers staying on the island. Thaxter died in 1894, and in tribute Hassam painted her parlor in The Room of Flowers. Starting in the mid-1890s, Hassam also made summer painting excursions to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut; all of them by the sea, but each presenting unique aspects for painting. Even though his sales were good, Hassam continued to take on commercial work, including for the World's Columbian Exposition in Chicago in 1893. After a trip to Havana, Cuba, Hassam returned to New York and had his first major one-man auction show at the American Art Galleries in 1896, which featured over 200 works that spanned his entire career to date. The New York Times observed that of the "steadily increasing band of impressionists, Mr. Hassam is a priest high in the councils." Most critics were convinced that he had taken Impressionism too far, one stating that "his key of color has been rising higher and higher until it simply screeches.His impression has been growing more and more bleary-eyed." Another critic declared, "He ignores the public that dearly loves a picture." Hassam realized less than $50 per picture at the auction. Other American artists were also having a difficult time during the general economic slump of 1896. Hassam decided to return to Europe. Mid-career

The Hassams sailed first to Naples, then to Rome and Florence. Though staying firmly in the Impressionists' corner, Hassam spent much time in galleries and churches studying the Old Masters.The Hassams arrived in Paris in the spring, and then traveled on to England. He continued producing paintings with a very light palette. Back in New York in 1897, <mask> took part in the secession of Impressionists from the Society of American Artists, forming a new society known as The Ten. The group was energized if not initiated by <mask>, who was among the most radical of members. Their first show at the Durand-Ruel Gallery featured seven of his new European works. Critics dismissed his new work as "experimental" and "quite incomprehensible". Though still interested in including figures in his urban paintings, his new summer works done at Gloucester Harbor, Newport, Old Lyme, and other New England locales show increasing attention to pure landscapes and buildings.His time at the Old Lyme Art Colony, beginning in 1903, caused a shift of the entire colony's output away from the muted colors of Tonalism towards American Impressionism. As his colors became paler and closer in tone to Monet's, which many viewers found unsettling and unfathomable, he was asked how he came up with a particular palette. He responded that "subjects suggest to me a color scheme and I just paint." In 1900, Hassam visited Provincetown, Massachusetts. Provincetown, once a thriving maritime community had begun to rely heavily on local tourism. In Building the Schooner, Provincetown, he uniquely captures a rare event in the community: the building of a schooner. The ship featured in Hassam's work was paid for by a Chicago millionaire and was the first large ship to be built in Provincetown in a quarter of a century.<mask> was astute in marketing his work, and was represented by dealers and museums in several cities and abroad. Despite the critics and conservative buyers, he managed to keep selling and painting without having to resort to teaching for financial survival. A colleague described Hassam as an artist "with a keen knowledge of distribution, the tactical ability to place his work." As the new century began, some three decades after the Impressionists' first exhibitions in France, Impressionism finally gained a legitimacy in the American art community, and Hassam began to sell to major museums and receive jury awards and medals, vindicating his belief in his vision. In 1906, he was elected Academician of the National Academy of Design. After a brief period of depression and drinking as part of an apparent mid-life crisis, the forty-five-year-old Hassam then committed himself to a healthier life style, including swimming. During this time he felt a spiritual and artistic rejuvenation and he painted some Neo-Classical subjects, including nudes in outdoor settings.His urban subjects began to diminish and he confessed that he was tiring of city life, as bustling subways, elevated trains, and motor buses supplanted the graciousness of the horse-drawn scenes which he so enjoyed capturing in earlier times. The architecture of the city changed as well. Stately mansions gave way to skyscrapers, which he admitted had their own artistic appeal: "One must grant of course that if taken individually a skyscraper is not much of a marvel of art as a wildly formed architectural freak. It is when taken in groups with their zig zag outlines towering against the sky and melting tenderly into the distance that the skyscrapers are truly beautiful." Hassam's urban paintings took on a higher perspective and humans shrank in size accordingly, as illustrated in Lower Manhattan (1907). He began to spend only his winters in New York and traveled the balance of the year, calling himself "the Marco Polo of the painters." In 1904 and 1908, he traveled to Oregon and was stimulated by new subjects and diverse views, frequently working out-of-doors with friend, lawyer and amateur painter Colonel C. E. S. Wood.He produced over 100 paintings, pastels, and watercolors of the High Desert, the rugged coast, the Cascades, scenes of Portland, and even nudes in idealized landscapes (a series of bathers comparable to those of Symbolist Pierre Puvis de Chavannes). As usual, he adapted his style and colors to the subject at hand and the mood of place, but always in the Impressionist vein. Late career

With the art market now eagerly accepting his work, by 1909 Hassam was enjoying great success, earning as much as $6,000 per painting. His close friend and fellow artist J. Alden Weir commented to another artist, "Our mutual friend Hassam has been in the greatest of luck and merited success. He sold his apartment studio and has sold more pictures this winter, I think, than ever before and is really on the crest of the wave. So he goes around with a crisp, cheerful air." The Hassams returned to Europe in 1910 to find Paris much changed: "The town is all torn up like New York.Much building going on. They out American the Americans!" In the midst of the vibrant city, Hassam painted July Fourteenth, Rue Daunou during the Bastille Day celebrations, a forerunner of his famous Flag series (see below). When he returned to New York, Hassam began a series of "window" paintings that he continued until the 1920s, usually featuring a contemplative female model in a flowered kimono before a light-filled curtained or open window, as in The Goldfish Window (1916). The scenes were popular with museums and quickly snapped up. Hassam was especially prolific and energetic in the period from 1910 to 1920, causing one critic to comment, "Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!" Hassam truly did produce thousands of works in nearly every medium during his life.Where his friend Weir might paint six canvases in a season, <mask> would do forty. During that period he also returned to watercolors and oils of coastal scenes, as exemplified by The South Ledges, Appledore (1913), which employs an unusually balanced division of sea and rocks diagonally across a nearly square canvas, giving equal weight to sea and land, water and rock. This painting shows the famous writer Celia Thaxter's home in Appledore Island. The South Ledges, Appledore is owned by the Smithsonian American Art Museum in Washington D.C. He also produced some still-life paintings. <mask> displayed six paintings at the landmark Armory Show of 1913, where Impressionism was finally viewed as mainstream and nearly an historical style, and displaced by the clamor over the radical revolution of Cubism, fresh from Europe. He and Weir were the oldest exhibitors, nicknamed at a press dinner as "the mammoth and the mastodon of American Art".Hassam viewed the new art trends from abroad with alarm, stating "this is the age of quacks, and quackery, and New York City is their objective point." He was also displeased that the Armory Show drew attention away from the latest exhibits of The Ten. In 1913, <mask> was honored with a separate gallery showing at the Panama-Pacific Exhibition, featuring thirty-eight pictures. Around 1915, he renewed his interest in etching and lithography, producing more than 400 of these works during his later career. While Hassam found these works artistically satisfying, they received a tepid public response, as he commented, "some sell and some of the best do not." The Flag series

The most distinctive and famous works of Hassam's later life comprise the set of some thirty paintings known as the "Flag series". He began these in 1916 when he was inspired by a "Preparedness Parade" (for the US involvement in World War I), which was held on Fifth Avenue in New York (renamed the "Avenue of the Allies" during the Liberty Loan Drives of 1918).Thousands participated in these parades, which often lasted for over twelve hours. Being an avid Francophile, of English ancestry, and strongly anti-Germany, Hassam enthusiastically backed the Allied cause and the protection of French culture. The Hassams joined with other artists in the war relief effort from nearly the beginning of the conflict in 1914, when most Americans as well as President Woodrow Wilson were decidedly isolationist. <mask> even considered volunteering to record the war in Europe, but the government would not approve the trip. He was even arrested (and quickly released) for innocently sketching naval maneuvers along the city's rivers. In addition to the time he gave to many committees, several of his flag pictures were contributed to the war relief in exchange for Liberty Bonds. Although he had great hopes that the entire series would sell as a war memorial set (for $100,000), the pictures were sold individually after several group exhibitions, the last at the Corcoran Gallery in 1922.Claude Monet, among other French artists, had also painted flag-themed works, but <mask>'s have a distinctly American character, showing the flags displayed on New York's most fashionable street with his own compositional style and artistic vision. In most paintings in the series, the flags dominate the foreground, while in others the flags are simply part of the festive panorama. In some, the American flags wave alone and in others, flags of the Allies flutter as well. In his most impressionistic painting in the series, The Avenue in the Rain (1917), which has been in the White House permanent collection since the Kennedy administration, the flags and their reflections are blurred so extremely as to appear to be viewed through a rain-smeared window. On entering the White House, Barack Obama chose to display it in the Oval Office. Hassam's flag paintings cover all seasons and various weather and light conditions. Hassam makes a patriotic statement without overt reference to parades, soldiers, or war, apart from one picture showing a flag exclaiming "Buy Liberty Bonds".Flag paintings by Hassam are in the collections of The Metropolitan Museum of Art, the New York Historical Society, the Virginia Museum of Fine Arts, the Princeton University Art Museum and the National Gallery of Art. Final years
In 1919, Hassam purchased a home in East Hampton, New York. Many of his late paintings employed nearby subjects in that town and elsewhere on Long Island. The post-war art market boomed in the 1920s, and Hassam commanded escalating prices, though some critics thought he had become static and repetitive, as American art had begun to move on to the Realism of the Ashcan School and artists like Edward Hopper and Robert Henri. In 1920, he received the Gold Medal of Honor for lifetime achievement from the Pennsylvania Academy of the Fine Arts and numerous other awards through the 1920s. His work was also part of the painting event in the art competition at the 1928 Summer Olympics. Hassam traveled relatively little in his last years, but did visit California, Arizona, Louisiana, Texas, and Mexico.He died in East Hampton in 1935, at age 75. He denounced modern trends in art to the end of his life, and he termed "art boobys" all the painters, critics, collectors, and dealers who got on the bandwagon and promoted Cubism, Surrealism and other avant-garde movements. Until a revival of interest in American Impressionism in the 1960s, Hassam was considered among the "abandoned geniuses". As French Impressionist paintings reached stratospheric prices in the 1970s, Hassam and other American Impressionists gained renewed interest and were bid up as well. Gallery

References

Notes

Sources

Further reading

Kiehl, David W. (1977). Childe Hassam as printmaker : a selection in various media, New York: Metropolitan Museum of Art. External links

 Online Monograph
 Frederick Childe Hassam Virtual Gallery 442 works by the artist
 Links to images by Childe Hassam by Artcylcopedia
 Dorchester Atheneum biography

19th-century American painters
American male painters
20th-century American painters
American Impressionist painters
American landscape painters
American portrait painters
Art Students League of New York faculty
Artists from Boston
People from Long Island
1859 births
1935 deaths
Masterpiece Museum
National Academy of Design members
Alumni of the Académie Julian
20th-century American printmakers
People from Dorchester, Massachusetts
Members of the Salmagundi Club
19th-century male artists
People from Hyde Park, Boston
Olympic competitors in art

masks: Hassam Hassam Hassam Hassam Hassam Hassam Hassam Hassam


title: Chris Ngimbi

texts:
<mask> "The African Warrior" <mask> (born 18 April 1984 in Kinshasa) is a Congolese-Dutch Muay Thai kickboxer fighting out of the Siam Gym in Valkenswaard, Netherlands for Black Label. He is the two times It's Showtime 70MAX world champion fighting primarily within the It's Showtime and the K-1 Global Holding organizations. He also held the SUPERKOMBAT Middleweight Championship in 2016. Biography and career

<mask> was born in Kinshasa the capital city of the Democratic Republic of the Congo. He was born with a weak heart which doctors felt would make it hard for him to survive his first year. He spent his childhood in the African country but his family was forced to leave when he was 11 years old due to the civil war and the fact that his father had served in the political party of the recently ousted president Mobutu Sese Seko. <mask> relocated to the Netherlands and was a keen footballer in his teenage years and tipped to do well but decided to focus on kickboxing after making his amateur debut at 18 in Eindhoven representing the Duran Gym.He would later switch to the Calmaro gym in Helmond after his second B-Klass match with a fighting record of 12 wins and 1 loss. -

After fighting on the local scene for several years, <mask> was invited as a member of a Dutch team that would participate in a W.K.A. event in New York City. Due to an impressive knockout of his opponent he would be invited back to the states the following year to contest against Atlanta based Thai Khunpon Dechkampu for the W.K.A. intercontinental title, in what would be the first of a number of title fights on American soil. <mask> was successful on his return visit to the United States, winning the belt via KO and as winner of the intercontinental belt <mask> would get a shot at the W.K.A. world title in 2007, losing to Shane Campbell in their first match in Richmond, only to win the rematch six months later to claim his first world title.In between trips across the Atlantic <mask> would have a number of fights in the Netherlands, defeating useful fighters such as Ray Staring, Kit Sitpholek and William Diender – the latter in the K-1 MAX Netherlands 2008 tournament in which he made the semi finals only to lose to eventual winner Warren Stevelmans (who he had beaten back in 2006). He also made his debut with the It's Showtime organization defeating English fighter Rick Barnhill in Alkmaar. In February 2009 <mask> had another attempt to qualify for the K-1 MAX via a regional event in Utrecht but lost at the quarter final stage to Marco Piqué. This decision was modified after protest from <mask>'s corner. In May 2009 after the fight against Schneidmiller in the Amsterdam Arena he left the Calmaro gym to join Siam Gym in Valkenswaard. The switch had led to victories against fighters as Chahid Oulad el Hadj and Hafid el Boustati. In 2010,  <mask>'s record with the It's Showtime organization (4 wins, 2 losses) led to the organization inviting him to challenge two time It's Showtime champion Murat Direkçi for his world title belt in Athens at the end of the year.As the underdog, few expected the African Warrior to triumph but he pulled off a fifth round upset decision win against Direkçi to become the new It's Showtime 70MAX world champion. <mask> retained his It's Showtime 70MAX world title at the It's Showtime 2011 Lyon event, outclassing local fighter Willy Borrel on way to a trademark flying knee KO victory. In December 2011, Ngimbi shocked the kickboxing world when he stated that he will make one more defence of his belt, against Andy Souwer in June 2012, and then retire. He lost the fight, but came back to his decision to retire so he can participate on the K-1 World Max. He was stopped by Artur Kyshenko in round two at the quarter-finals of the K-1 World MAX 2012 World Championship Tournament Final in Athens, Greece on December 15, 2012. Titles
SUPERKOMBAT Fighting Championship
2016 SUPERKOMBAT Middleweight Champion -72.5 kg. W5 Professional Kickboxing
2015 W5 XXXI Tournament Runner Up -71 kg
2015 W5 XXX Tournament Champion -71 kg

It's Showtime
2011 It's Showtime 70MAX world champion -70 kg (2nd title defence)
2010 It's Showtime 70MAX world champion -70 kg

World Kickboxing Association
2007 W.K.A.Muay Thai super welterweight world champion -70 kg
2005 W.K.A. Muay Thai super welterweight intercontinental champion -70 kg

World Full Contact Association
2003 World Full Contact Association (W.F.C.A.) European champion

Kickboxing record

|-  bgcolor="#CCFFCC"
| 2018-07-27 || Win ||align=left| Armen Petrosyan || ONE Championship: Reign of Kings || Philippines || Decision (Split) || 3 || 3:00||32-21
|-
|-  bgcolor="FFBBBB"
| 2018-05-18|| Loss||align=left|  Yodsanklai Fairtex   || ONE Championship: Unstoppable Dreams || Singapore || Decision (Unanimous) || 3 || 3:00|| 31-21
|-  bgcolor="FFBBBB"
| 2017-10-14 || Loss||align=left| Giorgio Petrosyan || PetrosyanMania || Monza, Italy || Decision (unanimous) || 5 || 3:00 || 31-20
|-
! style=background:white colspan=9 |
|-
|-  bgcolor="FFBBBB"
| 2016-11-12|| Loss ||align=left| Amansio Paraschiv  || SUPERKOMBAT World Grand Prix 2016 Final || Bucharest, Romania || Decision (unanimous) || 3 || 3:00 || 31-20
|-
! style=background:white colspan=9 |
|-
|-  bgcolor="#CCFFCC"
| 2016-10-01 || Win ||align=left| Amansio Paraschiv  || SUPERKOMBAT World Grand Prix 2016 Final Elimination || Iași, Romania || Decision (unanimous) || 3 || 3:00 || 31-19
|-
! style=background:white colspan=9 |
|-
|-  bgcolor="FFBBBB"
| 2016-03-25 || Loss ||align=left| Lee Sung-hyun || Kunlun Fight 40, Final || Tongling, China || Decision || 3 ||3:00 || 30-19
|-
|-  bgcolor="#CCFFCC"
| 2016-03-25 || Win ||align=left| Sergey Kulyaba || Kunlun Fight 40, Semi Finals || Tongling, China || KO || 3 || 2:59 || 30-18
|-
|-  bgcolor="FFBBBB"
| 2015-12-05 || Loss ||align=left| Artem Pashporin || W5 Grand Prix Vienna XXXI, Final || Vienna, Austria || Decision (unanimous) || 3 || 3:00 || 29-18
|-
! style=background:white colspan=9 |
|-
|-  bgcolor="CCFFCC"
| 2015-12-05 || Win ||align=left| Evgeniy Kurovsky || W5 Grand Prix Vienna XXXI, Semi Finals || Vienna, Austria || Decision (unanimous) || 3 || 3:00 || 29-17
|-
|-  bgcolor="#CCFFCC"
| 2015-08-30 ||Win ||align=left| Ilya Usachev || W5 Grand Prix Moscow XXX || Moscow, Russia || KO (Right knee) || 2 || 2:31 || 28-17
|-
!style=background:white colspan=9 |
|-
|-  bgcolor="#CCFFCC"
| 2010-12-11 || Win ||align=left| Murat Direkçi || It's Showtime 2010 Athens || Athens, Greece || Decision (5-0) || 5 || 3:00 || 22-8
|-
! style=background:white colspan=9 |
|-
|-  bgcolor="#CCFFCC"
| 2007-06-02 || Win ||align=left| Ray Staring || Gentleman Fight Night 2007 || Tilburg, Netherlands || Decision (Unanimous) || 5 || 3:00 || 11-4
|-
|-  bgcolor="#CCFFCC"
| 2007-05-13 || Win ||align=left| Kit Sitpholek || Fight Night Veghel || Veghel, Netherlands || Decision (Unanimous) || 5 || 3:00 || 10-4
|-
|-  bgcolor="#FFBBBB"
| 2007-03-24 || Loss ||align=left| Shane Campbell || Combat Sports Challenge 19 || Richmond, VA, USA || Decision (Majority) || 5 || 3:00 || 9-4
|-
!

masks: Chris Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi Ngimbi