title: Beverly Daniel Tatum

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<mask> (born September 27, 1954) is a psychologist, administrator, and educator who has conducted research and written books on the topic of racism. Focusing specifically on race in education, racial identity development in teenagers, and assimilation of black families and youth in white neighborhoods. <mask> uses works from her students, personal experience, and psychology learning. <mask> served from 2002 to 2015 as the ninth president of Spelman College, the oldest historically black women's college in the United States. <mask> is the author of the widely acclaimed book "Why Are All the Black Kids Sitting Together in the Cafeteria" And Other Conversations About Race, in which she argues that Americans are reluctant to talk about issues of race, and that we must begin to consider the psychological effects of racial identity development. In her more recent 2007 book, Can We Talk about Race? and Other Conversations in an Era of School Resegregation, <mask> again highlights the urgent need for conversations about race, emphasizing the continued racial segregation of schools and the impacts that this has on achievement of racial minorities.Early life

<mask> <mask> was born on September 27, 1954, in Tallahassee, Florida. Her parents were Catherine Faith Maxwell and Robert A<mask>. <mask> calls herself an "integration baby", having been born only four months after the 1954 Supreme Court ruling on Brown v. Board of Education that outlawed race-based segregation in schools. <mask> grew up in Bridgewater, Mass., where she recalls usually being the only black student in her classes. Much of her family, including her parents, grandparents, and great-grandparents attended some of the best historically black colleges, such as the Tuskegee Institute and Howard University. However, when Tatum graduated high school in 1971, she was not limited to only historically black colleges and universities. <mask> earned a B.A.in Psychology from Wesleyan University. She also received her M.A. in Clinical Psychology in 1976 from the University of Michigan, and a Ph.D in clinical Psychology in 1984, also from the University of Michigan. Much later in 2000, she received an M.A. in religious studies from Hartford Seminary. Academic career

<mask> initially taught Black Studies at the University of California at Santa Barbara from 1980 to 1983. She then went on to be a professor of Psychology at Westfield State College (1983-1989), and later served as a professor of Psychology for thirteen years at Mount Holyoke College in South Hadley, Massachusetts.While at Mount Holyoke, she was also appointed as chair of the Psychology department, Dean of the College, Vice President for Student Affairs, and acting President of the College. In the fall of 2002, <mask> became the President of Spelman College, a historically black liberal arts women's college located in Atlanta, Georgia. Her tenure there was marked by many successes, including a 10-year campaign that increased the alumni donation rate up to 41%, and raised $157.8 million. <mask> has brought her expertise in the realm of racial identity development to lectures, workshops, and panels across the country, even speaking as a panel member at the Summit on Race Relations and America's Public Education System, a publicly broadcast conversation about race relations that was hosted by President Bill Clinton. In addition to being a renowned educator and author, <mask> also worked as a practicing clinical psychologist from 1988 to 1998. Her area of expertise was in diversity training and multicultural organizational development, which she would carry out in individual and group sessions. <mask> was elected to the American Philosophical Society in 2014.Dr. <mask> <mask> retired in July 2015 as President Emerita of Spelman College. She now hopes to focus on work as an author, lecturer, and expert of racial identity development. Race and education

In <mask>'s widely cited article Talking about Race, Learning about Racism: The Application of Racial Identity Development Theory in the Classroom, published in the Harvard Educational Review, she describes her experiences teaching classes on race related issues, and applies Racial Identity Development Theory as a framework that is useful for understanding common student responses to such topics. She summarizes her career-long commitment to teaching about and leading discussions on race at various institutions in the following quote:

"I was convinced that helping students understand the ways in which racism operates in their own lives, and what they could do about it, was a social responsibility that I should accept." Over her many years as an educator, <mask> taught a course titled "Psychology of Racism" eighteen times at three separate institutions. While the class sizes, the institutions, and the students varied a great deal, <mask> says that classes shared a common thread in how the students tended to react to the material. She describes how students often responded to such topics emotionally, expressing guilt, shame, and anger, all of which had the potential to prevent them from engaging with and appreciating the material.<mask> argues that students tended to resist the topic of race in part because it is considered taboo, but also because it clashes with meritocratic ideals that are prominent in America, and because white students often fail to recognize that race has meaningfully impacted each of their lives. <mask> explains this resistance further in terms of William E. Cross, Jr.'s Racial Identity Development theory, a theory that explores the psychological effects of coming to terms with one's racial group membership. Racial identity theories have been modeled for blacks and whites, but these theories vary markedly in terms of the developmental stages by which they are defined. As a professor, <mask> has observed many students go through these stages of racial identity development, and provides quotes from journal entries in which the students react to the class discussions and material over the course of a semester. In presenting these journal entries, <mask> reveals that while students go through their own personal evolution in response to topics of race, their experiences also tend to map onto racial identity theory quite well. <mask> argues that the model, while imperfect, is a very useful tool that enables students to frame their experiences in a meaningful way, thereby facilitating positive student development. <mask> touches on many of these same issues in her popular book "Why Are All the Black Kids Sitting Together in the Cafeteria?"And Other Conversations About Race. In the book, she offers a detailed overview of racial identity development in black individuals and white individuals and briefly addresses racial identity development of Native Americans, Latinos, and Asian Americans. She draws on vivid personal anecdotes of interactions with her own children and students, as well as empirical literature, to build a case for the relevance and significance of racial identity development in terms of achievement, mental health, and inclusion. <mask> emphasizes the need for educators, parents, and the general public to educate themselves about such topics in order to meaningfully hold conversations about race, specifically as it relates to education. Legacy

In 2014, the American Psychological Association presented Dr. <mask> <mask> with the Award for Outstanding Lifetime Contribution to Psychology, the highest honor presented by the APA. The citation for the award stated the following: "you have engaged the very difficult subject of race relations in the United States, and the impact of such an environment on identity development for African Americans." Indeed, <mask> has dedicated much of her career to conversations with the public on the subjects of race and racial identity development.As a result, she has become a nationally renowned expert on such issues, and has been invited to speak and conduct workshops at various institutions across the country. <mask> has also clearly left her mark at Spelman College, where she served as President for 13 years. Since the beginning of her tenure in 2002, the overall scholarship support for students at Spelman has doubled. <mask> was also involved in the initiative "Going Global", which seeks to develop student intercultural competencies through infrastructural support for Global study-travel programs. In 2012, she launched a Wellness revolution, which was designed to empower students to make healthy choices relating to exercise, diet, and sleep. And in 2014, <mask> helped the college to raise 157.8 million dollars, an amount that far exceeded fundraising goals and was the most money to have been fundraised in the history of the institution. Other selected publications

 Assimilation Blues: Black Families in a White Community (revised), 2000.<mask>, B. (1994). Teaching White students about racism: The search for White allies and the restoration of hope. The Teachers College Record, 95(4), 462-476. Lawrence, S. M., & <mask>, B. D. (2004). White educators as allies: Moving from awareness to action. Off white: Readings on power, privilege, and resistance, 362-372.<mask>, B. D. (2000). The complexity of identity: Who am I. Readings for diversity and social justice, 9-14. <mask>, B. D. (2004). Family life and school experience: Factors in the racial identity development of Black youth in White communities. Journal of Social Issues, 60(1), 117-135. See also

 Presidents and principals of Mount Holyoke College

References

External links

1954 births
American women psychologists
American psychologists
Hartford Seminary alumni
Living people
Mount Holyoke College faculty
Presidents and Principals of Mount Holyoke College
Presidents of Spelman College
Psychology educators
University of California, Santa Barbara faculty
University of Michigan alumni
Wesleyan University alumni
African-American psychologists
Members of the American Philosophical Society

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title: Hilda Rix Nicholas

type: original

texts:
<mask> (née <mask>, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Born in the Victorian city of Ballarat, she studied under a leading Australian Impressionist, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, <mask>, her only sibling Elsie and her mother travelled to Europe where she undertook further study, first in London and then Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen. After travelling to Tangier in 1912, <mask> held several successful exhibitions of her work, with one drawing, Grande marché, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon in 1911 and 1913. The family evacuated from France to England after the outbreak of World War I.A period of personal tragedy followed, as <mask>'s sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson <mask>, only to be widowed the next month when he was killed on the Western Front. Returning to Australia in 1918, <mask> <mask> once more took up professional painting, and held an exhibition of over a hundred works at Melbourne's Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, <mask> <mask> returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. Other exhibitions, such as the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London, soon hosted her work.She was made an Associate of the Société Nationale des Beaux-Arts after several of her works were included in its 1926 Spring exhibition in Paris. In 1926, <mask> <mask> returned to Australia, and in 1928 she married Edgar Wright, whom she had met during her travels in the early 1920s. The couple settled at Delegate, New South Wales; their only child, a son named <mask> Wright, was born in 1930. Though she continued to paint significant works including The Summer House and The Fair Musterer, <mask> <mask>, a staunch critic of modernism and disdainful of emerging major artists such as Russell Drysdale and William Dobell, grew out of step with trends in Australian art. Her pictures followed a conservative modern style, portraying an Australian pastoral ideal, and reviews of her exhibitions grew more uneven. She held her last solo show in 1947. <mask> <mask> remained at Delegate until her death in 1961.Her works are held in most major Australian collections, including the Art Gallery of South Australia, Australian War Memorial, National Gallery of Australia, National Gallery of Victoria, and the Queensland Art Gallery. Early life
Henry Finch <mask> and Elizabeth Sutton, each of whom had migrated to Australia as children with their families, met and married in Victoria in 1876. They had two daughters, Elsie Bertha, born in 1877, and <mask> (known ubiquitously just as <mask>), born in Ballarat on 1 September 1884. The <mask> children grew up in a gifted and energetic family. Henry, a mathematics teacher, was appointed a district Inspector of Schools in the 1880s; he was also a poet who wrote in support of Australian Federation, and played Australian rules football for the Carlton Football Club. Elizabeth had grown up assisting in her parents' thriving music business in Ballarat, and was a singer who performed with the Ballarat Harmonic Society. In addition, she had a studio in Melbourne's Flinders Street, and a committee member of the Austral Salon, "a meeting place for intellectual women interested in the fine arts."She painted in an academic style, generally choosing still lifes and flowers as subjects, though she painted some large landscapes in the Beechworth region. <mask> and her sister Elsie both played musical instruments as children, performing songs and dances at regional shows. Elsie was a singer and actor who performed at the meetings of the Austral Salon, and the sisters collaborated in designing posters for the Salons. As a child, <mask> was enthusiastic about drawing. Her artistic efforts drew praise while she was attending high school at Melbourne Girls Grammar (known as Merton Hall), though in most other respects <mask> was not an outstanding student. Both took art lessons with a Mr Mather, before <mask> studied at the National Gallery of Victoria Art School from 1902 to 1905, where she was taught by a leading Australian Impressionist, Frederick McCubbin. Her fellow students were mostly women and included Jessie Traill, Norah Gurdon, Ruth Sutherland, Dora Wilson, and Vida Lahey.<mask> would subsequently be critical of McCubbin's approach to teaching, referring to his methods as "vague persuasions". Nevertheless, the author of the only comprehensive biography of <mask>, John Pigot, considered that McCubbin influenced her in several ways: he emphasised the creativity of individuals rather than imitating the style of any one school of painting; he modelled the importance of nationalistic ideas and subjects that would become so prominent in her later painting; and his work emphasised the painting's subject over technical considerations. Drawings undertaken by <mask> while she was still a student were included in annual exhibitions at the Victorian Artists' Society and the Austral Salon. At the same time, she was working as a professional illustrator for textbooks and a periodical, the School Paper, published by the Victorian Department of Education. In 1903, all of the <mask> family women had works included in the Austral Salon's exhibition. One of <mask>'s early sketchbooks survives and pages from it were reproduced in the 2012 book, In Search of Beauty. Although she described the works as her "very earliest drawings when a child in Melbourne", the dated pages indicate they were created up until at least the age of twenty.They mostly portray women, and the settings and dress of her subjects reflect the relatively affluent and educated milieu of which the <mask> family were part. In this period, it was common for aspiring Australian artists to seek further training in Europe, particularly London and Paris. <mask> arranged to take his family there in conjunction with a trip he was making to study British education reforms, purchasing first-class tickets to travel in 1906. But Henry, who had been overworked and ill, died suddenly, and for a time it appeared the trip might not happen. Denied a widow's pension (Henry had been 58: too young for his wife to be eligible), the family had to reorganise their affairs and work out if they could afford to get to Europe. Finally, by combining an inheritance, rental income from their home, and money raised through the sale of works by both mother and daughter, they were able to trade the first class tickets for second class berths, and they set sail for England early in 1907. Europe 1907–12

Just before her departure from Australia, <mask> was advised by the painter Arthur Streeton to study with many different masters, as a means of preserving her own originality.Her subsequent career reflected that advice. One of her first teachers was John Hassall, although he had initially protested that she was already a better drawer than himself. <mask> thought him "simply great", and Pigot credits Hassall's simple and direct style with influencing the artist's later practice. Late in 1907, <mask> moved with her sister and mother to Paris, where they lived in Montparnasse. There she met with Australian artist E. Phillips Fox, went on sketching expeditions to the Jardin du Luxembourg where Ethel Carrick Fox worked, and became a student at the Académie Delécluse, operated by academic painter Auguste Joseph Delécluse. She found his guidance in life drawing enormously valuable, though she thought his approach to colour "too drab". The following year she was taught by American impressionist Richard Emil Miller.From him she acquired the use of a relatively bright colour palette, not always naturalistic, as well as his dextrous technique; she did not, however, follow his predilection for pretty compositions, favouring more direct and clear images. Continuing to acquire skills from a wide range of artists, she next studied at the Académie de la Grande Chaumière, including with Swiss-born illustrator Théophile Steinlen. <mask>, her sister and mother, spent summers traveling together. In 1908 they journeyed through France and Italy, and later at the artists' colony at the fishing village of Étaples, in northern France. Among the artists active there was Frenchman Jules Adler, who took an interest in <mask>'s work, as well as many Australians, including Rupert Bunny, James Peter Quinn, Edward Officer and one of the colony's longest-term residents, Iso Rae. Around 1909, <mask> met Wim Brat, an architecture student from a wealthy Dutch family. He asked <mask>'s mother for approval to marry her daughter, and Mrs <mask> agreed.An initial engagement turned sour, however, when <mask> spent time at her fiancé's home, where she found her prospective husband dominated by his mother, who strongly disapproved of the match. <mask> reluctantly broke off the engagement. <mask> continued to work, and was rewarded with hangings at the Paris Salon in 1911, alongside fellow Australians Arthur Streeton and George Bell. She took up study at Académie Colarossi at the time Henri Matisse was painting from the academy's models and offering an open studio to its students. At this time she became only the second Australian to have a work acquired by the French government, and is considered by Australian curator Elena Taylor to be, after the established expatriates Bunny and Phillips Fox, "without doubt the most successful of the Australian artists in France". Moroccan paintings 1912–14

Many women artists visited and worked in north Africa in the late nineteenth and early twentieth centuries; <mask> twice visited the region, resulting in some of her most significant artistic development and works. She first joined American painter Henry Ossawa Tanner, his wife and a Miss Simpson on a trip to Morocco in January 1912.They travelled via Spain, where <mask> viewed the work of Velázquez, whose compositions and palette she greatly admired. The party's destination was Tangier, a place where many other artists had sought inspiration. Jean-Joseph Benjamin-Constant lived and painted there in the 1870s, while John Singer Sargent visited in the 1880s. Henri Matisse also visited Tangier in 1912 and, like <mask>, travelled to Tétouan, about  east of Tangier; they used the same models. For about three months, <mask> sketched and painted in Tangier, spending time in the open-air market place or soko. Her enthusiasm for the place was evident from her correspondence:
Picture me in this market-place – I spend nearly every day there for it fascinates me completely – have done 16 drawings and two oil things so far – Am feeling thoroughly at home now so am going to take out my big oil box – wanted to get used to people and things first – Oh how I do love it all! ... Oh the sun is shining I must out to work.Morocco had a similar effect on <mask> as it did on many artists who visited. Paintings were created in high-keyed colours that captured the intense north African light, and most works focussed on the figures, dress and activity of the people, or the local architecture. One interpretation of the perspective of <mask> is that she was an orientalist, in the sense used by academic Edward Said. Pigot, in his exhibition essay Capturing the Orient, considered how <mask>'s works "emphasise the exoticism" of the locations she portrays. Representing the Orient through the objective depiction of costumes and dress maintained the counterfeit truthfulness of orientalist imagery, concealing the reality of oriental life and the violence that underscored the colonial project. In <mask> <mask>'s imagery costumes embodied the exoticism of the East and signified its sense of cultural 'otherness'. On the other hand, Hoorn argues that <mask> and her sister were to a significant extent counter-orientalist: they focussed on the common nature of human experience rather than cultural expressions of difference and they sought to portray everyday life in Tangier as they found it, rather than presenting generalised views of the orient.Her works similarly reflect a modernist approach to the empirical: in using the bright light of north Africa to help bring out the structures and shapes that made up visual impressions. Hoorn wrote:
She did not seek out or embellish her pictures with the "orientalist" stereotypes that she had learned while growing up in Melbourne...In her writing and painting, she actively campaigned against what she saw as the fakery of "orientalism". Her pastel drawings and oils strive to present an accurate account of the dress, manners and appearance of her subjects. Stylistically, <mask>'s Moroccan paintings have been characterised as the "most abstract, flat and post-impressionistic of her career". <mask> <mask>'s approach may have been influenced by Matisse: they stayed in the same hotel in Tangier at the same time for nearly two months, travelled to Tétouan during the same week, and may be in a photograph together taken during that trip. She was one of the first Australians to paint post-impressionist landscapes, including Men in the Market Place, Tangier (1914) and View of Tangier (1914), produced during a second visit to the city. They demonstrate the development of her style at the time: loose brush strokes, a palette confined to a few low-keyed colours, and an emphasis on shadow and light, affecting both the overall impression made by the picture and the treatment of individual figures.The 1912 trip represented a landmark in her work, led to several exhibitions and her first significant international critical acclaim. The journeys are the subject of one of the few books about the artist's work, Jeanette Hoorn's <mask> Rix Nicholas and <mask>'s Moroccan Idyll: Art and Orientalism. Exhibition of her first works produced immediate results: the French government purchased one of her pictures of the market in Tangier, and in 1913 she again had paintings displayed at the Paris Salon. The purchase by the French government was of a pastel drawing, Grande marché, Tanger, which she would later copy in oils. The drawing was favourably discussed in the French edition of the New York Herald, but not by one The Sydney Morning Herald reviewer, who complained that "the drawing and colour are eccentric, after the post-impressionist manner" and described the central figure as "grotesque in its want of finish". The Herald's reviewer was at odds with prevailing sentiment. Her success was widely reported in Australian papers such as  Hobart's Mercury, Melbourne's Argus and Adelaide's Register.In addition to displaying the results of her trip at the Salon, she was invited to exhibit in 1913 and 1914 at the Société des Peintres Orientalistes Français, also in Paris. <mask> was made a member of the society. In November 1912, there was a solo exhibition at a private gallery, Galerie J Chaine and Simonson. Her work was illustrated in the Notre Gazette, reflecting her emerging status as a significant artist, and the French press reported her exhibitions. She returned to Tangier again in early 1914, this time with her sister Elsie, who also drew and wrote but whose main purpose was to provide her sister with company, assistance and protection from curious onlookers while she painted. <mask>

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title: Hilda Rix Nicholas

texts:
 painted regularly at the soko, where she would both attract much attention and sometimes disrupt the flow of traffic as she sketched. The sisters returned to England and then to France, where <mask> again spent the summer at  Étaples, until the outbreak of World War I resulted in evacuation to London in August.Disaster 1914–18
Her retreat to London began a tragic period in her life. <mask>'s mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was brought to hospital when they landed; though she partially recovered and was moved to a nursing home, her other daughter, Elsie, fell ill with typhoid. <mask> moved between her two ailing family members until, on 2 September 1914, Elsie died. For three months she withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, <mask>'s artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died.<mask> was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing". Further misfortune arrived when in France, an Australian officer, Captain George Matson <mask>, was posted to  Étaples. He heard about the female Australian artist who had to leave her paintings behind when she and her family left abruptly for England. <mask> sought her works and admired them, and decided to contact the artist when next he was on leave. He met <mask> in September 1916, and they were married on 7 October at St Saviour's, Warwick Avenue in London. After three days together, he returned to duty; she was widowed five weeks later on 14 November, when he was shot and killed during battle at Flers, on the Western Front.Initially writing in her diary that she had lost the will to live, <mask> <mask>'s grief eventually found its expression in three paintings, titled And Those Who Would Have Been Their Sons, They Gave Their Immortality (a phrase from a poem by Rupert Brooke), Desolation and Pro Humanitate. The second of these paintings (which was destroyed by fire in 1930), portrayed a gaunt and tearful woman shrouded in a black cloak, crouched staring at the viewer amidst a battlescarred landscape, featureless but for the crosses on distant graves. The National Gallery of Australia holds a charcoal drawing made as a study for the work. Desolation was "a portrait of a woman cradling a ghostly child". The reviewer for the Sydney Morning Herald wrote of the painting:
Desolation is almost gruesome in the grim delineation of the figure typifying all the widowed world in one lone woman. There she sits, lost in an awful reverie, over the stricken battlefield. The work is an epitome of wasteful ruin.Her triptych Pro Humanitate conveys the tragedy of her short marriage to <mask>, but like Desolation, it was destroyed in a fire. The work comprised panels representing a happy couple in an outdoor vista; the moment of death of a soldier, arms outstretched in a crucifixion pose; and the grieving widow, watched by the ghost of the soldier. In visualising "the ruin caused by war", her works were more personal than those of other artists of the last years of World War I, such as Paul Nash and Eric Kennington, and her representation of widowhood was both unusual for its time, and confronting for the viewer. Return to Australia, 1918–1923
In March 1918, <mask> <mask>, along with her brother-in-law Athol <mask>, left England and arrived in Melbourne on 10 May. There, with the encouragement of artist Henrietta Gulliver and the members of the city's Women's Art Club, <mask> <mask> began to reconstruct her career as a professional artist. It did not take long. In November, she was among the members of the Club whose works were displayed at the Athaeneum Hall, where a critic described her as the "dominating personality of the show".At the same time, in Melbourne's Guild Hall she held a large exhibition of her European and north African paintings, sketches and drawings, with over a hundred works on display. Several were sold, including In Picardy, purchased by the National Gallery of Victoria. Noting the artist's success in Paris and London, the reviewer for The Argus admired her "appreciation of character and talents for observation and representation", while The Age was struck by "the influence of modern French Impressionism in [her paintings'] fearless handling of sunlight and open air effects." When the exhibition travelled to Sydney in 1919, reviews were likewise positive both from newspapers and from her peers such as Julian Ashton, Antonio Dattilo Rubbo and Grace Cossington Smith. The Sydney show also resulted in the purchase of several of her works by the Art Gallery of New South Wales. In 1919, <mask> <mask> moved to Sydney and settled in Mosman, where she made new friends and produced a range of landscapes and outdoor portraits, often continuing her post-impressionist style. The artist experienced further success in her exhibitions and with regular favourable reviews in the press, such as for her show in the Queen Victoria Markets in September 1920.Nevertheless, Pigot has argued that her place in the Australian art world at the time was complex, and her style was affected by vigorous debate around the emergence of modernism, which was being resisted by local critics. Her experience of this more conservative Australia, and the effects of the deaths of all those close to her, contributed to <mask> <mask> abandoning her more experimental art, and returning to more academic and figurative subjects. This ultimately had a detrimental effect on the long-term trajectory of her career. Pigot argues that her refusal to conform to the gendered expectations of the Australian artistic establishment led to her rejection. In 1922, a competition was launched by the trustees of the Melbourne Public Library for a mural to commemorate the Great War. <mask> <mask> learned of the competition and quickly prepared and submitted an entry. Three judges, all respected Melbourne academic artists, submitted a report to the trustees, who met to consider the entries received.The trustees voted six to five to grant the commission to Harold Septimus Power, despite the fact that he had not fulfilled the conditions of entry; they then withheld the judges' report from publication, decided not to exhibit any of the competition entries, and delayed awarding any prize. One newspaper reported that <mask> <mask>'s entry had been one of the top three. <mask> <mask> was furious, as were some former soldiers who wrote letters to newspapers about the incident. Pigot suggests that gender was a factor: "While <mask> <mask>'s claim to be a war artist was legitimate, the fact that she was a woman meant that she was denied an equal place within the discourse". The Australian War Memorial was building a collection of art commemorating the war around the time <mask> <mask> offered her triptych Pro Humanitate. But it was rejected; the acquisitions described it as ‘of too intimate a character for inclusion in a public collection’. The Memorial eventually decided to purchase one of her works portraying a French woman (titled A Mother of France (1914)), but not the other work offered, which depicted an Australian soldier (A Man (1921).According to Pigot, this reflected the gendered approach taken by institutions, which considered that subjects suitable for portrayal by artists were dependent upon their sex. It may have further been influenced by the Memorial's strategy for collection development, which at that time emphasised acquisition of portraits of senior officers. Whatever the view of competition or acquisition committees, her works were "popular with the soldiers themselves, and in this way they actively shaped the image of the digger". Her paintings of war subjects were just one aspect of <mask> <mask>'s developing commitment to nationalist ideals and the heroic representation of Australia. At the time of her 1919 exhibition, <mask> <mask> had commented that she wished "to show the people [of Europe] what is possessed in a land of beauty where the colour scheme is so different, and which sent so many gallant men to the struggle for liberty". In this respect she was following in the tradition of the Australian Impressionists and writers such as Henry Lawson and Banjo Paterson, who extolled the virtues of the bush and pioneer life. Accompanied by her friend Dorothy Richmond, <mask> <mask> set out to paint in rural New South Wales, beginning in Delegate, a small town on the border of New South Wales and Victoria.Here she created numerous works, including In Australia, His Land, and The Shearers. Other works from this period include The Three Sisters, Blue Mountains (1921–22), which is in the collection of the National Gallery of Australia. While Australian patriotic imagery and discourse of the period was very male-dominated, <mask> <mask>'s portraits were frequently of women, such as in The Monaro Pioneer, The Magpie's Song and Motherhood. Back in Sydney, <mask> <mask> held another solo exhibition in August 1923. Once again it was favourably reviewed, and there was again the description of her work in masculine terms: the reviewer at Sydney's Sunday Times described her as "the most virile, and, in many respects, the strongest woman painter Australia has yet produced". <mask> <mask> disliked being thought of as a "woman" artist, but she took such reviews as complimentary, given how dismissive were critics in general when considering paintings by women. Second trip to Europe, 1924–26

In 1924, <mask> <mask>, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe.She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition. Arriving in Paris in June, eventually <mask> <mask> rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire. The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s.He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time. 1925 saw further exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Art, both in London. A solo exhibition that December at the Beaux Arts Gallery, London, displayed His Land, which was described as having "the rare quality of conveying the spirit of life in the Commonwealth as well as portraying that life pictorially ... the whole picture seems to convey the sunny heat-laden atmosphere of Australia". Like In Australia, this work suggests the elemental strength and vitality that <mask> <mask> advocated should pervade Australian painting. That year, <mask> <mask> created one of her most extraordinary and largest works. Standing almost  high, and  wide, Les fleurs dédaignées ('The despised flowers') is an "unnerving" and "arresting" portrait of a young woman in fashionable eighteenth-century clothing.Painted not with the artist's typical technique, but in a mannerist style, the subject faces the viewer yet is glancing away, her pose tense, expression unreadable, with a bunch of discarded flowers on the ground next to the hem of her enormous formal dress. Although portraying a young lady, the person chosen to sit was "a Parisian professional model and a prostitute, apparently with a reputation for being moody and cantankerous". The pastiche created in this work is striking: a sixteenth-century artistic style, a composition comprising a seventeenth-century tapestry and an eighteenth-century dress, created by a twentieth-century artist. It certainly reflected the scope of <mask> <mask>'s abilities and ambitions, and was painted with the specific intention of having it hung at the Paris Salon. When the work was displayed in Sydney in 1927, it grabbed The Sydney Morning Herald critic's attention:

While she exhibited many of the Australian works completed before arriving in France, she was also creating many new works, including illustrations and portraits of traditional life and costume, produced during a summer in Brittany. In 1926, <mask> <mask> was again included in London's Royal Academy of Art exhibition, where one of her Brittany paintings, Le Bigouden, was hung. She appeared at the Société Nationale des Beaux-Arts Spring exhibition in Paris, in which she had eight works, a very large number for a single artist.The Société not only hung many of her paintings and drawings: she was elected an Associate to the organisation in that year. At the end of 1926, <mask> <mask> and Dorothy Richmond returned together to Australia. Energised by her success, <mask> <mask> purchased a car, filled its rear compartment with painting equipment, and the pair set out to paint the landscape, ranging from Canberra and the Monaro plains to the south, up into central Queensland. During a publicity-attracting occasion, she painted figures on the beach at Bondi, which was reported by various publications including Australian magazine, The Home. Wright and Knockalong, 1928–61
<mask> <mask> had met the farming family, the Wrights, in the early 1920s, including Ned, the subject of In Australia. After returning to the district, she married Edgar Wright on 2 June 1928 in Melbourne, and the couple settled on a property called Knockalong, near Delegate, in the Snowy Mountains. She continued to exhibit under the name <mask> <mask>.Her friend Dorothy Richmond, with whom she had visited the region at the start of the decade, married Edgar Wright's cousin, Walter, and settled in the same region. Then, in 1930, <mask> <mask> and her husband had their only child, a son, whom they named <mask>. Characterising the modernist moment in Australian art – the period between the wars – is complex, as is understanding the position of individual artists within it. In France and North Africa in the 1910s, <mask> <mask> drew directly on impressionist ideas and techniques. In the 1920s, she had entertained Roy de Maistre, one of the first Australians to experiment with synchromism, and enthusiastically asked him to share more about his 'colour-music theory'. However, as she moved from urban to rural Australia, she did not continue to respond to radical modernist ideas. On one view, this represented a rejection of modernist themes and trends.Alternatively it can be read as <mask> <mask>'s conscious decision to maintain her own creative direction. As Petersen put it, "<mask> <mask> did not identify as a woman artist or as a modernist but simply as an artist working outside any movement or style" who "remained disinterested in the debates in Sydney over modern art trends". There was in any case, as art historian Jeanette Hoorn wryly observed, "no market for

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title: Hilda Rix Nicholas

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 post-impressionist painting in outback New South Wales in the 1920s". <mask> <mask> sought to build on her existing success and often focussed on portraits. Women were frequently portrayed, enjoying active rural life (as in The Fair Musterer) and working the land as well as in domestic or family scenes (as in On The Hilltop). Several images, such as On the Hilltop and Spring Afternoon, Knockalong portray women caring for a young son in a rural setting. Her most "stereotypically feminine" work was The Summer House, which shows two of <mask> <mask>'s friends with some freshly cut flowers, in a setting that, unlike most of her works of the period, screened out the surrounding landscape.It was a picture about which <mask> <mask> was never convinced and which she never publicly displayed. Yet it has become one of her best known works, its easy acceptance consistent with the way reviewers in the 1930s pigeon-holed her work in terms of conventional gender roles. <mask> <mask> had a number of exhibitions with some further critical success. Nevertheless, she became out of step with both the public, who bought few works at her last solo exhibition in 1947, and with some critics, who either rejected her work or criticised its lack of novelty. One critic, Adrian Lawler, observed:
Mrs <mask> <mask> is very gifted and she has her own individuality as an artist; but her personal outlook is not so much that of an artist with startling things to say ... as of a healthy fellow-Australian who loves the familiar beauty of our landscape and delights in representing it in all its splendour and virility. Another, considering a 1936 exhibition at the David Jones Gallery in Sydney, found the quality of her work uneven, and while he considered some to be strong, others were criticised as "nothing more than pretty and sentimental". <mask> <mask>'s works remained insistent in their idealism about rural Australia, but following World War II, the country – and its art critics – had moved on.In 1945, The Sydney Morning Herald critic, lambasting <mask> <mask>'s works as "crude in colour and poster-ish in presentation", concluded: "There is insufficient spiritual material to fill the canvases of <mask> <mask> ... The bravura, the boldness of these pictures is hardly in keeping with the actual knowledge displayed. A certain humility, a close attention to the organisation of detail, and less white mixed into the colours would help tremendously." The antipathy between <mask> <mask> and prevailing trends in Australian art was mutual. She was appalled by the works of Russell Drysdale and William Dobell, describing the figures in their paintings as "more like victims of the German prison camps" than representations of Australian people. It seemed that the critics did not share her opinion: Dobell and Drysdale had each just won the Wynne Prize in successive years, and both would soon represent their country at the Venice Biennale. A final trip to Europe took place in 1950.She set out to show her husband the sights of a Europe she knew well, and to find a teacher of sculpture for their son <mask>. She was distressed by the standards of artistic practice she found, and instead discouraged <mask> from any career in the arts at all. Following her last solo exhibition, a letter from <mask> <mask> to her son expressed despair in her artistic career and summarised the professional fate of her final years:
Not doing anything creative is nearly killing me. The trouble is that there is no one near me who cares whether I ever do any more work or not ... I feel the artist in me is dying and the dying is an agony ... only one's self knows the craving and the best part in one is aching unsatisfied. By this time, her health was deteriorating, and her passion for art fading. <mask> <mask> did exhibit alongside her son in a group exhibition in Sydney, in 1954; she presented two oil paintings, while her son had the largest sculpture in the show, titled The Shearer.She died in Delegate on 3 August 1961. Critical summation
Gender was a recurring theme in <mask> <mask>'s career, for better and for worse. Praise from a French art critic for her abilities was expressed by saying "[mademoiselle] <mask> paints like a man!". An Australian critic was unsure what to say, admiring her composition but declaring her technique "strangely unfeminine", while another vitriolic review referred to the "pseudo-masculinity" of her works. Pigot considered that <mask> <mask>'s career was ultimately penalised by her unwillingness to play by the male establishment's rules when she sought to stake out a woman's place in nationalist art in mid-twentieth century Australia. Sasha Grishin wrote that her "feminist tendencies and modernist touches were met with hostility". Art historian Catherine Speck had a different perspective on <mask> <mask>'s post-World War I work, suggesting that it never subsequently attained the quality of her Paris output, because her first husband's death in the Great War drove her to create nationalist images of inconsistent quality.She suggested that <mask> <mask>'s European works represented the modernist high point of the artist's career. Petersen agreed that "her tragic experiences during the war became integral to her artistic oeuvre and to her eventual concerns for national sentiment" but also thought that <mask> <mask> "continued to draw and paint with the same masterful sense of draughtsmanship, vigour and luminous paelette evident in her best work from Paris, Tangier and Sydney". In their reference work A Story of Australian Painting, Mary Eagle and John Jones considered <mask> <mask>, alongside Clarice Beckett, to be "the best woman artist to emerge from the artistic milieu of Melbourne in the decade of the First World War". Legacy
Many of <mask> <mask>'s works went into private collections for which records are limited. Many more were burned in a fire at the family property after her death in the 1960s. Despite having been welcomed to Australia as an "international art celebrity" in 1919, her fortunes declined in the latter part of her career. However, the twenty-first century saw a renewed appreciation of her output.Her oeuvre is represented in most major Australia public galleries, including the Art Gallery of South Australia, the National Gallery of Australia, the National Gallery of Victoria and the Queensland Art Gallery, with many of the works (particularly those showing Moroccan subjects) purchased after the release of Hoorn's monograph. Other collections that have acquired her work include that of the Australian War Memorial. Internationally, <mask> <mask> is represented in the Galerie nationale du Jeu de Paume and Leicester Museum & Art Gallery, as well as by her works in the Luxembourg. There have been several posthumous solo exhibitions of <mask> <mask>'s works: in 1971 at the Joseph Brown Gallery in Melbourne (established by artist Joseph Brown, donor of the Joseph Brown Collection), followed by a travelling exhibition in 1978, displayed at the Art Gallery of New South Wales, the Art Gallery of Ballarat and Macquarie Galleries. In the 1990s there were exhibitions at Ian Potter Museum of Art in Melbourne and the Caspian Gallery in Sydney, and in 2010 at Bendigo Art Gallery. In 2013 an exhibition of her work was held at Canberra's National Portrait Gallery. The National Gallery of Australia in 2014 chose The Three Sisters, Blue Mountains as the painting it would seek to acquire through its Members Acquisition Fund appeal.<mask> Place in the Canberra suburb of Conder is named in her honour. References

Notes

Citations

Sources

External links

 <mask> <mask> at FamilySearch

1884 births
1961 deaths
Australian women painters
Artists from Melbourne
Artists from Victoria (Australia)
People from Ballarat
20th-century Australian painters
20th-century Australian women artists
People educated at Melbourne Girls Grammar
19th-century Australian women
Académie Delécluse alumni
Burials in New South

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title: Robert C. Michelson

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<mask><mask> (born 1951) is an American engineer and academic widely known for inventing the entomopter, a biologically inspired flapping-winged aerial robot, and for having established the International Aerial Robotics Competition. He has received degrees in electrical engineering from the Virginia Polytechnic Institute and the Georgia Institute of Technology. <mask>'s professional career began at the U.S. Naval Research Laboratory where he worked on radar-based ocean surveillance systems. He later became a member of the research faculty at the Georgia Institute of Technology. At the Georgia Tech Research Institute (GTRI) he was involved in full-time research, directing over 30 major research programs. He is the author of three U.S. patents and over 100 journal papers, book chapters and reports.<mask> also developed classes in avionics and taught in the School of Aerospace Engineering at the Georgia Institute of Technology until his retirement from the University System of Georgia in 2004. <mask> is the recipient of the 1998 AUVSI Pioneer Award and the 2001 Pirelli Award for the diffusion of scientific culture as well as the first Top Pirelli Prize. During the 1990s, he created a tax-exempt corporation to apply high tech solutions to modern archeology and has organized a number of archeological expeditions into eastern Anatolia. He now heads the engineering consulting company, Millennial Vision, LLC. Since the mid-1990s, <mask>'s work has concentrated on biologically inspired micro air vehicle design. <mask> is certified in various fields including amateur radio, SCUBA diving, experimental aircraft design/mechanics, and general contracting for home building. Biography

Early life

<mask> was born in 1951 in Washington D.C., the only son of <mask> and <mask>, and is related to <mask>, the first Prime Minister of Norway.<mask> attended the Burgundy Farm Country Day School during the sixth through eighth grades where he developed an appreciation for botany and ornithology. While at Fort Hunt High School he was President of the Fort Hunt Amateur Rocket Club which built large (2m x 5 cm) instrumented solid fuel rockets that were launched at the Camp Pickett artillery range in Blackstone, Virginia. Education
<mask> spent sixth through eighth grade at the Burgundy Farm Country Day School and later graduated from Fort Hunt High School in 1969. He graduated from Virginia Polytechnic Institute and State University in 1973 and the Georgia Institute of Technology in 1974 with degrees in Electrical Engineering. Career
From 1971 to 1973, <mask> was a research engineer working on aerospace radar systems at the U.S. Naval Research Laboratory in Washington D.C. He spent the next 30 years in various engineering and management capacities within the Georgia Tech Research Institute in Atlanta, Georgia.During the 1970s and 1980s <mask> primarily developed radar signal processing and control hardware, but was also interested in the automation of remote sensing systems ranging from the tracking of endangered species to the creation of realistic soldier training scenarios and simulation and testing of foreign military radar assets. In the late 1980s he became Head of the Georgia Tech Research Institute's Technology Development Division and his interests turned to unmanned aerial vehicle systems as a fusion of autonomy, information technology, and aeronautics. In particular, "aerial robotics" (a term he coined in 1990 to represent the infusion of cognition into unmanned aerial vehicles)  dominated his research for the next two decades. Since the mid-1990s, <mask>'s work has concentrated on biologically inspired micro air vehicle design. From 1997 through 2004 <mask> was adjunct associate professor to the School of Aerospace Engineering, teaching classes in avionics for unmanned aerial vehicles (UAVs) and Micro/Mini Air Vehicle (MAV) design. <mask> retired from the Georgia Tech Research Institute in September 2004 and currently holds the title of Principal Research Engineer Emeritus with the Institute. In 2004 he created Millennial Vision, LLC to continue research into biologically inspired aerial robots and remote sensing.He is the President of SEPDAC (Scientific Enterprise in Pursuit and Discovery of Ancient Cultures), a nonprofit educational and scientific organization. He was a member of the board of directors for The Sharp Mountain Preserve for a period of five years (2008-2012). Professional activities
<mask> has been the U.S. representative and deputy chief referee to the Aviation Industry Corporation of China's UAV Grand Prix during its inaugural year (2011), and again in 2013 and 2015. He was the section editor for "MAVs and Bio-Inspired UAVs" in Springer's Handbook of Unmanned Aerial Vehicles (released in 2014). <mask> was chosen by the Office of the U.S. Assistant Secretary for the Air Force to represent the United States on the NATO Advisory Group for Aerospace Research and Development (AGARD) to predict future (2020 timeframe) sensor technologies for unmanned aerial systems (UAS) . <mask> was the NATO/RTA (Research and Technology Agency) lecturer at the Turkish Air Force Academy (Hava Harp Okulu) in Istanbul in 2006, and invited lecturer on Micro Air Vehicle technology at both the von Karman Institute for Fluid Dynamics (1999 & 2003) and the Royal Military Academy (2001) in Brussels. He was the first "MITRE Technology Speaker"(1998) and has been a visiting technology professor in six nations: Australia (2002), Belgium (1999, 2003), Norway (2001), Sweden (2001), Turkey (2001, 2006), and Mexico (2010).<mask> was a consultant to the U.S. Army and the Indian Ministry of Defence in 2008, responsible for defining and organizing the 1st U.S.-Asian Micro Air Vehicle Demonstration in Agra India. He performed similar duties for the U.S. Army in defining the 1st US-European Micro Air Vehicle Competition/Demonstration in Garmisch Germany in 2005. He created the short course, 21st Century Aerial Robotics, and the digital signal processing lecture/demonstrations in “Principals of Modern Radar” at the Georgia Institute of Technology. He is also creator and organizer of the annual International Aerial Robotics Competition. Before joining the staff of the Georgia Tech Research Institute he participated in design and endo-atmospheric flight testing of computer-controlled space-based radar ocean surveillance systems while employed by the Naval Research Laboratory in Washington, D.C.

<mask> is listed in various editions of Who’s Who in Engineering, Who’s Who in America, and the 23rd edition of Who’s Who in the World. He is the author of over 100 reports, journal papers, and book chapters. Project director
While at the U.S.Naval Research Laboratory, <mask> worked on radar-based ocean surveillance systems and flew hardware test missions on a Lockheed Warning Star PO-1W Super Constellation. In 1974 <mask> began work at the Georgia Tech Research Institute, where he got his first contract when an entry-level engineer (Research Engineer I). This first project involved methods to electronically track the endangered species Trichechus manatus (West Indian manatee) in the waters around the Kennedy Space Center. <mask> directed over 30 major research projects during his career at the Institute. In 1979 <mask> directed the Army's Indirect Fire Simulation effort conducted for Combat Development and Experimentation Command (CDEC). <mask> directed a Defense Advanced Research Projects Agency (DARPA) program to show feasibility of a non-line-of-sight radio-acoustic sensor for bending radar signals using the Bragg principle to detect obstacle-masked targets (essentially making radars look around corners). He also directed a program to evaluate ground penetration radar for detection of buried natural gas leaks in urban utility systems.During 1981, <mask> directed a program for the automated noninvasive testing of captured foreign threat assets. This system developed by <mask>'s design team remained in use by a foreign power for nearly a decade. Other radar test devices were also developed by <mask> for U.S. military test and evaluation purposes within the United States, including a program to develop a Ka-band Linear Electronics Countermeasure Source (KABLES) for use in testing U.S. Army millimeter wave assets. <mask> directed various efforts pertaining to future transportation. His team invented battery-state-of-charge estimation techniques, developed electric vehicle systems simulation tools, and experimented with actively blown surfaces on passenger vehicles. During the mid-1990s, <mask>'s research began to focus almost entirely on unmanned vehicle systems, especially those with the power of flight. He directed efforts with both U.S. Government agencies and private industry pertaining to unmanned aerial vehicles systems (UAS).One of his first UAS development programs was for a traffic surveillance drone using a compound ducted fan design, made to fly over Atlanta's highways in order to fill surveillance gaps in the State's tower-mounted traffic camera system. It also could be sent to traffic accident locations to gather and relay vital information in advance of first-responder arrival. Funding shortfalls resulted in the cancellation of the project before its maiden flight, but the design was later marketed for military use. <mask>'s focus turned to smaller vehicle systems that could fly indoors autonomously without the aid of global positioning system (GPS) reference signals. Under various contracts to DARPA and the Air Force, and using internal research and development funds from the Georgia Tech Research Institute, his design team designed a micro air vehicle (MAV) known as the entomopter. The NASA Institute for Advanced Concepts recognized the unique flight qualities of the entomopter and awarded <mask> two contracts to explore the feasibility of the entomopter for slow flight in Mars' lower atmosphere. In 2004 <mask> retired from the Georgia Tech Research Institute and started Millennial Vision, LLC which continued to pursue UAS and MAV research.Soon after establishing Millennial Vision, LLC, <mask> became engaged in a program to develop an unmanned stratospheric airship for persistent reconnaissance. He maintained interest in MAVs and competitions by helping to define and organize various international events such as the 1st US-European MAV event in Garmisch Germany (MAV-05) and the subsequent 1st US-Asian Demonstration and Assessment of Micro Aerial Vehicle and Unmanned Ground Vehicle Technology (MAV-08) held in Agra India, as adjunct to the U.S. Army RDECOM-Pacific and Indian Ministry of Defence. Associate professor of Aerospace Engineering
During the 1990s, <mask> became an adjunct associate professor in the Georgia Tech School of Aerospace Engineering, where he taught graduate classes in avionics, with emphasis on unmanned aerial vehicles and micro air vehicles. In parallel with his teaching duties in the Georgia Tech School of Aerospace Engineering, <mask> created a team-taught short course through the Georgia Tech Department of Continuing Education entitled, "21st Century Aerial Robotics". Laurence "Nuke" Newcome and <mask> taught this course on the campus of the Georgia Institute of Technology for several years before engaging in single offerings around the United States as well as Sweden, Norway, and Turkey under NATO grants. Honors and awards
<mask> is an Associate Fellow of the American Institute of Aeronautics and Astronautics (AIAA), Senior Member of the Institute of Electrical and Electronics Engineers (IEEE), and a Full Member of the Scientific Research Society of North America, Sigma Xi. During the 1990s he served as President and member of the Board of Directors of the Association for Unmanned Vehicle Systems (AUVSI) International organization.In 1998 <mask> received the AUVSI Pioneer Award  which is the highest level of recognition within the unmanned systems industry for technical contributions. <mask> is the recipient of the 2001 Pirelli Award for the diffusion of scientific culture,  given by an international jury for the "best multimedia project coming from any educational institution in the world". For endeavors related to the entomopter, he was also awarded the first €25,000 Top Pirelli Prize. In 2016, the International Aerial Robotics Competition and its creator, <mask>, were officially recognized during the Georgia legislative session in the form of "Senate Resolution 1255” which recognized his effort in the development of the longest running aerial robotics competition in the world and for having been responsible for moving forward the state of the art in aerial robotics on several occasions during the past quarter century. Avocations
<mask> has engaged in marine aquarium design and coral propagation since 1997 when he designed and built a fully automated marine reef biome, in which he propagated various coral species that he collected himself. He has been a NAUI certified SCUBA diver since 1969, and has been a recreational diver in the Caribbean Sea and Pacific Ocean, where he dived on various wrecks and developed methods of collecting and successfully transporting marine invertebrates for propagation. <mask> has also built and flown his own man-rated experimental rotorcraft,  single seat gyrocopter for which <mask> is the FAA certified mechanic and pilot.While working with ground penetrating radar for detection of urban gas leaks, road voids, and buried land mines at the Georgia Tech Research Institute, <mask> became interested in the use of high technology applications to archeology. Since 1995 he has organized half a dozen excursions into the military zone along the Turkish-Iranian border, often with Turkish military escort, to research ancient ekistical artifacts of the eastern Anatolia region and has created a 501 (c3) non-profit corporation to apply various non-traditional technologies to the field of archeology. <mask> completed training in general contracting/home building in 1986 and built his own home. Later he was overseer for the construction of a Woodstock Georgia church building while continuing his career at the Georgia Tech Research Institute. In 2013 he completed a home of his own design in the mountains of North Georgia that was lumber-free, consisting entirely of steel structural members with concrete foundation and concrete exterior. <mask> was a Boy Scout and has maintained interest in scouting principles over the years. As a youth he attained Star rank in Troop 981 located in Alexandria Virginia, and was inducted into the Order of the Arrow.He became a Brotherhood member of Amangamek Wipit Lodge 470, one of the largest lodges in the nation, and participated in activities such as the Philmont Scout Reservation (1967). Influenced by their father, both of <mask>'s sons are Eagle Scouts with gold and silver palm awards. Michelson was adult advisor to Boy Scouts of America (BSA) Troop/Crew 8880 until its transition away from the BSA to becoming a Trail Life USA unit where Michelson remains in an advisory capacity. <mask> has had interest in languages and syntax both for computers and spoken communication. He was formally taught Fortran in undergraduate school and learned BASIC, Forth, and various assembly languages on his own in support of his computer-based projects. He designed the target processing unit for the Army's Environment and Radar Operation Simulator (EROS) where it was necessary to design the hardware and coding language for a 10 MHz (100 ns cycle time) processor before such things were available in microprocessor form. As to spoken languages, he is fluent in English, and is proficient in both Spanish and Turkish.Presence in popular media and literature

<mask> has been widely interviewed and quoted in print (e.g., Business Week, Popular Mechanics, Scientific American, Chronicle of Higher Education), radio (e.g., National Public Radio, Armed Forces Radio, American Association for the Advancement of Science radio syndicate), and on television (e.g., Scientific American Frontiers, Discovery Channel, CNN, BBC, and various ABC/CBS/NBC/Fox affiliates). Worldwide interest in robotics, and especially the robots of war, spawned a series of televised robotics programming about <mask>'s work. A technical biography of <mask> is the subject of episode 1008 of the television program Beyond Invention, which chronicles a number of his research projects including UAV research, the International Aerial Robotics Competition, the entomopter-based Mars surveyor, and his work with automated coral propagation. <mask> is featured in various television programs focused specifically on the International Aerial Robotics Competition, including an hour-long Discovery Science Channel program entitled Airbots. <mask> has been often quoted in news programming with regard to the International Aerial Robotics Competition and the applications of the underlying technology to military and civilian spheres. As the use of robotic drone aircraft increased during the Gulf Wars, public interest in the subject was peaked and <mask> began to be featured in series and specials such as the NOVA episode "Spies that Fly" and the BBC special Seven Ways to Topple Saddam. Because of the notoriety of his aerial robotic research, <mask> even became the basis for the fictional character Michael C<mask> in the novel Drone Games (2014) by Joel Narlock.In this work, Michael C<mask> is the creator of the entomopter at the Georgia Technology Research Institute. This fictitious character's name is an anagram of <mask><mask>, the actual inventor of the entomopter at the Georgia Tech Research Institute. <mask>'s entomopter is also featured in another of Joel Narlock's novels, Target Acquired (2003). Patents
“US patent 6,082,671”, <mask><mask>, "Entomopter and Method for Using Same", issued 2000-07-04
“US patent 6,094,033”, <mask><mask>, "Battery State of Charge Detector with Rapid Charging Capability and Method", issued 2000-07-25
“US patent 6,446,909”, <mask><mask>, "Reciprocating Chemical Muscle (RCM) and Method for Using Same", issued 2002-09-10

Representative publications
“Test and Evaluation for Fully Autonomous Micro Air Vehicles,” The ITEA Journal, December 2008, Volume 29, Number 4, ISSN 1054-0229 International Test and Evaluation Association, pp. 367–374 (winner of the 2009 International Test and Evaluation Association Publication Award)
“Very small flying machines,” 2006 Yearbook of Science & Technology, McGraw-Hill, New York, , 2006, pp. 341–344
“Novel Approaches to Miniature Flight Platforms,” Proceedings of the Institute of Mechanical Engineers, Vol. 218 Part G: Journal of Aerospace Engineering, Special Issue Paper 2004, pp.363–373
“Beyond Biologically Inspired Insect Flight,” von Karman Institute for Fluid Dynamics RTO/AVT Lecture Series on Low Reynolds Number Aerodynamics on Aircraft Including Applications in Emerging UAV Technology, Brussels Belgium, 24–28 November 2003
“The Entomopter,” Neurotechnology for Biomimetic Robots, , The MIT Press, September 2002, pp. 481–509
“Autonomous Vehicles,” Proceedings of the IEEE, Vol. 84, No. 8, August 1996, pp. 1147–1164
“Feasibility of Applying Radio-Acoustic Techniques to Non Line-of-Sight Sensing,” AIAA Journal of Aircraft, Vol. 33, No. 2, March – April 1996, pp.260–267
“Tracking of the Florida Manatee,” ISA Transactions, Vol. 21, No. 1, 1982, pp. 79–85

See also
Entomopter
International Aerial Robotics Competition
Micro air vehicle

References

External links
Curriculum Vitae of <mask> C. <mask>

1951 births
Living people
20th-century American inventors
21st-century American inventors
21st-century American engineers
American patent holders
American people of Norwegian descent
American roboticists
Engineering educators
Georgia Tech faculty
Georgia Tech alumni
Georgia Tech Research Institute people
Virginia Tech alumni
People associated with radar
Senior Members of the IEEE
Amateur radio people
People from Atlanta

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Michelson
Michelson
Michelson
Michelson
Michelson
Michelson
Michelson
Michelson
Robert Michelson
Michelson
Michelson
Michelson
Michelson
. Robertson
. Robertson
Robert C
. Michelson
Michelson
Robert C
. Michelson
Robert C
. Michelson
Robert C
. Michelson
Robert
Michelson


title: Nicolò Barella

texts:
<mask>  (born 7 February 1997) is an Italian professional footballer who plays as a midfielder for Serie A club Inter Milan and the Italy national team. Club career

Cagliari
Born in Cagliari, <mask> is a youth exponent from Cagliari Calcio. He made his Serie A debut on 4 May 2015 against Parma, replacing Diego Farias after 68 minutes in a 4–0 home win. In January 2016, he was sent on loan to Como in Serie B, where he played as a first choice for the second part of the season. On 17 September 2017, he scored his first professional and Serie A goal against SPAL in a 2–0 home win. Inter Milan
On 12 July 2019, <mask> joined Inter Milan on a year-long loan deal with an obligation to buy with four-year contract to take effect after the loan period. He made his club debut on 26 August against Lecce; he came off the bench in the second half for Matías Vecino, and later helped set-up Antonio Candreva's goal in an eventual 4–0 home win in Inter's opening match of the 2019–20 Serie A season.He made his Champions League debut on 17 September against Slavia Prague; after coming off the bench for Marcelo Brozović in the second half, he scored an injury-time equalising goal to help Inter to a 1–1 home draw, which was his first goal both in the competition and for Inter. On 9 November, he scored his first league goal for the club as Inter came from behind to achieve a 2–1 home win over Verona. He scored his first goal in the Coppa Italia on 29 January 2020, in 2–1 home win over Fiorentina, in the quarter-finals of the tournament. On 17 January <mask> assisted for the first goal for Arturo Vidal and scored a vital second in a 2–0 home win against rivals and defending champions Juventus in Serie A. On 5 November 2021, <mask> signed a contract extension with Inter, keeping him at the club until 2026.

International career
With the Italy U19 team, <mask> took part at the 2016 UEFA European Under-19 Championship, finishing in second place. With the Italy U20 he took part at the 2017 FIFA U-20 World Cup, finishing in third place. <mask> made his debut with the Italy U21 team on 1 September 2017, in a 3–0 friendly defeat against Spain.<mask> was called up to the senior Italy squad by manager Gian Piero Ventura for the team's 2018 World Cup qualifiers against Macedonia and Albania in October 2017. <mask> made his debut for the Italy senior side on 10 October 2018, under manager Roberto Mancini, in a 1–1 friendly draw against Ukraine in Genoa. On 23 March 2019, <mask> scored his first goal for Italy in a 2–0 home win over Finland in a UEFA Euro 2020 qualifying match. He took part with the U21 side in the 2019 UEFA European Under-21 Championship. In June 2021, he was included in Italy's squad for UEFA Euro 2020. In Italy's second group match on 16 June, he set up Manuel Locatelli second goal in an eventual 3–0 win over Switzerland, which allowed Italy to advance to the round of 16. On 2 July, he scored Italy's opening goal of the match, and later assisted Lorenzo Insigne's goal, in a 2–1 win over Belgium in the quarter-finals of the competition.On 11 July, <mask> won the European Championship with Italy following a 3–2 penalty shoot-out victory over England at Wembley Stadium in the final, after a 1–1 draw in extra-time; <mask> started the match, but was substituted by Bryan Cristante in the second half of regulation time. On 10 October, <mask> scored the opening goal in a 2–1 home win over Belgium in the bronze medal match of the 2020–21 UEFA Nations League. Style of play
<mask> is considered a promising and highly talented young midfielder in the European sports media. He was named the best young Italian player born in 1997 for two consecutive years between 2012 and 2013. Italian football journalist Mina Rzouki described him as an intelligent, promising, and composed midfielder, despite his young age, with a wide range of skills. She also commented that <mask> "...can dribble through a defence, score volleys and start counter-attacks. He knows how to find the right passes and is box-to-box.Most importantly he can win back possession quickly and recover the ball." <mask>'s performances have also been praised by Italian former footballers Andrea Pirlo and Alessandro Del Piero. The Italian sports newspaper La Gazzetta dello Sport has compared him to Steven Gerrard, describing him as a dynamic player with good technique, vision, stamina, and physical strength, despite his relatively short stature, as well as an ability to win balls, which enables him to break down possession and subsequently start quick attacking plays. A versatile player, he is capable of playing anywhere in midfield, and has even been used as an attacking midfielder or as a defensive midfielder, but his favoured role is as a right-sided, offensive-minded central midfielder, known as a "mezzala" in Italy. Known for his eye for goal, he possesses a good shot from outside the area, and is known for his ability to make late attacking runs from behind into the penalty area. He is also an accurate set piece and penalty taker. He is known for his strong character, leadership qualities, competitive spirit, and winning mentality, but has also drawn criticism at times in the press for protesting or arguing excessively with officials during matches.His Italy teammate Jorginho has likened him to N'Golo Kanté. Career statistics

Club

International

Scores and results list Italy's goal tally first, score column indicates score after each Barella goal. Honours
Inter Milan
Serie A: 2020–21
 Supercoppa Italiana: 2021
UEFA Europa League runner-up: 2019–20

Italy U19
UEFA European Under-19 Championship runner-up: 2016

Italy U20
FIFA U-20 World Cup third place: 2017

Italy
UEFA European Championship: 2020
UEFA Nations League third place: 2020–21

Individual
Premio Bulgarelli Number 8: 2019
Serie A Team of the Year: 2018–19, 2019–20
UEFA Europa League Squad of the Season: 2019–20
Serie A Best Midfielder: 2020–21
Gazzetta Sports Awards Exploit of  the Year: 2021

Orders
 5th Class / Knight: Cavaliere Ordine al Merito della Repubblica Italiana: 2021

References

External links

 Profile at LegaSerieA
 Profile at FIGC

1997 births
Living people
Sportspeople from Cagliari
Footballers from Sardinia
Italian footballers
Italy youth international footballers
Italy under-21 international footballers
Italy international footballers
Association football midfielders
Cagliari Calcio players
Como 1907 players
Inter Milan players
Serie A players
Serie B players
UEFA Euro 2020 players
UEFA European Championship-winning players
Knights of the Order of Merit of the Italian Republic

masks:
Nicolò Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella
Barella


title: Dave Sardy

texts:
<mask> (born 1967), more commonly known as D<mask>, is an American composer, musician, songwriter, and multiple Grammy winning record producer. He came to prominence as the leader of 1990s noise rock band Barkmarket before turning mostly to production work, often with alternative rock, hard rock, electronic related genres, and then to scoring films. Biography
In the late 1980s and early 1990s, <mask> was active as a singer, songwriter and guitarist (most notably with his group Barkmarket), but since the mid-1990s, he has been more active as a producer, writer, composer and mixer. He has worked with an eclectic mix of rock, punk, alternative, electronic and industrial rock performers, and critics have called him a "Hardcore super-producer." In 2006, Sardy won six ARIA Awards for his work with Jet and again in 2008, three more ARIA awards for Wolfmother; he has also received three Grammy Awards (for OK Go, Wolfmother and Marilyn Manson) and multiple Brit Awards for Oasis, Marilyn Manson, Wolfmother and The Ting Tings. He was Grammy-nominated again in 2007 for LCD Soundsystem's Sound of Silver and in 2010 for the Band of Horses album Infinite Arms. <mask> has been involved with some of the most popular licensed music for film and advertising.Although never writing directly for commercials, he has produced music used in many campaigns, including 3 key iPod campaigns: Jet, Wolfmother, and The Ting Tings. He produced Oasis' seventh studio album, Dig Out Your Soul, in 2008. This was <mask>'s second time working with the band, having produced their 2005 album Don't Believe the Truth and he worked with Noel Gallagher again in 2011 with Noel Gallagher's High Flying Birds. <mask> scored the Stage 6 Films logo for Sony Pictures Entertainment, as well as the films 21 and Zombieland, and the drama End of Watch, written and directed by David Ayer, all of which went to number one at the US box office. More recently, <mask> contributed work to The Green Hornet, Lawless, and Eat Pray Love and scored Premium Rush, Ghost Rider: Spirit of Vengeance,  Sabotage, and Bright working once again with director David Ayer. In 2019, <mask> produced a new studio album by The Who. <mask>'s sister Marcia Schofield played keyboards for the British band The Fall.Video game soundtracks: Guitar Hero, Rock Band, Gran Turismo 4, Le Mans 24 Hours, MotorStorm, Pure, Saints Row 2, NHL 2004, Tony Hawk's Project 8, FlatOut 2, and Rugby 06''. References

External links

Oasis (band)
Record producers from New York (state)
American rock guitarists
American male guitarists
1967 births
Living people
Musicians from Brooklyn
Guitarists from New York (state)
20th-century American guitarists
Ignition Records artists
Rough Trade Records artists
Sony Classical Records artists
American film score composers
American male film score composers

masks:
David Stuart Sardy
. Sardy
Sardy
Sardy
Sardy
Sardy
Sardy
Sardy
Sardy


title: Anthony "White Tony" Johnson

texts:
<mask> "White Tony" <mask> (22 July 1968 – 22 February 1991) was an English criminal, one-time member of the Cheetham Hill Gang in Manchester. He was gunned down in 1991 in the car park of the Penny Black pub, Cheetham Hill. Desmond Noonan was tried and acquitted of the murder. Early life
<mask> was brought up in a home mired in tragedy and family breakdown. His mother Susan was 15 when she gave birth to him. Neither she nor his biological father spent much time with him. Susan was the step-sister of Keith Bennett, one of the five known Moors Murders victims, who went missing in June 1964 at the age of 12 - Ian Brady and Myra Hindley admitted murdering him in 1986, but his body has never been found.Susan's father <mask> was the husband of Keith Bennett's mother Winnie, and had been treated as a suspect over his step-son's disappearance for several years after his disappearance, even though at the same time local police also suspected that he may have been murdered by Brady and Hindley. For most of <mask>'s childhood, he lived with his step-grandmother, Winnie <mask>, in her semi-detached house in Aston avenue Fallowfield, South Manchester. <mask> left school at the age of 16 in 1984. He began work as a window cleaner and glazier, but that did not last long. His mother stated, "I knew he was into something shady because you don't claim dole and drive around in a flash car". By 1990, <mask> was driving a Ford Sierra RS Cosworth, worth around £20,000. His grandmother knew <mask> was involved in illegal activities when her house was raided by police.<mask> refused to answer Winnie's questions about his criminal activities, telling her to "Mind your own bleeding business...". Winnie <mask> said he was obsessive over clothing, often watching her ironing his clothes. <mask> had a girlfriend by the time he was in his late teens, and they later had a daughter together. "He loved his little daughter. But I don't think his girlfriend's family wanted her to have anything to do with him," said a relative. He befriended Tony McKie, often called "Black Tony", as well as the Adetoro Brothers, who would later be famous for their shootout with police on the M6 in April 2000, leading to Olatunde Yakub Adertoro's eight back-to-back life sentences. All of them were members of the Cheetham Hill Gang.They gradually became full-time members of the Hillbillies. Gang involvement
The Cheetham Hillbillies operated in the Waterloo Estate in the 1980s and 1990s. The gang specialized in robberies, pushing drugs in clubs and violence. <mask> had been involved in the Cheetham Hill Gang for years prior to his death. <mask> began as a lowly member of the gang, often committing robberies and gang member killings. His nickname, "White Tony", was a reference to his race, while in a predominantly Black gang. He killed 26-year <mask> "Sketch" Gardner on Saturday, 9 January 1988.As Gardner drew up outside a shebeen on Saturday, January 9, 1988, <mask> stepped out of the shadows, pulled a sawed-off shotgun from under his coat, pressed it against Gardner’s chest and fired. It took Gardner about a minute to die. Police found more than £1,000-worth of abandoned heroin and cocaine. He became the driver and bodyguard for the then leader of The Cheetham Hill Hillbillies, ferrying him around in a Ford Sierra Cosworth. In February 1990, the Pepperhill Mob lost one and a half kilos of heroin from a contact the gang had in London. Two people carrying the heroin were arrested and the heroin was seized, which led to a drought of heroin in Manchester and left the Pepperhill Mob vulnerable. <mask> moved on this, which led to a Cheetham Hill-Moss Side gang war.<mask> and a few Cheetham Hill Gang members tipped Pepperhill Mob leader Delroy Brown's car over in front of hundreds of people at a festival in Moss Side, to prove their power and intent towards the rival gang. In 1990, <mask> was spotted by police in a Kevlar vest with semi-automatic firearms. This was a major discovery by the police, as they previously had little knowledge of the weapons and equipment used by gangs in Manchester. The police began multiple operations to seize guns and drugs from the Hillbillies, with little impact. <mask>, with other gang members, was at the West Indian Carnival in Chapeltown, Leeds, when a scuffle at the carnival led to a shootout. Multiple people were shot, many of whom were not gang members. This led to <mask>'s arrest.Two gang members accompanying <mask> were imprisoned, while <mask> was released. <mask> was involved in many other criminal activities, including a £362,000 security van robbery at Mumps Bridge, Oldham, in November 1990, which led to his feud with the Noonans. A month later, he robbed Bassett's sweet factory in Sheffield, with two other masked gunmen, netting around £78,000. Club-related violence
<mask> had a notorious reputation for getting into fights in The Haçienda. A regular doorman left and was replaced with a London security firm. The violence escalated. Two weeks after the replacement, <mask> threatened one of the doormen with a gun.Tony Wilson was so aggravated by gang attacks, mainly from <mask>, that he agreed to temporarily close The Haçienda. The Cheetham Hillbillies then resumed attacking club goers and staff. On one occasion, <mask> grabbed a microphone and stated that he was "Top Dog". <mask> threatened one of the doormen with a gun, leading Tony Wilson to again close The Haçienda. He made a spectacle to try to get the police to intervene so that he could re-open. Death
At a New Year party in 1991, a gun-toting 22-year-old <mask> threatened some of Damian Noonan's successors on the door at The Haçienda. <mask> was already in trouble with members of the Noonan family because of a dispute over the division of the spoils from a £362,000 security van robbery at Mumps Bridge, Oldham, in November 1990.<mask> was shot in the car park of the Penny Black pub, Winterford Road, Cheetham Hill, in February 1991. The pub, which was closed and torched shortly after the attack, was partly owned by Derek Noonan of the notorious Irish-Mancunian crime family. Desmond Noonan, brother of Domenyk, was tried and acquitted for the murder. The gun battle started when <mask> was ambushed in the car park of the Penny Black pub. <mask> was with "Black Tony" McKie, and was driving along in his white Ford Cosworth when they were flagged down by two men in a car in the pub car park. Their escape was blocked by a taxi with Paul Flannery inside. Flannery shot McKie then brothers Desmond, Derek and Damian Noonan, along with Michael Sharples, joined in the attack.<mask> was injured but began to run and tried to vault a wall, but was shot in the back. Someone then shouted "Finish Him Off" and two more shots were fired, killing <mask>. <mask>'s funeral was attended by over 200 people. A 30 car motorcade pulled up to the Southern Cemetery, Barlow Moor Road, Chorlton-cum-Hardy, Manchester. So many people attended the funeral that the service spilled from the chapel to the main graveyard. The Noonan gang were tried twice for <mask>'s murder. The first trial in 1992 collapsed, while the second in 1993 ended in acquittals.In 1999, Damian Noonan was shot while on the door at the Phoenix Club in the city. <mask> was survived by three children. References

1969 births
1991 deaths
English gangsters

masks:
Anthony James
Johnson
Johnson
Jimmy Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Anthony
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson


title: Jayanthi (actress)

texts:
Kamala Kumari (6 January 1945 – 26 July 2021), known by her mononymous stage name <mask>, was an Indian actress known for her work in Kannada cinema and Tamil cinema. She was noted for her contributions to different genres of films from the 1960s, 1970s and early 1980s. She had appeared in over 500 films, including films in the Kannada, Telugu, Tamil, Malayalam, Hindi and Marathi languages. She had received seven Karnataka State Film Awards, four times as Best Actress and twice as Best Supporting Actress, the President's Medal for Best Actress and two Filmfare Awards for Best Actress. She has been cited as Kannada cinema's "most bold and beautiful" actress by various media outlets, a title for which she has received substantial publicity. The Kannada film industry honored her with the title "Abhinaya Sharadhe", (Goddess Sharada in acting). Early life
<mask> was born in Bellary, in the erstwhile Madras Presidency of British India on 6 January 1945.Her father Balasubramanyam worked as English professor at the St Joseph's College in Bangalore. Her mother was Santhanalakshmi. Jayanthi was the eldest of three siblings and had two younger brothers. Her parents separated when she was young and her mother took the children and moved to Madras. <mask>'s mother was keen on making her daughter a classical dancer and hence she joined a dance school. Her friend in dance school was the famous Tamil actress Manorama. Career

Initial struggle
As a child, Jayanthi went to the studios to see her idol N. T. Rama Rao.He called her and made her sit on his lap. Affectionately, he had asked her whether she would agree to become his heroine and the little girl had merely blushed. The pair would go on later in life to produce successful films such as Jagadeka Veeruni Katha, Kula Gowravam, Kondaveeti Simham and Justice Chowdhury. Jayanthi was ridiculed most of the time as she was plump and could never dance well. During her teens, she had the chance to act in a few Tamil and Telugu movies in bit parts. Jayanthi was shattered after the episode, but promised herself that one day she would prove her worth. <mask>'s life changed when noted film director Y. R. Swamy spotted her during one of her dance rehearsals and cast her in his film Jenu Goodu after persuading her unrelenting mother who gave in after the former's third visit to her house.He also gave her the stage name. Jayanthi enjoyed a good run in the Kannada Film industry. She has costarred in more than 40 movies with Rajkumar, the doyen of Kannada cinema . Rise to fame
Jenu Goodu, Jayanthi's first Kannada film was commercial success. Her next Kannada film as heroine was T. V. Singh Thakur's Chandavalliya Thota, the first film that paired her with Rajkumar. Based on T. R. Subba Rao's novel the film was a huge success and even won the President's Medal for Best Film in Kannada. The next major film that Jayanthi starred in was the 1965 Miss Leelavathi directed by M. R. Vittal in which she played the title role.Considered a film with a "bold theme" in what was seen as the conservative cinema at the time, the film dealt with the influence of parental differences and of a lead heroine who grows up to be a rebel and stands up against convention, refusing marriage, opting to be career-oriented women and with a carefree attitude towards premarital sex. <mask> was launched as the glamour-diva in the film, a first for a Kannada film, wearing skirts, T-shirts and nighties. The film was a huge success and catapulted Jayanthi to fame. She is credited with being the first Kannada actress to wear a swimsuit on screen, which the producers' first choice for the role had refused to do. The film won Jayanthi the President's award. Jayanthi recalled the occasion in one of her interviews when she received the award from Indira Gandhi (then the Ministry of Information and Broadcasting), who, after giving away the award called back <mask> and gave her a kiss and wished her good luck. She did Tamil films from 1962 to 1979 as leading lady, frequently paired opposite Gemini Ganesan and Nagesh in Tamil.In Tamil she acted with all major stars including M.G. Ramachandran, Gemini Ganesan, Muthuraman and Jaishankar. She acted with M. G. Ramachandran in Padagotti and Mugaraasi, with Gemini Ganesan in Kanna Nalama, Velli Vizha, Punnagai, Ganga Gowri and Iru Kodugal, with Jaishankar in Nil Gavani Kadhali and Kaadhal Paduthum Paadu and Ethir Neechal with Nagesh. She was director K. Balachander's regular actress and they went on to work in films such as Iru Kodugal, Bama Vijayam, Ethir Neechal, Punnagai, Velli Vizha and Kanna Nalama. She acted with Jayalalithaa and Manorama in the film Mugaraasi. The song Aadhi Naadan Ketkindraan picturised on her sung by TMS-Janaki was very popular. She was married to film director Peketi Sivaram for a few years and then the couple separated.During the late 1970s and the 1980s <mask> starred in many Kannada movies that required a slightly mature actress, often paired with Srinivasa Murthy and Prabhakar. On 27 March 2018, it was falsely reported by several media houses that actress <mask> had died. While her fans took to social media to offer their condolences, her family members refuted the rumors as false. The then 73 year old actress complained of breathing difficulties and was admitted to a private hospital in Bengaluru and was recuperating and responding well to the treatment. Other works
In 2009, she gave her voice to an HIV/AIDS education animated software tutorial created by the nonprofit organization TeachAids. Death
<mask> died on 26 July 2021 at the age of 76, due to age related ailments at her residence in Bengaluru. Oridathoru Phayalvaan (1981)

Telugu films
This list is incomplete; you can help by expanding it.

masks: Jayanthi Jayanthi Jayanthi Jayanthi Jayanthi Jayanthi Jayanthi Jayanthi Jayanthi