title: Robert Scholz (pianist)

texts:
<mask> (; 16 October 1902 –  11 October 1986) was an Austrian-born American pianist, conductor, composer and teacher. He achieved fame as a pianist, especially in Austria during the Twenties and Thirties in a piano duo with his brother <mask> with whom he also published the first authoritative collection of Mozart’s works for piano. After emigrating to the United States in 1938 he became a well-known conductor and founder of the American Chamber Orchestra in New York. In 1963 the US State Department invited him to teach in Taiwan as part of a scholarly exchange program. Here he achieved lasting fame as a conductor and especially as the founding father of Taiwan's piano tradition. Most influential piano professors in Taiwan today can trace their roots back to his teachings. He died in Taipei in 1986.Life

Genealogy

<mask> was born in Steyr, Austria, on 16 October 1902. His father, <mask>, was a store manager, his mother, Johanna Mayr, a soprano who met and corresponded with Anton Bruckner. His elder brother, the pianist <mask> (1897-1988), was president of the Mozarteum Salzburg in 1964. Some genealogical research of the <mask> family from 1750 until the present time has been undertaken by the composer Martin Fiala in Steyr. Early Years in Austria

Scholz received his first piano lessons from his mother in 1906 but failed to find a more professional piano teacher in Steyr during the war years. Together with his brother Heinz he participated in charity concerts to raise funds for the Red Cross and to help the wounded. He graduated from highschool ("Realschule") in 1920.In 1921 he took about ten piano lessons with Austrian pianist Friedrich Wührer in Vienna, each time traveling 16 hours from Steyr, and was later admitted to the Mozarteum  in Salzburg where he studied with Felix Petyrek. After only ten lessons <mask> returned to Steyr studying without a teacher. Just nine months after he entered it, Scholz passed the Mozarteum's final exams in piano and composition with distinction ("mit Auszeichnung") and also received a teaching certificate. Subsequently he taught piano and composition at the Mozarteum from 1924-1937. In 1935 he even became the first teacher for harpsichord at an Austrian music college. <mask> and <mask> had a distinguished career as a piano duo which began with a European tour in 1923. They performed concertos for two pianos by Mozart, <mask> himself and others with world famous conductors such as Clemens Krauss, Dimitri Mitropoulos in Athens, Herbert von Karajan in Aachen, Bruno Walter and Arturo Toscanini at the Salzburg Festival.During their tours till 1938, including tours in the US and Canada, they often performed a two-piano arrangement of Bach's The Art of Fugue by Erich Schwebsch. In 1937, the year when <mask> received an Honorary professorship, he gave a recital on Mozart's original piano at Salzburg Residenz, a concert which was attended by Walter and Toscanini. In 1927 the Viennese Universal Edition commissioned the <mask> brothers to edit Mozart's piano works based on his manuscripts. America

In 1938 <mask> emigrated to the US settling in New York where he began to teach at the David Mannes Music School. During the same time he started teaching the eight-year old Martin Canin, who was to become a famous piano teacher and performer. The idea of Scholz was to bring Salzburg's music tradition to New York. Collaborating with violinists Ivan Galamian and Louis Persinger as well as pianist Isabelle Vengerova he founded a Mozart orchestra and later a chorus at the Music School of the Henry Street Settlement, a project that was intended to foster talented children from underprivileged backgrounds.Between 1945 and 1950 this orchestra and chorus performed annual concerts at New York Town Hall. <mask>, who took conducting lessons with George Szell in 1940 and taught in summer-camps together with Ivan Galamian, also collaborated with Bruno Walter and his orchestra. <mask> composed large-scale works during this period and arranged Bach's The Art of Fugue for orchestra. Having performed Bruckner's Fourth Symphony and Te Deum with the Mozart orchestra and chorus of the Henry Street Settlement he was presented with the Bruckner Medal of Honor on 12 March 1950 by the Bruckner Society of America. In 1953 <mask> founded the professional American Chamber Orchestra with which he regularly appeared at New York Town Hall and toured the US and Canada. In 1956 he recorded various works by Mozart with this orchestra for Westminster Records, among others the Haffner Serenade and also recorded Mozart piano concertos with Dame Myra Hess. Late Years in Taiwan

In 1963, through the recommendation of the US State Department and the Fulbright Program, <mask> was invited to Taiwan where he would live until his death in 1986.He accepted a professorship for piano and chorus at Taiwan Provincial Teachers’ College (now National Taiwan Normal University). He also taught at the National Academy of Arts (now National Taiwan University of Arts) and later at the College of Chinese Culture ("Hwa Kang", now Chinese Culture University). Besides piano, which he also taught privately, Scholz taught conducting, chorus conducting, composition, theory and vocal accompaniment. Seminaries were arranged by the United States Information Service. Taiwanese composer  has called <mask> a "missionary of music" and compared him to the French Jesuit missionary Amiot in Qing China. Unlike in New York Scholz did not found an orchestra in Taiwan, but served as a principal and guest conductor of all leading local orchestras, especially the Taiwan Provincial Symphony Orchestra (now National Taiwan Symphony Orchestra), the Ministry of Defense Symphony Orchestra, but also school orchestras, building a foundation for their rehearsal methods, repertoire expansion, etc. Hsu Tsang-Houei wrote that Scholz "laid the foundation stone of orchestra culture in Taiwan".During his time in Taiwan he conducted numerous concerts and gala concerts collaborating with most leading local performers, such as pianists Francis Wu, Azusa Fujita and Liu Fu-Mei. In 1969 <mask> married Emane Wu (吳漪曼, Wu Yi-Man, 1931-2019), a well-known pianist and professor in Taiwan. Her father, Wu Bochao (吳伯超), was a famous Chinese composer who perished in the Taiping Steamer's voyage to Taiwan, 1949, while fleeing advancing Chinese Communist forces during the Chinese Civil War. Scholz later conducted his works. In 1970 <mask> conducted the Tokyo Philharmonic Orchestra and accepted a professorship at  Musashino Academy of Music whose orchestra and chorus he led as well. He returned to Taiwan in 1971. In 1973 he also appeared as a guest conductor in Seoul.During the last years of his life <mask> became interested in philosophical studies. His writings were compiled by Bernhard Fuehrer and Bernhard Pohl and posthumously published by the Robert Scholz Music Foundation as "Posthumous Works of <mask>", in 8 volumes, 1993. On October 11, 1986, <mask> died at the National Taiwan University Hospital in Taipei. Teaching

 As a piano teacher <mask> emphasized controlled breathing and watched the harmonious movement of the student's arm and body. He also insisted on notating phrasing, pedal marks and fingering in the score before the student learned the piece. Many students of Professor Scholz left Taiwan on a program organized by Taiwan's Ministry of Education as "gifted children" ("資賦優異天才兒童") before their sixteenth birthday to study in Austria or other countries and many of them are pianists today or leading professors in Taiwan and abroad, among others Tai-Cheng Chen, Se-Se Chang, Lucy Revers, Judy Chin, Han-An Liu, Lina Yeh, Lee-Hwei Wang. Conductors who studied with Professor Scholz include Felix Chen and Dau-Hsiong Tseng and composers Tyzen Hsiao.Works

Most important compositions and writings of <mask> were published  by the Robert Scholz Music Foundation and the R.O.C. National Committee of the Asian Composers League. His personal book collection and annotated musical scores were donated to the National Central Library by Emane Wu. These include personally annotated musical scores dating back to 1938, a 10-volume set of selected works, manuscripts on the thought of Prof. Scholz, musical recordings, and materials on the professor’s musical theory, biography, literature and lyrics. Compositions

Preludio-Chorale; Fughetta;  Toccata for two pianos (1924)
Country Tunes for Woodwind (1925)
Concerto for 2 Pianos and Orchestra (1928)
Andante and Allegro for Flute and Orchestra (1929)
Suite for Orchestra (1932)
Oriental Suite for Orchestra (1932)
Oriental Suite for 2 Pianos (1932)
Second Suite for Orchestra (1935)
Adagio for Violoncello and Orchestra (1935)
Epilogue for the Symphony in E (1937)
The Art of the Fugue [Bach] orchestrated by Scholz (1950)
Symphony in E (1951)

Musicological Essays

The Art of the Fugue
The Vibrating String
Proportions
The Alphabet – The Art of Writing Sounds

Philosophical Essays and Miscellaneous Notes

Denkanregungen
Miscellaneous Notes on Mathematics, Geometry, Numbers & Ciphers
Miscellaneous Notes on Language & Linguistics
Miscellaneous Notes on Denkanregungen

Recordings

Mozart, Wolfgang Amadeus. Haffner Serenade (Serenade No. 7 In D Major, K. 250).The American Chamber Orchestra, <mask>, 1956. Label: Westminster – SWN 18164
Mozart, Wolfgang Amadeus. Divertimento in D Major, K. 131. Casation in B Flat Major, K. 99. The American Chamber Orchestra, <mask>, 1956. Label: Westminster – SWN 18261
Mozart, Wolfgang Amadeus. Piano Concerto No.12 in A Major K. 414. Piano Concerto No. 27 in B Flat Major. Myra Hess [Myra Hess in Concert, 1949-1960, disk 2 of 4]. The American Chamber Orchestra, <mask>holz, 20 March 1956. Label: Music and Arts Programs of America – CD-0779

Bibliography

  Liu Lung-Kai, Chang Hui-Chung, eds. (2001)."<mask>. Weltbürger der Musik. Ein Österreicher – in Taiwan verliebt. Seine Musik. Sein Wirken. Seine Lehren." Taipei: Robert Scholz Musikstiftung.Peng Shengjin (彭聖錦) (2002). "<mask>. European. Taiwanese Soul." ("蕭滋：歐洲人台灣魂"). Taipei: Times Culture (時報文化). . External links
 <mask> (Mozarteum MOZWEB)
 蕭滋 SCHOLZ, <mask> (Who's Who in Taiwan Music)
 Posthumous Works of <mask> (SOAS Research Online)
 <mask> (Universal Edition)

References

American classical pianists
Male classical pianists
American male pianists
Austrian classical pianists
American male conductors (music)
Taiwanese classical musicians
Classical pianists
Austrian classical composers
American classical composers
1902 births
1986 deaths
People from Steyr
20th-century American conductors (music)
20th-century classical pianists
20th-century American male musicians
20th-century American pianists

masks:
Robert Scholz
Heinz Scholz
Robert Scholz
Karl Scholz
Heinz Scholz
Scholz
Scholz
Robert
Heinz Scholz
Robert Scholz
Robert Scholz
Scholz
Robert Scholz
Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Scholz
Robert Sc
Robert Scholz
Robert Scholz
Robert Scholz
Robert
Robert Scholz
Robert Scholz


title: Jim Langley

type: original

texts:
<mask> (7 February 1929 – 9 December 2007) was an English footballer noted for his pacey, rampaging runs from the left fullback position and his long throw-ins. He is remembered particularly fondly by supporters of Fulham for his long service with the club during which he helped them achieve promotion to the First Division during the 1958–59 season; by Queens Park Rangers fans for featuring in the side which won the Third Division title and sensationally beat First Division West Bromwich Albion in the League Cup Final in the 1966–67 season and by non-league side Guildford City where he remains one of their most successful former players. <mask> also enjoyed a short spell as an England international, playing three games for his country in 1958. Amateur career
<mask> started his football career as an amateur playing for a number of non-league sides in the London area whilst still a teenager. His ability was soon attracting attention and in 1946 <mask> was given his dream move – First Division side Brentford signing him when he was still only 17. <mask>'s stay with the Bees did not last long however - his height of 5 feet 9 inches apparently counting against him with manager Harry Curtis - and the Londoner was soon looking for another club. As with many youngsters his age, <mask> was called upon to do national service and it was while he was still in the army that <mask> joined Guildford City in 1948.After a season playing with the Southern League side as an amateur, during which they narrowly avoided relegation, <mask> turned professional in 1949. Professional career

Domestic

Guildford City
Langley was a huge crowd favourite at Guildford City, helping them to two Southern League cup finals in 1951 and 1952 during his four seasons there. After the near catastrophic 1948–49 season he also helped the Surrey side to record a top ten finish in each of the following three seasons. It was hence with great reluctance that Guildford were forced to sell their prized asset to Second Division Leeds United for £2,000 in the summer of 1952 after slipping some £12,000 into debt. He was not forgotten by the club however and in the mid 1970s when Guildford City merged with Dorking FC and were forced to sell their Joseph's Road ground for housing, a Langley Close was created on the site in his honour

Leeds United
Langley's second shot at making it in the Football League was as unhappy as his first as <mask> made only 9 appearances for Leeds during his one season there. Despite scoring on his debut and on two subsequent occasions in his nine appearances on the left wing, manager Major Frank Buckley preferred to play Elland Road stalwart Grenville Hair at Langley's preferred position of left back and <mask> moved to Third Division (South) Brighton & Hove Albion in the summer of 1953. Brighton and Hove Albion
Albion finally provided <mask> with the opportunity to show his ability and he thrived at the south coast club during his four seasons there, helping them secure runners up position in the 1953–54 and 1955–56 seasons and captaining them for two years.He was selected to play for the Third Division South representative side in 1954–55 and 1956–57. <mask> clearly felt he needed to prove his ability at a higher level, however and he agreed to a £12,000 move to Second Division Fulham in 1957. Fulham

This move to Craven Cottage was arguably the making of <mask> as he slotted well into Doug Livingstone's stylish side alongside the legendary midfielder Johnny Haynes. During <mask>'s eight seasons at the club he helped the Cottagers to the FA Cup semi finals in 1957–58 where they lost to Manchester United; and then to promotion back to the first division the following season. In 1959–60 the Cottagers secured their highest league position in the top flight ever as they finished 10th – a record not beaten until Chris Coleman helped the Cottagers to a ninth position finish in 2003–04. There were many highlights in <mask>'s career at Fulham but particularly picked out by the press after his death were his goal in the 1962 FA Cup semi-final replay against Burnley, despite his side eventually losing to the Clarets; and his selection for a London XI which lost to Barcelona in the Inter City Fairs Cup final in 1958. Perhaps the ultimate accolade however came from Sir Stanley Matthews when he selected <mask> to be his opposite number in his final league match.Queens Park Rangers
<mask> left Fulham in 1965, moving to Queens Park Rangers in a £5,000 deal. Despite being in his mid thirties, he helped Rangers to a third-place finish in the Third Division in 1965–66 and the following season, he featured in the side which won the Third Division and won the 1966–67 League Cup, pulling off one of the greatest comebacks in football. They had had an outstanding run in earlier rounds, beating Colchester United 5–0 in the first round and Leicester City (4-2) Carlisle (2–1) and Birmingham City (7–2 on aggregate) in the semi finals. In the final at Wembley Stadium, they met the holders, First Division side West Bromwich Albion and appeared to be heading for a comprehensive defeat after conceding two Clive Clark goals in the first half. Yet Rangers responded by scoring three goals in the last 17 minutes and winning 3–2, handing <mask> the first, and only silverware of his career. Return to non-league
After being released by QPR at the end of that season, <mask> turned his attention to management, becoming player-boss of Hillingdon Borough of the Southern League. Yet again he tasted success, steering the club into the third round proper of the FA Cup, beating Luton Town in the second round.He almost triumphed at Wembley once again in 1970–71 when Hillingdon featured in the FA Trophy final but his side lost 3–2 to Telford United. International

England
<mask>'s career for his national team was short and sweet and he perhaps should have had more time to prove himself. Then manager Walter Winterbottom selected <mask> for the home international against Scotland in April 1958 after his impressive first season with Fulham and he helped the side to a 4–0 victory and he played in the 2–1 victory over Portugal at Wembley, though he did miss a penalty in that game. However a 5–0 defeat by Yugoslavia in the next game meant that he was never called up again after an international career of barely three weeks. Post playing career
<mask> retired in 1971 and became a coach at Crystal Palace before returning to Hillingdon Borough as a club administrator. He appears to have had one last sojourn in management for Dulwich Hamlet in the latter part of the 1976–77 season where he strived, ultimately fruitlessly, to prevent their relegation into the Second Division of the Isthmian League. <mask> after his time at Hillingdon Borough Football Club was finally finished moved into a career in hospitality as managing steward with overall responsibility for the operation of the club including the bar and premises firstly at West Drayton Royal British Legion and then at Sipson Royal British Legion.He was a popular person well known for his slightly wide legged gait caused by a lifetime of strenuous physical activity playing football and his characteristic friendly charm that he displayed to everybody that he met. <mask> died in London at the age of 78. Six days after his death his former club Fulham held a minute's silence before their home match with Newcastle United. References

1929 births
2007 deaths
Footballers from Kilburn, London
English footballers
England international footballers
Association football defenders
Hillingdon Borough F.C. players
Hounslow F.C. players
Uxbridge F.C. players
Hayes F.C.players
Brentford F.C. players
Guildford City F.C. players
Leeds United F.C. players
Brighton & Hove Albion F.C. players
Fulham F.C. players
Queens Park Rangers F.C. players
English Football League players
English Football League representative players
London XI players
English football managers
Dulwich Hamlet F.C.managers

masks:
Ernest James Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley
Langley


title: Una H. Moehrke

texts:
<mask> (born July 7 1953 in Hanover) is a German visual artist specializing in painting, drawing, performance art and experimental text. She was a Professor for Art and Art Mediation at Burg Giebichenstein University of Art and Design in Halle from 1994 to 2018. Life
<mask>. Moehrke studied Painting at the Berlin University of the Arts (graduated in 1980 as a Master Student of Raimund Girke), along with Art History, Religious History, and Philosophy at the Free University of Berlin. She has received stipends from the Berlin Senate, the State of Lower Saxony, and the German Academic Exchange Service and prizes from the Ilse Augustin Foundation, Berlin, the Federal Garden Exhibition in Berlin, and the Baer Art Center, Iceland. After lectureships and guest professorships in Berlin, Lüneburg, Kiel, Braunschweig, and Dresden, she was appointed a Professor at the Burg Giebichenstein University of Art and Design in Halle in 1994. There she taught until 2018 in the Faculty of Art and was a Professor for Art and Art Mediation Art Education. Ulf Aminde, Irmela Gertsen, Georg Lisek, Julian Plodek, Luise von Rohden, Juliane Schickedanz, Jochen Schneider, Ella Ziegler and others were taught by Moehrke.Along with her teaching, Moehrke pursued her own painting and drawing. Moehrke is a member of the International Artists Bureau and an associate member of the German Artists Association. She lives in Berlin. Teaching
As an instructor, Moehrke combined in an experimental and multi-media manner societally related art mediation with artistic interventions in museums, galleries, theaters, and the world of work. Her teaching is based on the experience that artistic work is carried out in dialog with biographical and art-reflecting processes. In the framework of symposiums and catalog publications, she has realized research projects involving multiple steps. In the 2008 project Geometry of Work, she presented artistic research and reflection processes on the heterogeneity of the current concept of work and its various manifestations, as well as documenting artistic transfer projects in concrete work milieus.A symposium in the Gallery for Contemporary Art (GfZK) in Leipzig discussed the geometry of work from its sociological, art-theoretical, and economic perspectives. At the center of another art-theoretical research project, Im Modus der Gabe (In the Mode of the Gift), 2011, stand models from theater, visual art, and performance, in which processes of exchange, transfer, and reciprocity are effective. Considering the performative development of contemporary art, the contributions examine the degree to which concepts of the gift that develop from ethnological, philosophical, and sociological perspectives (Marcel Mauss, Maurice Godelier, Jacques Derrida, Bruno Latour, Paul Ricœur, etc.) prove viable for reflecting on the self-understanding of contemporary artistic practice in the field of tension between social effectiveness and the claim to autonomy. The exhibition and event series erreger- | EIGEN frequenz (agent or pathogen – eigenfrequency), 2018, on the perception, mediation, and visibility of giving, taking, and passing on, is Moehrke's last presentation in the context of her teaching. In interplay with the works of the Professor, twenty-seven different positions on the phenomenon of giving and the principle of impulse and resonance were presented in the Burg Gallery Halle. Oeuvre
Starting with the photographic and performative Self-Portrait on the Surface of the Water (1980s), the Moehrke continued to develop self-portraits as abstract heads in oil painting (end of the 1990s).From the original head and mirror image Icon, she extrapolated abstract surfaces that present themselves as mostly monochromatic pictures. Moehrke works with the reduction of line and color fields. In painting, the dematerialization of color produces shifting color fields that offer reflection surfaces for light and shadow like a mirror and that change with the changing position of the viewer. These are pictures that oscillate between appearance and disappearance. The viewer perceives them as the trace of a motion. With extremely reduced coloration, they open up spaces whose atmosphere is reminiscent of phenomena of light. The viewer can associate motion within the picture with the physical motion outside of the picture (PictureSpaceMotion, 2010).Her pictures painted since 2012 with metal pigments that seem white are her primary works, a further extended reduction of monochromy. Beginning with the performative water drawings of the 1990s, Moehrke designed a large-format, experimental form of drawing that can be categorized as site-specific art and that stands in dialog with nature and architectonic environments, for example industrial architecture, sacred buildings, or park facilities. Moehrke says drawings can grasp something ungraspable. In them, the lines condense to emblems and, in some work complexes, refer to examples from art history. Thus, in Venice in 2015, the drawings were fragmentarily transposed from historical paintings into a free and contemporary language of lines. With small, linear interventions, tradition is transferred to contemporaneity (Personal Structures. Crossing Borders: These lines are dedicated to... Palazzo Bembo, 56th International Art Exhibition, la Biennale di Venezia, Venice 2015).Moehrke's art develops dialogically in the media of performance, photography, painting, drawing, and text. Many of <mask><mask> Aalto Kulturhaus, Wolfsburg, Germany
 2016 Images, Galerie Drei Ringe, Leipzig, Germany
 2015 Personal Structures. Crossing Borders, Palazzo Bembo, Venice Biennale, Italy
 2015 Die Geste der Zeichnung, <mask> H. Moehrke, City Gallery Lauenburg, Germany
 2014 Line of Grace, Moritzburg Foundation, Saxony-Anhalt State Museum, Halle/Saale, Germany
 2013 Whiteness, Gallery Inga Kondeyne, Berlin, Germany
 2012 <mask><mask>, Lines & Beams, painting and drawing. Gallery enpassant, Berlin
 2011 <mask>. Moehrke, Gallery Inga Kondeyne, Berlin
 2008 Bleistift, Buntstift & so weiter, drawings <mask>. <mask> (Touring exhibition and catalogue: Museum Abtei Liesborn of the District of Warendorf; Raum <mask>rot; Städtische Galerie Wolfsburg). 2005 Una H. Moehrke, erscheinen und verschwinden, Painting 2001–2005, Stiftung Stadtmuseum, Berlin (Touring exhibition and catalogue: Märkisches Museum at Köllnischen Park Berlin; Kunstverein Leipzig, 2006)
 2001 Una H. Moehrke, Flächenselbst, interfacial self, Oil paintings and drawings 1998–2001, Kunstverein Unna e.V., Unna, Germany (Touring exhibition and catalogue: Kunstverein Unna e.V. ; Kunsthof e.V.Halberstadt; Fassbender Gallery, Chicago, Illinois)
 2001 <mask><mask>, Präsenz - Repräsentanz, Photo installation, Kunstforum Halberstadt, Halberstadt 2001 (Exhibition catalogue: Das Gleimhaus, Halberstadt 2001)
 1992 <mask><mask>. Exhibition Sprengel Museum, Hanover, Germany

Bibliography (selection)

Publications on Teaching
 erreger-| EIGEN frequenz, Catalogue of the exhibition and mediation project, Burg Galerie Halle, ed. by  Burg Giebichenstein University of Art and Design Halle, Halle/Saale 2018. Burg Giebichenstein Kunsthochschule Halle; Reuter, Jule (eds. ): Burg 100 – Professoren und Professorinnen der Burg aus Kunst und Design. Burg Giebichenstein: Halle 2015, . <mask>, Ingrid; <mask>, <mask>.; <mask>, Klaus (eds.): Im Modus der Gabe. Theater, Kunst, Performance in der Gegenwart. Bielefeld: Kerber Verlag 2011, . Drebber, Madalena; <mask>, <mask>.; Penzel, Joachim (eds): Geometrie der Arbeit. Transfer von Kunst in gesellschaftliche Funktionsbereiche. Bielefeld: Kerber Verlag 2008, . Monographs
 <mask><mask>, Bild_Text R A U M. Malerei-Zeichnung, Performance-Text, 1984–2018, ed.by Burg Giebichenstein University of Art and Design Halle, Halle/Saale 2018, . Personal Structures. Crossing Borders. Cat. ed. by Global Art Affairs Foundation, Venice 2015, . Camelia Flowers (Cat.), Camelia Hills Jeju, Korea 2012
 PANTA RHEI. Der Fluß und seine Bilder. Ed. by Ute Seiderer, Leipzig: Reclam-Verlag,  2009. Weiß sehen. Bleistift, Buntstift & so weiter. Painting, drawing, ed.by Museum Abtei Liesborn and Raum Hellrot, Halle 2008, . Es ist das Andere. <mask> H. Moehrke, Malerei 2007, ed. by Anhaltischer Kunstverein Dessau e.V. and BIK Gallery 149, Bremerhaven 2007, . Positions-Directions. (Cat.), Stadtgalerie im Elbeforum, Brunsbüttel 2005
 Erscheinen und Verschwinden. Una H. Moehrke Malerei 2001–2005,  ed. by Stiftung Stadtmuseum, Berlin 2005, . Larass, Petra; Drück, Patricia: Die Quelle als Inspiration. Historisches Wissen in der zeitgenössischen Kunst, ed. by Franckesche Stiftungen, Halle/Saale 2002, . Flächenselbst, Ölbilder und Zeichnungen.Interfacial Self, Oil paintings and drawings (Cat. ), Kunstverein Unna & Kunsthof e. V., Halberstadt, and Fassbender Gallery, Chicago, 2001, . Mehrmirmär, Zeichnungen und Bilder, Gallery Kasten, Mannheim, and Galerie von Tempelhoff, Karlsruhe 1999. Una, Bilder 1992–1994, Künstlerhaus Göttingen, 1994. Oberflächenferne, Museum für Photographie, Braunschweig 1988. Oberwasser, Unterwasser oder das Aufgehobensein im Wasser, Kunstverein Lüneburg, Schiffshebewerk, Scharnebeck 1987. Narziß oder die Kunstliebe, Neue Berliner Kunstverein (NBK), Berlin 1986.Kein Blatt wie das andere, Sprengel Museum, Hannover 1984. References

External links
 Official website
 Website "Gabe Forschung". Gift Research links activities on gift-giving, publishes texts and projects, and addresses artists. 1953 births
Living people
Artists from Berlin
Berlin University of the Arts alumni
20th-century German artists
21st-century German artists
20th-century German women artists
21st-century German women artists
German contemporary artists

masks:
Una Helga Moehrke
Una H
Una H
. Moehrkevar
Una
Una H
. Moehrke
Una H
Una H
Moehrke
Hell
Una H
. Moehrke
Una H
. Moehrke
Hentschel
Moehrke
Una H
Hoffmann
Moehrke
Una H
Una H
. Moehrke
Una


title: Tom McNeeley

texts: <mask>. (February 27, 1937 – October 25, 2011) was a heavyweight boxer in the 1950s and 1960s. He hailed from Arlington, Massachusetts, and played football for Michigan State University. McNeeley had his first professional bout at the Norwood Stockcar Arena July 17, 1958. On December 4, 1961, McNeeley challenged Floyd Patterson for the world heavyweight championship. McNeeley was on the November 13, 1961 cover of Sports Illustrated. <mask> served eight years as the boxing commissioner of the Massachusetts State Boxing Commission. <mask>'s son <mask> and father, <mask>., were also boxers.<mask> died on October 25, 2011 at the age of 74 of complications from a seizure.

masks:
Thomas William McNeeley Jr
McNeeley
Tom McNeeley
Peter McNeeley
Tom McNeeley Sr
Tom McNeeley


title: Paul Keating

texts:
<mask> (born 18 January 1944) is an Australian former politician who served as the 24th prime minister of Australia from 1991 to 1996. A member of the Australian Labor Party (ALP), he previously served as treasurer of Australia in the Hawke Government from 1983 to 1991 and as deputy prime minister of Australia from 1990 to 1991. <mask> was born in Sydney and left school at the age of 14. He joined the Labor Party at the same age, serving a term as State President of Young Labor and working as a research assistant for a trade union. He was elected to the Australian House of Representatives at the age of 25, winning the division of Blaxland at the 1969 election. <mask> briefly served as Minister for Northern Australia from October to November 1975 in the final weeks of the Whitlam Government. After Labor lost power, he held senior portfolios in the Shadow Cabinets of Gough Whitlam and Bill Hayden.During this time he came to be seen as the leader of the Labor Right faction, and developed a reputation as a talented and fierce parliamentary performer. After Labor's landslide victory at the 1983 election, <mask> was appointed Treasurer by prime minister Bob Hawke. The pair developed a powerful political partnership, overseeing significant reforms intended to liberalise and strengthen the Australian economy. These included the Prices and Incomes Accord, the float of the Australian dollar, the elimination of tariffs, the deregulation of the financial sector, achieving the first federal budget surplus in Australian history, and reform of the taxation system, including the introduction of capital gains tax, fringe benefits tax, and dividend imputation. <mask> became deputy prime minister in 1990, but in June 1991 he resigned from the Government to unsuccessfully challenge Hawke for the leadership, believing he had reneged on the Kirribilli Agreement. He mounted a second successful challenge six months later, and became prime minister. <mask> was appointed prime minister in the aftermath of an early 1990s economic downturn he had famously described as "the recession we had to have".This, combined with poor opinion polling, led many to predict Labor was certain to lose the 1993 election, but <mask> fought a strong campaign and managed to increase the Government's majority. The <mask> Government enacted the landmark Native Title Act to enshrine Indigenous land rights, introduced compulsory superannuation and enterprise bargaining, created a national infrastructure development program, privatised Qantas and the Commonwealth Bank, established the APEC leaders' meeting, and promoted republicanism by establishing the Republic Advisory Committee. At the 1996 election, after 13 years in office, Labor suffered a landslide defeat to the Liberal–National Coalition led by John Howard. <mask> retired from Parliament shortly after the election, but has since remained active as a political commentator, whilst maintaining a broad series of business interests, including serving on the international board of the China Development Bank. Since leaving office, <mask> received broad praise from historians and commentators for his role in modernising the Australian economy as treasurer, while reviews of his period as prime minister have been more mixed. Early life and education
<mask> was born at St Margaret's Hospital in
Darlinghurst, Sydney, New South Wales, on 18 January 1944. He was the first of four children born to Minnie (née Chapman) and Matthew John <mask>.His father worked as a boilermaker for the New South Wales Government Railways. All of <mask>'s grandparents were born in Australia. On his father's side, he was descended from Irish immigrants born in counties Galway, Roscommon, and Tipperary. On his mother's side, he was of mixed English and Irish descent. His maternal grandfather, Fred Chapman, was the son of two convicts, John Chapman and Sarah Gallagher, both of whom had been transported for theft in the 1830s. <mask> grew up in Bankstown, a working-class suburb in western Sydney, with the family home from 1942 to 1966 being a modest fibro and brick bungalow at 3 Marshall Street, Bankstown (demolished for flat development in 2014). His siblings include <mask>, a company director and businesswoman.Leaving De La Salle College—now known as LaSalle Catholic College—at the age of 14, <mask> left high school rather than pursuing higher education, instead working as a pay clerk at the Sydney County Council's electricity distributor. <mask> also attended Belmore Technical High School to further his education. He then worked as research assistant for a trade union, having joined the Labor Party as soon as he was eligible. In 1966, he became President of New South Wales Young Labor. During the 1960s, <mask> also managed a rock band named The Ramrods. Early political career

Through his contacts in the unions and Young Labor, then known as Youth Council, <mask> met future senior Labor figures such as Laurie Brereton, Graham Richardson and Bob Carr. He also developed a friendship with former New South Wales Premier Jack Lang, who Keating took on as a political mentor.In 1971, he succeeded in having Lang re-admitted to the Labor Party. <mask> successfully gained the Labor nomination for the seat of Blaxland in the western suburbs of Sydney, and was elected to the House of Representatives in 1969 when he was just 25 years old. <mask> was initially more socially conservative; in his maiden speech he declared that the Liberal Government had "boasted about the increasing number of women in the workforce. Rather than something to be proud of, I feel it is something of which we should be ashamed". He later voted against former Prime Minister John Gorton's motion to decriminalise homosexuality in 1973. According to Tom Uren he was originally a "very narrow-minded young man", who later "matured" and became far less socially conservative. After Labor's victory at the 1972 election, <mask> narrowly failed to be elected to serve in the Cabinet, instead being a backbencher for most of the Whitlam Government.He was eventually appointed Minister for Northern Australia in October 1975, but served in the role only until the Government was controversially dismissed by Governor-General John Kerr the following month. In a 2013 interview with Kerry O'Brien, <mask> called the dismissal a "coup" and raised the idea to "arrest [Kerr]" and "lock him up", adding that he would not have "[taken] it lying down" if he was prime minister. After Labor's defeat in the 1975 election, <mask> was quickly added to the Shadow Cabinet, serving as Shadow Minister for Minerals, Resources and Energy until January 1983. During this time he achieved a reputation as a flamboyant and fierce parliamentary performer, adopting the style of an aggressive debater. In 1981, he was elected president of the New South Wales Labor Party, thus becoming the leader of the influential Labor Right faction. At this time, he initially supported the former Treasurer Bill Hayden for Labor Leader over the former ACTU President Bob Hawke as leadership tensions between the two men began to mount; he later explained that part of his reasoning was that he privately hoped to succeed Hayden himself in the near future. However, by 1982, the members of his faction had swung behind Hawke, and <mask> endorsed his challenge.The formal announcement of <mask>'s support for Hawke was written by a fellow Labor politician, Gareth Evans. Although Hayden survived the challenge, pressure continued to mount on him; in an attempt to shore up his position, Hayden promoted <mask> to the role of Shadow Treasurer in January 1983. However this did not prove sufficient, and Hayden resigned a month later, after a poor by-election result. Hawke was elected unopposed to replace him, and he subsequently led Labor to a landslide victory in the 1983 election just six weeks later. Treasurer of Australia

Early days
Following Labor's victory in the 1983 election, <mask> was appointed Treasurer of Australia by Prime Minister Bob Hawke; he succeeded John Howard in the position. He and Hawke were able to use the size of the budget deficit that the Hawke Government had inherited from the Fraser Government to question the economic credibility of the Liberal-National Coalition over the coming years. According to Hawke, the historically large $9.6 billion budget deficit left by the Coalition "became a stick with which we were justifiably able to beat the Opposition".Although Howard was widely regarded at this time as being "discredited" by the hidden deficit, he had in fact argued unsuccessfully against Fraser that the revised figures should be disclosed before the election. In the ensuing years, Hawke and <mask> developed an extremely powerful partnership, which proved to be essential to Labor's success in government; multiple Labor figures in years since have citing the partnership between the two as the party's greatest ever. The two men proved a study in contrasts: Hawke was a Rhodes Scholar; <mask> left high school early. Hawke's enthusiasms were cigars, betting and most forms of sport; <mask> preferred classical architecture, Mahler symphonies and collecting British Regency and French Empire antiques. Despite not knowing one another before Hawke assumed the leadership in 1983, the two formed a personal as well as political relationship which enabled the Government to pursue a significant number of reforms, although there were occasional points of tension between the two. <mask>, along with Hawke, oversaw a "National Economic Summit" in their first month in office, with <mask> leading several sessions outlining the Government's economic agenda. The Summit, which brought together a significant number of senior business and industrial figures alongside trade union leaders and politicians, led to a unanimous adoption of a national economic strategy, generating sufficient political capital for the Government to begin a wide-ranging programme of economic reform previously resisted by much of the Labor Party.Macroeconomic reforms

<mask> used the authority and relative autonomy provided to him by Hawke to become one of the major driving forces behind the various extensive macroeconomic reforms of the Government. In December 1983, Hawke and <mask> approved the floating of the Australian dollar, disregarding advice from the Treasury Secretary John Stone to retain the fixed currency framework. The success of the move, which was lauded by economic and media commentators, gave confidence to <mask> to pursue even more reforms. Over the Hawke Government's first and second terms, <mask> oversaw the gradual elimination of tariffs on imports, the privatisation of several state-owned companies such as Qantas, CSL Limited, and the Commonwealth Bank, the deregulation significant sections of the banking system, including allowing for numerous foreign-owned banks to begin operating in Australia for the first time, and the granting of autonomy on decision-making to the Reserve Bank of Australia. <mask> was also instrumental in the establishment of the Hawke's Government signature industrial relations and wages policy, the Prices and Incomes Accord. This was an agreement directly between the Australian Council of Trade Unions (ACTU) and the Government to guarantee a reduction in demands for wage increases, in exchange for the Government providing a significant increase in social programmes, including the introduction of Medicare and the Family Assistance Scheme; in so doing, the Government was able to reduce inflation and unemployment over the decade. <mask>'s management of the Accord, and the close working relationship he developed with ACTU Secretary Bill Kelty, became a source of significant political power for <mask>, who negotiated multiple versions of the Accord with Kelty throughout the Hawke Government.Through the power given to him, <mask> was often able to bypass the Cabinet altogether, notably in exercising monetary policy, and he was regularly referred to as "the most powerful Treasurer in modern times". In the wake of the raft of macroeconomic reforms introduced by <mask> throughout the first term of the Hawke Government in particular, in 1984 he was awarded the Euromoney Finance Minister of the Year, an award which became colloquially known in Australia as the "World's Greatest Treasurer", becoming the first Australian Treasurer to be presented with the award. Microeconomic reforms

Throughout the second and third terms of the Hawke Government, <mask> led a significant overhaul of the long-stagnant Australian taxation system. In 1985, he became a passionate advocate within the Cabinet for the introduction of a broad-based consumption tax, similar in nature to the goods and services tax that was later introduced by the Howard Government, as a means of addressing Australia's chronic balance of payments issue. In the build-up to the 1984 election, Hawke promised a policy paper on taxation reform to be discussed with all stakeholders at a "National Taxation Summit". Three options – A, B and C – were presented in the paper, with <mask> and his Treasury colleagues fiercely advocating for C, which included a consumption tax of 15% on goods and services along with reductions in personal and company income tax, a fringe benefits tax and a capital gains tax. Although <mask> was able to win the support of a reluctant Cabinet, Hawke believed that the opposition from the public, the ACTU, and the business community would be too great.He therefore decided to abandon any plans for a consumption tax, although the remainder of the reforms were adopted in the tax reform package. The loss of the consumption tax was seen a defeat for <mask>; he later joked about it at a press conference, saying, "It's a bit like Ben Hur. We've crossed the line with one wheel off, but we have crossed the line." Whilst the remainder of the package represented the biggest overhaul of the Australian taxation system for decades, <mask> continued to agitate for further changes to address the balance of payments problems faced by Australia. On 14 May 1986, frustrated at the slow pace of dealing with the issue, <mask> caused considerable public comment and a degree of controversy when he declared on a radio programme that if Australia did not address the problem, it risked degenerating to the status of a "banana republic". Although the remark was quickly disowned by Hawke in public, the Government increased efforts to deal with the growing balance of payments crisis. With no consumption tax to generate a significant increase in incomings, <mask> and his ministerial colleagues led a process to significantly reduce Government outlays instead, resulting in some criticism from the grassroots of the Labor Party, who opposed cuts to spending.Despite the criticism, the Government was able to produce a national budget surplus for the years 1988, 1989 and 1990, with the surplus of 1988 proving to be the largest budget surplus in Australian history. During the campaign for the 1987 election, <mask> was credited as dealing a "fatal" blow to the Liberal-National Coalition's hopes for victory, after giving a press conference in which he exposed a significant accounting error in the costings the Liberal Party had released to demonstrate how its economic policies would be paid for. Then-Opposition Leader John Howard accepted the error, and subsequent opinion polling reported that the mistake greatly contributed to Labor's vote in what proved to be a landslide victory. <mask>'s later tenure as Treasurer was heavily criticised by some for consistently high interest rates, which <mask> argued was necessary to reduce economic growth gradually so that demand for imports did not grow out of control. Throughout the 1980s, both the global and Australian economies grew quickly, and by the late 1980s, inflation had grown to around 9%. By 1988, the Reserve Bank of Australia began tightening monetary policy, and household interest rates peaked at 18%. It is often said that the Bank was too slow in easing monetary policy, and that this ultimately led to a recession.In private, <mask> had argued for rates to rise earlier than they did, and fall sooner, although his view was at odds with the Reserve Bank and his Treasury colleagues. Publicly, Hawke and <mask> had said there would be no recession – or that there would be a "soft landing" – but this changed when <mask> announced the country was indeed in recession in 1990, several months after the Hawke Government had won an unprecedented fourth consecutive term in office. Announcing the recession, <mask> memorably stated that the recession was a "recession Australia had to have". The remark was referred to by political journalist <mask> as "perhaps the most stupid remark of <mask>'s career, and it nearly cost him the Prime Ministership." Kelly did also concede that, "...however, it is largely true that the boom begat the recession." The economic reform package throughout the 1980s has been claimed by numerous economic commentators and journalists to have been the basis for an unprecedentedly long period of economic growth, with Australia's gross domestic product increasing unbroken every year for 30 years, and the end of chronic inflation and balance of payments difficulties, along with the increasingly globalised domestic economy, enabling long periods of stability and growth. Leadership challenges
At the end of 1988, <mask>, who had long believed that he would succeed Hawke as prime minister, began to put pressure on Hawke to retire in the new year.Hawke rejected this advice, but reached a secret agreement with <mask> that he would remain as leader through to the 1990 election, and that he would resign in <mask>'s favour shortly after the election, which he convinced <mask> he could win. Hawke subsequently won that election, albeit narrowly, and appointed <mask> his deputy prime minister to replace the retiring Lionel Bowen. However by the end of 1990, frustrated at the lack of any indication from Hawke as to when he might retire, <mask> delivered a provocative speech questioning the direction of the government. As a result, Hawke told <mask> he would renege on the deal on the basis that <mask> had been publicly disloyal. Although tensions between the two remained private for some time, <mask> eventually resigned from the Cabinet in June 1991 and challenged for the leadership. Hawke won the ballot by 66 votes to 44, and in a press statement afterwards <mask> declared that he had fired his "one shot" as regards the leadership. Publicly, at least, this seemed to spell the end of his leadership ambitions.Having failed to defeat Hawke, <mask> realised that events would have to move very much in his favour for a second challenge to be even possible, and he strongly considered retiring from politics altogether. However, Hawke's leadership was regarded by many as being "wounded" as a result of losing his long-term political partner and the growing confidence of the Liberal-National Coalition under the new leadership of John Hewson. After Hawke was forced to sack John Kerin, the man appointed to replace <mask> as Treasurer, for a public gaffe in attempting to combat the Coalition's new 'Fightback!' policy, <mask> took the opportunity to challenge a second time in December 1991, this time emerging victorious by 56 votes to 51. <mask> paid tribute to Hawke's nine years as Prime Minister, and stated that he would provide a robust challenge to Hewson. Prime Minister of Australia

On 20 December 1991, <mask> was sworn in as Prime Minister by the Governor-General Bill Hayden. On becoming Prime Minister, <mask> thought of becoming Treasurer again, noting that state premiers had often served as their own Treasurers, but decided against it.John Dawkins was appointed Treasurer instead. <mask> entered office with an extensive legislative agenda, including pursuing reconciliation with Australia's Indigenous population, deepening Australia's economic and

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 cultural ties with Asia, and making Australia a republic. The addressing of these issues came to be known as <mask>'s "big picture." Indigenous land rights and domestic policy

Shortly after <mask> became prime minister, the High Court of Australia handed down a judgment in a long-running case on Indigenous land rights; the judgement would come to be known as Mabo, and declared that a right to native title did exist in Australia, overturning terra nullius, but not clarifying exactly who had the right to access the title. <mask> led the Government's response to the ruling, beginning a high-profile public campaign on raising awareness of the issue, and advocating repeatedly in favour of the judgment and for an expansion of Aboriginal and Torres Strait Islander land rights. On 10 December 1992, <mask> delivered a major address which came to be known as the Redfern Park Speech on Aboriginal reconciliation, a speech which has since regularly been cited as among the greatest in Australian political history, in which he explicitly noted the responsibility of settler Australians for destroying much of Indigenous society. This work culminated in the passage of the Native Title Act in 1993, which "provide(d) a national system for the recognition and protection of native title and for its co-existence with the national land management system".As well as creating the legal field of native title, the Act established an Aboriginal and Torres Strait Islander Social Justice Commissioner, who was required to prepare an annual report to the Attorney-General on the operation of the Native Title Act and its effect on the exercise and enjoyment of human rights of Aboriginal and Torres Strait Islander peoples, and to report, when requested by the Attorney-General, on any other matter relating to the rights of Indigenous people under the Act. Elsewhere in domestic policy, <mask> established and promoted the first Commonwealth cultural policy, known as 'Creative Nation'. The policy allocated AU$250 million over four years to promote the cultural and creative arts sectors in Australia. <mask> had frequently espoused the benefits of the arts in public, and used the policy as an opportunity to develop the Australian cultural sector. During the <mask> Government, mandatory detention for asylum seekers was also introduced for the first time. Superannuation and economic policy

Arguably <mask>'s most far-reaching achievement as prime minister was the full introduction of the National Superannuation Scheme, implemented to address Australia's long-term problem of chronically low national savings. This initiative built on policies that <mask> had pursued whilst Treasurer, and was aimed at ensuring that most Australians would have enough money to retire.In 1992, the compulsory employer contribution scheme became a part of a wider reform package addressing this retirement income dilemma. It had been demonstrated that Australia, along with many other Western nations, would experience a major demographic shift in the coming decades, due to ageing population, and it was claimed that this would result in increased pension payments that would place an unaffordable strain on the Australian economy. <mask>'s solution was a "three pillars" approach to retirement income, requiring compulsory employer contributions to superannuation funds, permitting further contributions to superannuation funds and other investments, and introducing, where this was insufficient, a safety net consisting of a means-tested government-funded age pension. The compulsory employer contributions were branded "Superannuation Guarantee" (SG) contributions. As a result of this policy, along with the gradual increases in the minimum contribution amount, Australia grew to become the fourth largest holder of pension fund assets in the world, with a balance of nearly AU$3 trillion in superannuation assets by 2020. In the aftermath of the 1990 recession, <mask> appointed his close ally John Dawkins as Treasurer, and together the two developed an economic package to counter the Liberal-National Coalition's 'Fightback!' proposals; this package came to be known as 'One Nation', and involved using funding from the budget surplus to produce new welfare-to-work programmes, as well as introducing a new degree of competition within the telecommunications and communications industries and creating the Australian National Training Authority (ANTA).'One Nation' also proposed a series of further tax cuts for middle-income workers coming in two tranches, in 1993 and 1995, although these would later be deferred to 1995 and 1998, a move which cost the Government considerable political support among the public. A further major economic policy development was the introduction of an enterprise bargaining scheme as part of the final stage of the Prices and Incomes Accord, intended to allow for greater flexibility and economies of scale within industrial wage arbitration, although much of this was curtailed by the Howard Government after 1996. Foreign policy

Throughout his time as prime minister, <mask> took a number of steps to strengthen and develop bilateral links with Australia's closest neighbours; he frequently said that there was no country in the world that was more important to Australia than Indonesia, and undertook his first overseas visit to the country, becoming the first Australian prime minister to do so. <mask> made a conscious effort to develop a personal relationship with Indonesian President Suharto, and to include Indonesia in multilateral forums attended by Australia. <mask>'s friendship with Suharto was criticised by human rights activists supportive of East Timorese independence, and by Nobel Peace Prize winner José Ramos-Horta. The Keating Government's cooperation with the Indonesian military, and the signing of the Timor Gap Treaty, were also strongly criticised by these same groups. It was alleged by some that Keating was overlooking alleged human rights abuses by the Indonesian government as part of his effort to dramatically increase Australia's cultural, diplomatic and economic ties with Asia.Following the creation of the Asia-Pacific Economic Cooperation (APEC) Economic Forum by Bob Hawke, <mask> developed the idea further, winning the support in 1993 of recently-elected US President Bill Clinton and Chinese Premier Li Peng to expand APEC to a full Leaders' Meeting. This led to APEC becoming one of the most significant high-level international summits, and at the 1994 APEC Leaders' Meeting, hosted by Indonesia, members agreed to the Keating Government's proposals for what became known as the Bogor Declaration, which set targets for a significant increase in free trade and investment between industrialised APEC countries by 2010 and between developing APEC countries by 2020. In December 1993, <mask> became involved in a diplomatic incident with Malaysia when he described Prime Minister Mahathir Mohamad as "recalcitrant". The incident occurred after Mahathir refused to attend the 1993 APEC summit. <mask> said, "APEC is bigger than all of us – Australia, the U.S. and Malaysia, and Dr. Mahathir and any other recalcitrants." The translation of the word "recalcitrant" into Malaysian rendered the word a more egregious insult, and Mahathir demanded an apology from <mask>, threatening to reduce diplomatic ties and trade drastically with Australia, which became an enormous concern to Australian exporters. Some Malaysian officials talked of launching a "Buy Australian Last" campaign; <mask> subsequently apologised to Mahathir over the remark.1993 and 1996 elections

As prime minister, <mask> maintained his aggressive debating style. When asked by Opposition Leader John Hewson why he would not call an early election, <mask> replied, "because I want to do you slowly." He referred to the Liberal Party as "a motley, dishonest crew", and the National Party as "dummies and dimwits; desperadoes". During an opposition debate that sought to censure <mask>, he described being attacked by Peter Costello as "like being flogged with warm lettuce". Despite this renewed attack on the Opposition, and a busy legislative agenda, many commentators predicted that the 1993 election was "unwinnable" for Labor. During the campaign, <mask> focused a great amount of effort on attacking the Coalition's proposed goods and services tax (GST), arguing that it would prove "a dead weight" on the economy, and stating that "every time you put your hand in your pocket, Dr. Hewson's will be in there with you". He was helped by Hewson struggling towards the end of the campaign to explain exactly which products would have the GST levied on them, and which would not.Having begun the campaign far behind the Coalition in opinion polls, on 13 March <mask> led Labor to an unexpected and record-breaking fifth consecutive election victory, picking up a two-seat swing. The speech <mask> delivered at the victory celebration has been described as one of the great Labor speeches. Opening with "This is a victory for the true believers; the men and women of Australia who, in difficult times, have kept the faith", the speech has been described as providing a source of inspiration for Labor Party faithful to the present day. Like Hawke before him, <mask> was able to benefit from disunity in the Liberal Party. Fourteen months after the March 1993 election, John Hewson was replaced as Liberal Leader by Alexander Downer, whose leadership was quickly marred by gaffes and controversies within months. <mask> routinely succeeded in outwitting Downer within Parliament, and in early 1995, Downer resigned to be replaced by John Howard, who had previously led the Liberals from 1985 to 1989. Howard was able to give the Coalition renewed momentum after Labor lost the seat of Canberra in a by-election.In contrast to Hewson, Howard adopted a "small target" campaign strategy for the 1996 election, publicly committing to keep numerous Labor reforms such as Medicare, and defusing the republic issue by promising to hold a constitutional convention. This combined with a narrative of "time for a change" led to a heavy defeat for the <mask> Government on 2 March 1996, suffering a five percent two party preferred swing and losing 29 seats, making it the second-worst defeat of a sitting government in Australian history. <mask> announced he would retire as Labor Leader and from Parliament, and tendered his resignation as prime minister on 11 March, 13 years to the day after Bob Hawke had first taken office. Post-political career

After leaving Parliament in 1996, <mask> moved to the affluent eastern Sydney suburb of Woollahra. He accepted appointment as a director for various companies, and also became a senior adviser to Lazard, an investment banking firm. <mask> was also appointed to the Advisory Council to the Chinese Government Development Bank. He was also appointed a Visiting Professor of Public Policy at the University of New South Wales and was awarded honorary doctorates in law from Keio University in Tokyo (1995), the National University of Singapore (1999), the University of New South Wales (2003) and Macquarie University (2012).In 1997, <mask> declined appointment in the Australia Day Honours as a Companion of the Order of Australia, an honour which has been offered to all former prime ministers since the modern Australian Honours System was introduced in 1975. On his refusal, <mask> expressed that he had long believed honours should be reserved for those whose work in the community went unrecognised and that having been prime minister was sufficient public recognition. In 2000, he published his first book since leaving office, Engagement: Australia Faces the Asia-Pacific, which focused on foreign policy during his time as prime minister. In 2002, <mask>'s former speechwriter and adviser, Don Watson, published Recollections of a Bleeding Heart: A Portrait of <mask> PM. The book first drew criticism from <mask>'s by then-estranged wife, Annita <mask>, who said that it understated her contribution, a complaint Watson rejected. <mask> himself was so unhappy with the book that it brought the two men's friendship to an abrupt end. <mask> initially avoided public political comment during the Howard Government, although made occasional speeches criticising his successor's social policies.Ahead of the 2007 election, <mask> joined former Labor Prime Ministers Gough Whitlam and Bob Hawke to campaign against Howard, describing Howard as a "desiccated coconut" who was "Araldited to the seat", as an "...old antediluvian 19th century person who wanted to stomp forever...on ordinary people's rights to organise themselves at work...he's a pre-Copernican obscurantist". He also described Howard's deputy, Peter Costello, as being "all tip and no iceberg" when referring to an alleged pact made by Howard to hand the leadership over to Costello after two terms. In February 2008, after Labor's victory in the 2007 election, <mask> joined former Prime Ministers Whitlam, Fraser and Hawke in Parliament House to witness new Prime Minister Kevin Rudd deliver the National Apology to the Stolen Generations. In August 2008, he spoke at the book launch of Unfinished Business: <mask>'s Interrupted Revolution, authored by economist David Love. Among the topics discussed during the launch were the need to increase compulsory superannuation contributions, as well as to restore incentives for people to receive their superannuation payments in annuities. In 2013, <mask> took part in a series of four-hour-long interviews with Kerry O'Brien which were broadcast on the ABC in November of that year. The series covered <mask>'s early life, his entry into Parliament, his years as treasurer and prime minister, and canvassing his academic, musical and artistic interests, economic and cultural vision for Australia, and commitment to Australia's integration into Asia.O'Brien used these conversations as the basis for a 2014 book <mask>: The Interviews. <mask> repeatedly declared he would not write a memoir, so his cooperation with O'Brien was perceived as the closest he would come to producing an autobiography. In 2016, Troy Bramston, a journalist for The Australian and a political historian, wrote an unauthorised biography that <mask> cooperated with titled <mask>: The Big-Picture Leader. Bramston was given full access to <mask>'s personal papers, was granted a series of interviews with <mask> and also interviewed more than 100 other people. It was described as the "authoritative" and "definitive" <mask> biography written by a "first class" political historian. In 2019, during campaigning for that year's federal election, <mask> spoke out against the Australian Security Intelligence Organisation by calling them "nutters." His remarks attracted media criticism, and Labor Leader Bill Shorten distanced himself from <mask>'s views.<mask> later issued a joint statement with Bob Hawke endorsing Labor's economic plan as part of the election campaign, and condemning the Liberal Party for "completely [giving] up the economic reform agenda". They stated that "Shorten's Labor is the only party of government focused on the need to modernise the economy to deal with the major challenge of our time: human induced climate change"; it was the first joint press statement released by the two since 1991. After Hawke's death in the same month, <mask> gave an address at Hawke's state memorial service at Sydney Opera House on 14 June, where he reflected on the "great friendship and partnership" the two had enjoyed. In September 2021, following the announcement of the AUKUS trilateral military alliance between the United States, United Kingdom and Australia, <mask> criticised the alliance, saying that "Australia turns its back on the 21st century, the century of Asia, for the jaded and faded Anglosphere" and the deal would be "locking the country and its military forces into the force structure of the United States by acquiring US submarines". <mask> went on to criticize Labor's opposition foreign affairs spokesperson Penny Wong, accusing the Labor opposition of being complicit with the Liberal government in "false representation of China’s foreign policy". His comments were criticised by Labor MPs Anthony Byrne and Peter Khalil. In January 2022, <mask> accused British Foreign Secretary Liz Truss of making "demented" comments about Chinese military aggression in the Pacific, saying that "Britain suffers delusions of grandeur and relevance deprivation."Personal life
In 1976, <mask> married Annita van Iersel, a Dutch-born flight attendant for Alitalia. They had four children, who spent some of their teenage years in The Lodge, the prime minister's official residence in Canberra. The couple separated in November 1998. While they did not formally divorce until 2008, Annita had resumed her maiden name long before then. Before his marriage to van Iersel, <mask> had in 1972 announced his engagement to fashion consultant Kristine Kennedy, but they did not marry. Since 1998, <mask>'s partner has been the actress Julieanne Newbould. <mask>'s daughter, <mask>, is a former adviser to former New South Wales Minister Craig Knowles as well as former New South Wales Premier Bob Carr.In the early 1970s, <mask> moved from the family home in Bankstown when he purchased a new brick-veneer house at 12 Gerard Avenue, Condell Park, two doors up from his parent's new home at No. 8 Gerard Avenue. This became the family home after his marriage in 1976 until 1983, when the <mask>s sold the property for $123,000 and moved to a one-storey rental house in the Canberra suburb of Red Hill to be closer to work. <mask>'s interests include the music of Gustav Mahler and collecting French antique clocks. He currently resides in Potts Point, in inner-city Sydney, and has a holiday home on the Hawkesbury River. Popular culture
In 2005, Keating!, a musical based on <mask>'s life and career, premiered at the Melbourne International Comedy Festival. It went on to run until 2010, winning a number of awards and eventually being broadcast on ABC2.See also

 Keating Government
 <mask> Government
 First Keating Ministry
 Second Keating Ministry
 Redfern Speech

References

Further reading

 Bramston, Troy (2016), <mask>: The Big-Picture Leader, Scribe. Carew, Edna (1991), <mask>ating Prime Minister, Allen and Unwin. Edwards, John (1996), Keating: The Inside Story, Viking. Gordon, Michael (1993), A Question of Leadership. <mask>. Political Fighter, University of Queensland Press, St Lucia, Queensland. Gordon, Michael (1996), A True Believer: <mask>, UQP.<mask>, <mask> (1995), Advancing Australia, Big Picture. <mask>, <mask> (2011), "After Words", Allen & Unwin,
 Lowe, David (2008), Unfinished Business: <mask>'s interrupted revolution, Scribe. Watson, Don (2002), Recollections of a Bleeding Heart: A Portrait of <mask> PM, Knopf. <mask> (2011), After Words: The Post-Prime Ministerial Speeches, Allen & Unwin. External links

 <mask>'s official website

 <mask> Insults Archive
 <mask> at the National Film and Sound Archive
 Photo – Delivering the annual John Curtin Prime Ministerial Lecture 2009
 Text – 2009 John Curtin Prime Ministerial Lecture
 Painting – <mask>
 Video of the Redfern Address

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title: Arthur Wing Pinero

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Sir <mask> (24 May 185523 November 1934) was an English playwright and, early in his career, actor. <mask> was drawn to the theatre from an early age, and became a professional actor at the age of 19. He gained experience as a supporting actor in British provincial theatres, and from 1876 to 1881 was a member of Henry Irving's company, based at the Lyceum Theatre, London. <mask> wrote his first play in 1877. Seven years later, having written 15 more, three of them highly successful, he abandoned acting and became a full-time playwright. He first became known for a series of farces, of which The Magistrate (1885) was the longest-running. During the 1890s he turned to serious subjects.The Second Mrs Tanqueray (1893), dealing with a woman with a scandalous past, was regarded as shocking, but ran well and made a large profit. His other successes included Trelawny of the "Wells" (1898), a romantic comedy celebrating the theatre, old and new, and The Gay Lord Quex, about a reformed roué and a feisty young woman. A venture into opera, with a libretto for The Beauty Stone (1898), was not a success, and <mask> thereafter generally stuck to his familiar genre of society dramas and comedies. Although he continued to write throughout the first three decades of the 20th century and into the fourth, it is <mask>'s work from the 1880s and 1890s that has endured. There have been numerous revivals of many of his plays; and some have been adapted for the cinema or as musicals. By his later years, <mask> was seen as old-fashioned, and his last plays were not successful. He died in London at the age of 79.Life and career

Early years

<mask> was born in London, the only son, and second of three children, of John Daniel <mask> (1798–1871), and his wife Lucy, née Daines (1836–1905). <mask>'s father and grandfather were London solicitors. They were descended from the Pinheiro family, described by <mask>'s biographer John Dawick as "a distinguished family of Sephardic Jews who rose to prominence in medieval Portugal before suffering the persecutions of the Inquisition". <mask>'s branch of the family fled to England. His grandfather abandoned the Jewish faith, became a member of the Church of England, married a Christian Englishwoman, <mask>, and became a highly successful lawyer. His younger son, <mask>'s father, also took up the legal profession, but was much less successful; <mask> was brought up in circumstances that were not poor but were not affluent. He attended Spa Fields Chapel charity school in Exmouth Street, Clerkenwell, London, until the age of ten, when he went to work in his father's office.John Daniel <mask> died in May 1871, leaving very little money. To contribute to the family income, <mask> continued to work as a solicitor's clerk, earning £1 a week. In the evenings he studied elocution at the Birkbeck Literary and Scientific Institution. He and his fellow students staged several productions of plays, and Pinero became irresistibly drawn to the theatre. In May 1874 he abandoned the legal profession and joined R. H. Wyndham at the Theatre Royal, Edinburgh, as a "general utility" actor. He made his professional debut in the small role of a groom in an adaptation of Wilkie Collins's The Woman in White. Actor and rising playwright: 1874–1884

As a junior member of Wyndham's company <mask> quickly gained experience in a range of roles, supporting E. A. Sothern in Our American Cousin, and Charles Mathews in the Balzac adaptation A Game of Speculation, and graduating to larger parts such as Crosstree in Black-Eyed Susan.His engagement in Edinburgh came to a sudden end in February 1875 when the theatre was destroyed by fire. He was fortunate in being offered another provincial engagement, at the Royal Alexandra Theatre, Liverpool, where he began to be noticed by the press, gaining approving reviews for his acting in supporting roles. A production of Miss Gwilt, an adaptation of Wilkie Collins's Armadale, starring Ada Cavendish, was reported by the theatrical paper The Era as "a genuine triumph"; the play transferred from Liverpool to the West End, and <mask> retained his role as an elderly solicitor. The production was not the hoped-for success in London, but <mask> received good notices for his performance, and when the run finished after ten weeks he was immediately engaged by Henry Irving's manager, Mrs Bateman, as a member of the supporting cast for Irving's forthcoming provincial tour. Although the tour was uncongenial, and <mask> gathered some highly critical notices, he continued to work as a supporting actor to Irving for five years. He first appeared at the Lyceum, Irving's London base, in December 1876 and played a total of 21 parts there between then and 1881. His Shakespearean roles were Lord Stanley in Richard III (1877), Rosencrantz in Hamlet (1878), Guildenstern in Hamlet (1879), Salarino in The Merchant of Venice (1879), and Roderigo in Othello (1881).In a revival of the melodrama The Bells, with which Irving's name was already synonymous, he played Dr Zimmer (1878). While in Irving's company <mask> wrote his first plays. He began with £200 a Year, a one-act comedy written in a single afternoon for a colleague to present at a benefit performance in 1877. The play was well received and was given several further performances, bringing <mask>'s name a modest amount of publicity. His first full-length play, La Comète, was staged in a theatre in Croydon in 1878, and he wrote four more one-act comedies, staged in London in 1878–1880, playing in two of them – Daisy's Escape and Bygones – at the Lyceum. Another of these, Hester's Mystery (1880), written for the comic actor J. L. Toole, ran for 300 performances at the Folly Theatre. <mask>'s profile as a playwright was further raised by The Money Spinner, a full-length comedy, first given at the Prince's Theatre, Manchester in November 1880 and then at the St James's in London in January 1881.The theatre historian J. P. Wearing regards the play as of particular importance in the history of the St James's, a theatre previously known more for its failures than its successes. <mask>'s play was regarded as daringly unconventional and a risky venture, but it caught on with the public, particularly for the character Baron Croodle, a "disreputable but delightful old reprobate and card-shark" played by John Hare. The following year <mask> wrote the first of eleven more plays for the St James's, The Squire (1881). It caused controversy by its supposed similarity to Thomas Hardy's Far from the Madding Crowd. After leaving Irving's company <mask> joined another well-known London management, Squire Bancroft and his wife Effie, who ran the Haymarket Theatre. For them he played the Marquis de Cevennes (Plot and Passion, 1881), Sir Alexander Shendryn (Ours, 1882), Hanway  (Odette, 1882) and finally Sir Anthony Absolute in The Rivals (1884) as part of a starry cast that included Squire Bancroft, Johnston Forbes-Robertson, Lionel Brough and Julia Gwynne. <mask> received mixed notices, some unfavourable, and others among the best of his acting career.This was his last professional engagement as an actor. During his time at the Haymarket <mask> married Myra Emily Wood (c. 1852–1919), who had acted under the stage name of Myra Holme, a widow with two children, Angus and Myra, from her first marriage. The wedding took place on 19 April 1883. There were no children of the marriage to <mask>. Farces and drawing-room comedies: 1884–1893

With the exception of two adaptations of serious French works, The Ironmaster (1884) and Mayfair (1885), <mask>'s output between 1884 and 1893 consisted of six farces and five comedies. During this period he became particularly associated with the Court Theatre, where five of his farces were presented, with great success at the box office, between 1885 and 1892, beginning with The Magistrate. Wearing writes that in these plays Pinero "attacked facets of Victorian society by creating credible though blinkered characters, trying to preserve their respectability while trapped in a relentless whirlpool of catastrophically illogical events".<mask> told an interviewer that with the first of his Court farces, The Magistrate, he had tried "to raise farce a little from the low pantomime level". Instead of relying on the Parisian stereotype, revolving around potentially adulterous liaisons, he tried to create believable characters in credible situations. The piece played for 363 performances in its first run, the first play in the history of the Court to run for more than a year. When its star, <mask>, required a summer break, Beerbohm Tree deputised for him for three weeks. Three touring companies were needed to meet the demand for the play in the British provinces, and local managements in Australia, India and South Africa were licensed to stage it; <mask> travelled to New York for the American premiere, at Daly's Theatre in October 1885. He had turned 30 earlier that year. A retrospective review of his career published in 1928 pointed out that <mask> – who had recently celebrated 50 years as a West End playwright – achieved fame at an unusually early age: his contemporaries Bernard Shaw, J. M. Barrie and John Galsworthy were all in their thirties before their plays were produced in London.<mask> Dick (1887), The Cabinet Minister (1890) and The Amazons (1893) – ran for 291, 262, 199 and 114 performances respectively, an aggregate of 866. Their success was outstripped by that of the gentler comedy Sweet Lavender, which ran at Terry's Theatre for 684 performances from March 1888 to January 1890. This piece concerns an impoverished clerk, a bibulous but wise barrister, fraudulent bankers, a long-lost sweetheart and happy endings all round. It was billed as "a domestic drama", and was mainly comic, but, The Era reported, "there are scenes where the laughter is hushed, where smiles give way to tears, and where mirth is merged in heartfelt sympathy". Serious plays
Plays in a similar vein to Sweet Lavender – The Weaker Sex (1888) and Lady Bountiful (1891) – did not match its success, running for 61 and 65 performances respectively. Nonetheless <mask>'s attention continued to turn more to serious than to farcical topics. Wearing comments that <mask> began to write "problem plays", considering "the double standard of morality, applied unequally to men and women".His first was The Profligate (1889), in which past misdeeds come to haunt a seemingly respectable man. It was chosen to inaugurate the new Garrick Theatre, but the lessee, John Hare, persuaded a reluctant <mask> to tone down the ending to avoid alienating his respectable society audience: in the final version the protagonist does not kill himself, as <mask> had written, but is forgiven by his wife. The play ran for 129 performances. When his next such drama came to be produced <mask> remained firm: the play would, and did, end in tragedy. This was his best-known serious work, The Second Mrs Tanqueray (1893). While he was planning it, several plays of Henrik Ibsen were presented in London for the first time, regarded by much of polite society as avant garde, blunt and shocking. Seeing Ghosts led <mask> to reconsider his approach to playwriting, which now seemed old-fashioned by comparison.He was far from uncritical of Ibsen's plays, but recognised that if he was to be a serious dramatist he must treat social problems and human misconduct frankly. The Second Mrs Tanqueray centred on "a woman with a past". Hare declined to present it, and George Alexander, the actor-manager running the St James's Theatre, to whom <mask> then offered the play, said, "Sorry, I daren't do it". He had second thoughts, and accepted it. The production was scheduled to replace Oscar Wilde's Lady Windermere's Fan, which also focused on a woman with a far from respectable past. Unlike <mask>'s play, Wilde's ended happily, and was seen by the respectable habitués of the St James's as mildly shocking but acceptable. In <mask>'s play Paula Tanqueray kills herself.In Wearing's words, "although not as avant-garde as Ibsen's plays, Tanqueray confronted its fashionable St James's audiences with as forceful a social message as they could stomach". Both <mask> and Alexander were apprehensive about the public reception of the piece, but it was a sensational success at its opening in May 1893, made a profit of more than £10,000, and was still playing to full houses when Alexander, who disliked acting in long runs, closed the production in April 1894 after 225 performances. Wearing comments that the public's appetite for similar Pinero plays varied. The Notorious Mrs Ebbsmith (1895) managed a run of 88 performances, The Benefit of the Doubt (1895) ran for 74, The Thunderbolt (1908) and Mid-Channel (1909) both ran for 58. Fin de siècle
The year 1898 saw one of Pinero's most enduring successes and his most  conspicuous failure. The first was Trelawny of the "Wells", the second, The Beauty Stone. In Trelawny of the "Wells", described by a 21st-century critic as "Pinero's love letter to theatre", the author addressed his regular topics of class and inexorable change, to which he added a study of the enduring power of the theatre.The play shows a popular actress in mid-Victorian melodramas marrying into the aristocracy, regretting it, returning to the stage and finding that she can no longer make the old style of plays work, successfully switching to works in the new realistic style. Wearing calls the play <mask>'s homage to Tom Robertson, whose pioneering theatrical realism influenced two generations of writers including W. S. Gilbert and Bernard Shaw as well as <mask>. The critics were confused by the play. <mask> commented that they seemed

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title: Arthur Wing Pinero

texts:
 "divided as to whether the piece is a weak farce or an imperfect realistic drama". It had a good, though not outstanding, run of 135 performances at the Court, but subsequently became one of <mask>'s most revived plays. At the same time the impresario Richard D'Oyly Carte was in need of a new opera for his Savoy Theatre after the end of Gilbert and Sullivan's long partnership. It is not clear why Carte chose to commission a libretto from two writers with no experience in the genre, but for <mask>'s The Beauty Stone he brought together <mask> and J. Comyns Carr, an art critic, gallery owner and part-time author of dramas.Sullivan, who was used to Gilbert's skill and flexibility, quickly found his new collaborators inept: "gifted and brilliant men, with no experience in writing for music, and yet obstinately refusing to accept any suggestions from me as to form and construction". He later wrote in his diary, "heartbreaking to have to try to make a musical piece out of such badly constructed (for music) mess of involved sentences". The musical analyst William Parry describes the libretto as "a verbose mess ... suffused with a fussy air of arch medievalism". At its premiere, on 28 May 1898, the piece ran for four hours, and <mask> and Carr had to accept some drastic cuts to their words, which also meant sacrificing some of Sullivan's best music. The reviews for the music ranged from polite to enthusiastic; for the libretto they ranged from polite to damning. Max Beerbohm, who had succeeded Shaw as theatre critic of The Saturday Review and who was to become a persistent irritant to <mask>, was particularly waspish. Besides the shortcomings of the libretto, the uncomic, romantic style of the piece was not in keeping with the traditions of the Savoy or the expectations of its audience, and the opera closed on 16 July after 50 performances – the worst run for any of Sullivan's operas.Within a year of the disappointment of The Beauty Stone <mask> returned to successful form with a four-act play The Gay Lord Quex, a comedy of manners, in succession to two others in the genre, The Times (1891) and The Princess and the Butterfly (1897). The Gay Lord Quex, a story of a determined and resourceful young woman and a reformed aristocratic philanderer, had an initial run of 300 performances,  and has proved one of <mask>'s more revivable plays. 20th century

In the first decade of the century <mask> continued to be regarded as among the forefront of British playwrights. His comedy of manners Iris (1901) ran for 115 performances, and in 1906 he had one of his biggest successes, with His House in Order, another work for Alexander and the St James's. This piece is a drama about a put-upon second wife who eventually triumphs over the domineering family of her husband's dead first wife and wins his undivided love. It was a triumph for Irene Vanbrugh and Alexander in the lead roles, and for <mask>; it ran for 430 performances and took more than £78,000 at the box-office. The alliance between Alexander had by now become a firm friendship, punctuated by occasional arguments between the actor-manager and the author, who became extremely prescriptive about the staging of his plays and the delivery of his lines.Another of <mask>'s friends was Shaw. As authors they held very different views of the nature and purpose of drama. Although both addressed social problems in their plays, Shaw, who held that all good art is didactic, concentrated on the problem itself, whereas <mask> focused more on the people affected by it, which Shaw felt weakened the argument. Nevertheless, they were on good terms and both were prominent in campaigns for a national theatre and the reform or abolition of theatre censorship. Shaw conceived the idea that playwrights needed a titled figure to lead their campaigns, and lobbied the British government to secure a knighthood for <mask>. Whether because of Shaw's canvassing or not is unknown, but <mask> was knighted in 1909, only the second dramatist to receive the honour (Gilbert having been knighted two years earlier). <mask> rarely used the title, but shortened his signature from "<mask><mask>" to "<mask>".In the second decade of the century <mask> had his last two real successes. The comedy The "Mind the Paint" Girl ran at the Duke of York's Theatre for 126 performances in 1912, and The Big Drum, his last play for Alexander had 111 performances at the St James's in 1915. The First World War badly affected his wish and ability to write. He had suffered an emotional blow in 1913 when his stepson killed himself, and the outbreak of war the following year appalled <mask>. Following the sinking of  by a German U-boat on 7 May 1915, he wrote to The Times calling on naturalised British citizens of German origin to make public statements of their loyalty to the King and reject Germany's methods of warfare. In the following days, numerous letters were received by the newspaper from naturalised Britons affirming their loyalty, including public figures such as Sir Ernest Cassel, Sir George Henschel, Sir Carl Meyer and Sir Felix Schuster. Among others who came under public pressure because of the war was Shaw, who opposed it strenuously, and was much vilified by the public and even by his colleagues.<mask> refused to join in the chorus of disapproval, and his friendship with Shaw endured, although they saw less of each other after Shaw resigned from the Dramatists' Club under pressure from its pro-war members led by <mask> Jones. <mask>'s wife died in 1919, having been an invalid for some time. Although her death was foreseen it caused <mask> deep distress, and after it he was often despondent, despite the devoted attention of his stepdaughter. During the last years of his life <mask> gradually ceased to be a figure of importance in the theatre. After the end of the war he wrote eight more plays; two of them remained unstaged and of the four that were produced in London the longest-running lasted for 64 performances. His heart weakened by a serious bout of influenza, <mask> failed to survive an operation for a hernia. He died on 23 November 1934 in Marylebone Nursing Home.A memorial service was held at St Marylebone Parish Church on 28 November 1934, after which, by Pinero's request, his ashes were buried in his wife's grave in the churchyard of Chiddingfold, Surrey, close to their former country house. Works

Plays

Source: Dawick. Broadway productions
The original London productions that were followed by New York productions were: The Money Spinner (New York, 1882); The Squire (1882); Girls and Boys (1883); Lords and Commons (1884); In Chancery (1885); The Magistrate (1885); The Schoolmistress (1886); Dandy Dick (1887); Sweet Lavender (1888); Lady Bountiful (1891); The Cabinet Minister (1892); The Second Mrs Tanqueray (1893); The Amazons (1894); The Notorious Mrs Ebbsmith (1895); The Benefit of the Doubt (1896); The Princess and the Butterfly (1897); Trelawny of the Wells (1898); The Gay Lord Quex (1900); Iris (1902); Letty (1904); A Wife without a Smile (1904); His House in Order (1906); Mid-Channel (1910); Preserving Mr. Panmure (1912); The "Mind-the-Paint" Girl (1912); and The Enchanted Cottage (1923). Revivals
Among the notable British revivals of Pinero plays singled out in John Dawick's 1993 study of the dramatist were:
The Magistrate: Old Vic, 1959; Chichester Festival and then Cambridge Theatre, London, 1969; National Theatre, 1986
The Schoolmistress: Royal Exchange Theatre, Manchester, 1979
Dandy Dick: Mermaid Theatre, London, 1965; Chichester and then the Garrick, London, 1973
Sweet Lavender: Ambassadors Theatre, London, 1922
The Cabinet Minister: Royal Exchange, 1987; Albery Theatre, London, 1991
The Second Mrs Tanqueray: Playhouse Theatre, London, 1922; Haymarket 1950; National Theatre, 1981
Trelawny of the "Wells": Old Vic, 1965;Comedy Theatre, London, 1992; National Theatre, 1993
The Gay Lord Quex: Albery, 1975
Source: Dawick. In 2012 The Times remarked on a revival in interest in Pinero, with new productions of The Second Mrs Tanqueray at the Rose Theatre, The Magistrate at the National Theatre, starring John Lithgow in the title role, Trelawney of the "Wells" at the Donmar, and Dandy Dick, with Patricia Hodge and Nicholas Le Prevost. The paper commented, "Like Terence Rattigan in recent years, Pinero is being dusted down, reappraised and hailed as one of the great British playwrights". Adaptations

Musicals
Four of Pinero's plays have been adapted as musicals: The Magistrate as The Boy (1917) with words by Fred Thompson, Percy Greenbank and Adrian Ross and music by Lionel Monckton and Howard Talbot; In Chancery as Who's Hooper?(1919) with lyrics by Thompson and music by Talbot and Ivor Novello; The Schoolmistress  as My Niece (1921) with words by Greenbank and music by Talbot; and Trelawny of the "Wells" as Trelawny (1972), adapted by Aubrey Woods, George Rowell and Julian Slade. Cinema
The first of <mask>'s works to be filmed was The Second Mrs Tanqueray, in an unauthorised American silent version in 1914, which prompted a successful but not very lucrative lawsuit by the author. With his approval, eight of his plays were adapted for the silent cinema, an authorised version of The Second Mrs Tanqueray (1916) with George Alexander in his first film role, reprising the part he created in 1893; Trelawny of the "Wells" (1916); Sweet Lavender (twice: in 1915 and 1920); Iris (twice: 1916 and as A Slave of Vanity, 1920); The Profligate (1917); The Gay Lord Quex (twice: 1917 and 1919); Mid-Channel (1920); His House in Order (1920) and The Enchanted Cottage (1924). After the days of silent films there were adaptions of  His House in Order (1928) Trelawny of the "Wells" (as The Actress, 1928), The Magistrate (as Those Were the Days, 1934), Dandy Dick (1935), The Enchanted Cottage(1945 film), and The Second Mrs Tanqueray (1952). Television
There have been many adaptations of <mask>'s works for broadcasting. Television versions include The Gay Lord Quex (1946, 1953 and 1983, starring respectively  Ronald Ward, André Morell and Anton Rogers); The Magistrate (1946, 1951 and 1972, Desmond Walter-Ellis, Richard Goolden and Michael Hordern); Trelawny of the "Wells" (1949, 1971 and 1985, Bransby Williams,  Roland Culver, Michael Hordern); Dandy Dick (1948, directed by Athene Seyler) and The Second Mrs Tanqueray starring Elizabeth Sellars (1962). Reputation
In 1906, The Times commented:
When Mr. Pinero is at his best we reckon ourselves as close upon the high water mark of theatrical enjoyment.… This or that playwright may show more "heart" than Mr. Pinero or a more delicate subtlety, a third may easily outclass him in intellectual gymnastic, but in his command of the resources of the stage for the legitimate purposes of the stage he is without a rival. As it was said of Euripides that he was τραγικώτατος, the most tragic of the tragic writers, as it might be said of Molière that he was the most comic of comic writers, so it may be said of Mr. Pinero that of all our dramatists to-day he is the most "dramatic". The art of drama is, quintessentially, the art of story-telling, as the sculptors say, "in the round". Mr. Pinero is supreme as a story-teller of that sort. We are always keenly interested in what his people are doing at the moment; we always have the liveliest curiosity about what they are going to do a moment later. By the time of <mask>'s death in 1934 the paper had become less enthusiastic. Both The Times and The Daily Telegraph published polite obituaries that respectfully relegated his works to a bygone era.For twenty years after his death <mask>'s reputation remained in what Dawick calls "a state of near-eclipse". From the 1950s onwards interest in his Court farces grew. In a 1972 study of the playwright, Walter Lazenby wrote, "Pinero cannot be outranked as a farceur by any other English writer; not even Shakespeare consistently expended on this form the care and art which went into the Court Theatre farces or achieved such thoroughly satisfying results". Reviewing the book, the academic Robert Ronning agreed that the farces were <mask>'s most enduring works:
The fact that students will continue to read The Second Mrs Tanqueray instead of The Magistrate does not mean much except for what they learn about craftsmanship, and this could be learned equally well from the farces. ... While we have seen considerable interest in the field of nineteenth century drama in recent years, one doubts if <mask>'s social and problem plays will ever catch on. In 2012 the director Stephen Unwin wrote:

One of the most heartening developments in recent years has been the critical rehabilitation of the oft-scorned giants of the commercial theatre.Thus Coward has been revealed as an English Chekhov and Rattigan as the supreme explorer of the hidden heart. But neither would have been possible without <mask>, whose surprisingly moving, amazingly theatrical and deeply humane plays still have the power to astonish and delight 100 years after they first created such a stir. Notes, references, and sources
Notes

References

Sources

External links

Plays by <mask> <mask> at Great War Theatre
 , contains a speech by <mask> on The Drama''
Guide to the <mask> Wing Pinero Collection 1885–1892 at the University of Chicago Special Collections Research Center

1855 births
1934 deaths
English male dramatists and playwrights
English people of Portuguese-Jewish descent
Knights Bachelor
Writers from London
Alumni of Birkbeck, University of London
19th-century English dramatists and playwrights
20th-century English dramatists and playwrights
19th-century English male writers
20th-century English male

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