title: Julie Fitzgerald

texts:
<mask>  is a veteran Australian netball coach. Between 1997 and 2007, <mask> served as head coach of Sydney Swifts in the Commonwealth Bank Trophy league. She guided Swifts to premierships in 2001, 2004, 2006 and 2007. Between 2008 and 2011, she served as head coach of New South Wales Swifts in the ANZ Championship. In 2008, she guided Swifts to the inaugural ANZ Championship title. Between 2014 and 2016, she guided Waikato Bay of Plenty Magic to the Finals Series every year in the ANZ Championship. Since 2017, <mask> has served as head coach of Giants Netball in Suncorp Super Netball, guiding them to two grand finals and two minor championships.In 2020, <mask> was made a Member of the Order of Australia. Early life and family
<mask> is originally from Sydney, growing up in Hornsby Shire. She started playing netball in Hornsby Heights when she was about eight years old. She is a single parent to four children – Katie, Kristie, Vicky and John – and is a resident of Wahroonga. Head coach

New South Wales
Between 1985 and 1999, <mask> served as head coach of various New South Wales teams that played in the Australian National Netball Championships at under-19, under-21  and open levels. Sydney Ku-ring-gai/Cenovis
At state league level, <mask> served as head coach of a team that represented the Ku-ring-gai area. She had previously coached several junior representative teams for the Ku-ring-gai Netball Association.Between 1994 and 1996, <mask> served as head coach of the Sydney Ku-ring-gai/Cenovis team in the Mobil Superleague. The team featured a young Liz Ellis and Catherine Cox. In 1994 and 1996 they were Mobil Superleague semi-finalists. Sydney Swifts
Between 1997 and 2007, <mask> served as head coach of Sydney Swifts in the Commonwealth Bank Trophy league. With teams featuring Liz Ellis, Catherine Cox and Megan Anderson, she guided Swifts to premierships in 2001, 2004, 2006 and 2007. In 2004, 2006 and 2007 she was name Netball Australia Coach of the Year. New South Wales Swifts
Between 2008 and 2011, <mask> served as head coach of New South Wales Swifts in the ANZ Championship.In 2008 she guided Swifts to the premiership and was named Australian ANZ Championship Coach of the Year. On 18 May 2009, she took charge of her 200th combined Sydney Swifts/NSW Swifts match when Swifts played Queensland Firebirds in Round 7. In 2010 she guided Swifts to the minor premiership. 2011 was the last season that <mask> served as Swifts' head coach. Following a controversial  "internal review" conducted during the 2011 season by Netball New South Wales , she was replaced by Lisa Beehag. World 7
In August 2009, <mask> served as head coach of a World 7 team that defeated New Zealand 2–1 in an international test series. Lisa Alexander served as <mask>'s assistant during the series.As winners of the series, the World 7 team were awarded the Taini Jamison Trophy. Australian Institute of Sport
Between 2011 and 2013, <mask> served as head netball coach at the Australian Institute of Sport. In 2012 she guided an AIS team to fourth in the Australian Netball League. Waikato Bay of Plenty Magic
In July 2013, <mask> was appointed head coach of Waikato Bay of Plenty Magic. Between 2014 and 2016, she guided Magic to the Finals Series every year in the ANZ Championship. While Magic head coach, she was also named head coach of the 2014 ANZ Championship All Star Team. In both 2015 and 2016, <mask> guided Magic to the New Zealand Conference titles.On 27 June 2016, at a 2016 Round 13 match against Queensland Firebirds, <mask> coached her 100th ANZ Championship match. Giants Netball
In August 2016, <mask> was announced as head coach of Netball New South Wales's new franchise. Since 2017, <mask> has served as head coach of Giants Netball in Suncorp Super Netball. In 2017 she guided them to the grand final. In 2018 she guided Giants to the minor premiership. During the 2018 season <mask> also coached her 300th senior league match. In 2020, <mask> was made a Member of the Order of Australia.In 2021, <mask> guided Giants to  both a second minor premiership and a second grand final. During the season she coached her 350th senior league match. The grand final was her 360th in charge. Assistant coach

Australia
<mask> has worked with the Australia national netball team as both an assistant and development coach. In 2006 <mask> served as an assistant to Lisa Alexander with the Australia under-21 team. Between 2011 and 2013 she served as Alexander's assistant at various series and tournaments including the 2011 World Netball Series and  2012 Fast5 Netball World Series. In 2019 <mask> was appointed as head coach of Netball Australia's athlete development program.In 2021 she was re-appointed to the role. NSWIS
In July 2017, alongside Rob Wright, <mask> served as an assistant coach to Briony Akle as she coached the New South Wales Institute of Sport team that finished third in the Netball New Zealand Super Club tournament. The NSWIS team was a composite team featuring players from both New South Wales Swifts and Giants Netball. Basketball
As well as being a netball coach, <mask> has also been a local basketball administrator. Between 1996 and 2007 she worked as a general manager for the Hornsby Ku-ring-gai Basketball Association. During the mid‑1990s she helped establish Hornsby Spiders Basketball Club. Honours

Coach
Giants Netball
Suncorp Super Netball
Runners up: 2017, 2021
Minor Premiership: 2018, 2021
Waikato Bay of Plenty Magic
ANZ Championship – New Zealand Conference
Winners: 2015, 2016
New South Wales Swifts
ANZ Championship
Winners: 2008
Minor Premiership: 2010
World 7
Taini Jamison Trophy
Winners: 2009
Sydney Swifts
Commonwealth Bank Trophy
Winners: 2001, 2004, 2006, 2007
Runners up: 1998, 2003, 2005

Individual awards

References

Living people
Year of birth missing (living people)
Australian netball coaches
Australian netball players
Netball players from Sydney
Sydney Swifts
Esso/Mobil Superleague coaches
Commonwealth Bank Trophy coaches
ANZ Championship coaches
Australian Netball League coaches
Suncorp Super Netball coaches
New South Wales Swifts coaches
Australian Institute of Sport netball coaches
Waikato Bay of Plenty Magic coaches
New South Wales Institute of Sport coaches
Australian expatriate netball people in New Zealand
Members of the Order of Australia
Basketball people in Australia

masks:
Julie Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald
Fitzgerald


title: Edward Philip Livingston

type: original

texts:
<mask> (November 24, 1779 in Kingston, Jamaica – November 3, 1843 in Clermont, New York) was an American politician. Early life
He was the son of <mask> (1741–1787, son of <mask>) and Sara (Johnson<mask> (ca. 1749-1802). He was a grandnephew of <mask>, Governor of New Jersey; grandson of <mask>, a signer of the Declaration of Independence; first cousin once removed of <mask>, Speaker of the New York State Assembly; first cousin once removed and nephew by marriage of <mask>, Secretary of State; and second cousin of <mask>, a United States Representative from New York. <mask> was a 1796 graduate of Columbia College. Career
After his father-in-law's death, <mask><mask> became the master of Clermont Manor. He resided at Clermont Manor from 1802 until the time of his death.<mask> was a member of the Board of Regents of the University of the State of New York from 1827 to 1831. He served as a Lieutenant Colonel in the militia, was aide-de-camp to Governor Dewitt Clinton, and served as Judge of the Columbia County Court of Common Pleas. He was aide to Governor Daniel D. Tompkins, and private secretary to his father-in-law Robert R<mask> (1746–1813), then US Minister to France. New York State Senate
<mask><mask> was a member of the New York State Senate (Middle D.) from 1808 to 1812, and lost his seat to Martin Van Buren. He was a presidential elector in 1820, voting for James Monroe and Daniel D. Tompkins; and again a member of the State Senate (3rd D.) in 1823 and 1824. Lieutenant Governor of New York
He was proposed in 1830 for Governor of New York, but his candidacy was questioned by some opponents in the Democratic-Republican Party on the grounds that he had been born on the island of Jamaica. As a naturalized citizen of New York, <mask> was eligible to run, but his foreign birth was used to prevent his nomination.Instead Enos T. Throop, who had succeeded to the governorship when Martin Van Buren became United States Secretary of State, was nominated for a full term as governor, and <mask> was nominated for lieutenant governor. Throop and <mask> won, and <mask> served from 1831 to 1832. He was again a presidential elector in 1832. Return to NY Senate
He was again a member of the State Senate (3rd D.) in 1838 and 1839. He resigned his seat on October 9, 1839. Personal life
On November 20, 1799, he married Elizabeth Stevens <mask> (1780–1829), the eldest daughter of Chancellor Robert R<mask>. Their children included:

 <mask> (1808–1874), who married David Augustus Clarkson (1793–1874)
 <mask> (1813–1896), who married <mask> Ludlow (1810–1884)
 Clermont <mask> (1817–1895), who married Cornelia <mask> (1824–1851), daughter of <mask> (brother of Robert Le <mask>).<mask> <mask> (1820–1889), who married Susan Maria Clarkson de Peyster (1823–1910), sister of Frederic James de Peyster. Mary Livingson (1823–1898), who married Levinus Clarkson (1813–1861), a first cousin of David A. Clarkson, in 1849. After the death of his wife in 1829, and while he was Lt. Governor of New York, <mask> happened to look in the gallery of the Senate Chamber in Albany, where he saw Mary Crooke Broom (1804–1877) seated, and was struck by her beauty. She was "reckoned the most beautiful girl in all this region." They married in 1832. She was the eldest child and daughter of William Broom and Ann Crooke Barber.<mask> died in Clermont on November 3, 1843. He was buried at Poughkeepsie Rural Cemetery in Poughkeepsie, New York. Upon his death, he left Clermont Manor to his son Clermont. After his death, his second wife remarried to Judge Charles Herman Ruggles. Descendants
Through his eldest daughter, Margaret, <mask> was the grandfather of Thomas Streatfeild Clarkson (1837–1894), namesake of Clarkson University. Through his second daughter, Elizabeth, he was the grandfather of <mask> Ludlow (1843–1919), who was the mother of Anna (née Hall) Roosevelt (1863–1892) and grandmother of First Lady Eleanor Roosevelt (1884–1962), <mask>'s great-great-granddaughter who married her distant cousin, Franklin D. Roosevelt. Through his eldest son, Clermont, he was the grandfather of John Henry <mask> (1848–1927), who married <mask> Hamersley (d. 1873) the sister of J. Hooker Hamersley and the daughter of John W. and <mask> (née Hooker) Hamersley and granddaughter of Hon.James Hooker, in 1871, with whom he had one child. After her death, he married Emily Evans, the daughter of William E. Evans and niece of Mrs. Gouverneur Ogden, in 1880. Also through his son Clermont, he was the grandfather of <mask> (d. 1876), who married Col. Frederic de Peyster (1843–1874), a son of Maj. Gen. John Watts de Peyster (1821–1907), in 1874, with whom he had two children. Through his youngest child, Robert, he was the grandfather of Catharine Goodhue <mask> (1856–1931), Robert Robert <mask> (1858–1899), who married Mary Tailer (1863–1944) <mask> Peyster <mask> (1861–1932), and Goodhue <mask> (1867–1951), who married Louisa Robb (1877–1960). References
Notes

Sources
 The history of Clermont Manor
 Letter by E. P. L. to David Hosack
 Short Bio
 History of Columbia County, New York by Captain Franklin Ellis (Everts & Ensign, Philadelphia PA, 1878)
A Genealogy of the Wives of the American Presidents and Their First Two Generations of Descent by Craig Hart (McFarland, 2004, ,  ; page 198)

1779 births
1843 deaths
<mask>
Lieutenant Governors of New York (state)
New York (state) state senators
Jamaican emigrants to the United States
People from Kingston, Jamaica
People from Columbia County, New York
1820 United States presidential electors
1832 United States presidential electors
Columbia College (New York) alumni

masks:
Edward Philip Livingston
Philip Philip Livingston
Philip Livingston
) Livingston
William Livingston
Philip Livingston
Walter Livingston
Edward Livingston
Henry Walter Livingston
Livingston
Edward P
. Livingston
Livingston
. Livingston
Edward P
. Livingston
Livingston
Livingston
Livingston
Livingston
Livingston
. Livingston
Margaret Livingston
Elizabeth Livingston
Edward Hunter
Livingston
Livingston
Herman Livingston
Roy Livingston
Robert Edward
Livingston
Livingston
Livingston
Livingston
Mary Livingston
Livingston
Livingston
Catherine Livingston
Catherine Livingston
Mary Livingston
Livingston
Livingston
Edward De
Livingston
Livingston
Edward Philip


title: Philip III of Spain

texts:
<mask> (; 14 April 1578 – 31 March 1621) was King of Spain. He was also, as <mask>, King of Portugal, Naples, Sicily and Sardinia and Duke of Milan from 1598 until his death in 1621. A member of the House of Habsburg, <mask> was born in Madrid to King <mask> of Spain and his fourth wife and niece Anna, the daughter of Holy Roman Emperor Maximilian II and Maria of Spain. <mask> later married his cousin Margaret of Austria, sister of Ferdinand II, Holy Roman Emperor. Although also known in Spain as <mask> the Pious, <mask>'s political reputation abroad has been largely negative. Historians C. V. Wedgwood, R. Stradling and J. H. Elliott have described him, respectively, as an "undistinguished and insignificant man," a "miserable monarch," and a "pallid, anonymous creature, whose only virtue appeared to reside in a total absence of vice." In particular, <mask>'s reliance on his corrupt chief minister, the Duke of Lerma, drew much criticism at the time and afterwards.For many, the decline of Spain can be dated to the economic difficulties that set in during the early years of his reign. Nonetheless, as the ruler of the Spanish Empire at its height and as the king who achieved a temporary peace with the Dutch (1609–1621) and brought Spain into the Thirty Years' War (1618–1648) through an (initially) extremely successful campaign, <mask>'s reign remains a critical period in Spanish history. Early life
After <mask>'s older brother Don Carlos died insane, their father <mask> II had concluded that one of the causes of Carlos' condition had been the influence of the warring factions at the Spanish court. He believed that Carlos' education and upbringing had been badly affected by this, resulting in his lunacy and disobedience, and accordingly he set out to pay much greater attention to arrangements for his later sons. <mask> appointed Juan de Zúñiga, then Prince Diego's governor, to continue this role for <mask>, and chose García de Loaysa as his tutor. They were joined by Cristóbal de Moura, a close supporter of <mask>. In combination, <mask> believed, they would provide a consistent, stable upbringing for Prince <mask>, and ensure he avoided the same fate as Carlos.<mask>'s education was to follow the model for royal princes laid down by Father Juan de Mariana, focusing on the imposition of restraints and encouragement to form the personality of the individual at an early age, aiming to deliver a king who was neither tyrannical nor excessively under the influence of his courtiers. Prince <mask> appears to have been generally liked by his contemporaries: 'dynamic, good-natured and earnest,' suitably pious, having a 'lively body and a peaceful disposition,' albeit with a relatively weak constitution. The comparison with the memory of the disobedient and ultimately insane Carlos was usually a positive one, although some commented that Prince <mask> appeared less intelligent and politically competent than his late brother. Indeed, although <mask> was educated in Latin, French, Portuguese and astronomy, and appears to have been a competent linguist, recent historians suspect that much of his tutors' focus on <mask>'s undeniably pleasant, pious and respectful disposition was to avoid reporting that, languages aside, he was not in fact particularly intelligent or academically gifted. Nonetheless, <mask> does not appear to have been naive – his correspondence to his daughters shows a distinctive cautious streak in his advice on dealing with court intrigue. <mask> first met the Marquis of Denia – the future Duke of Lerma – then, a gentleman of the King's chamber, in his early teens. Lerma and <mask> became close friends, but Lerma was considered unsuitable by the King and <mask>'s tutors.Lerma was dispatched to Valencia as a Viceroy in 1595, with the aim of removing <mask> from his influence; but after Lerma pleaded poor health, he was allowed to return two years later. By now in poor health himself, King <mask> was becoming increasingly concerned over the prince's future, and he attempted to establish de Moura as a future, trusted advisor to his son, reinforcing de Loaysa's position by appointing him archbishop. The prince received a new, conservative Dominican confessor. The following year, <mask> died after a painful illness, leaving the Spanish Empire to his son (and grandnephew), King <mask>. Religion, <mask> and the role of women at court
<mask> married his cousin, Margaret of Austria, on 18 April 1599, a year after becoming king. Margaret, the sister of the future Emperor Ferdinand II, would be one of three women at <mask>'s court who would apply considerable influence over the king. Margaret was considered by contemporaries to be extremely pious – in some cases, excessively pious, and too influenced by the Church – 'astute and very skillful' in her political dealings, although 'melancholic' and unhappy over the influence of the Duke of Lerma over her husband at court.Margaret continued to fight an ongoing battle with Lerma for influence up until her death in 1611. <mask> had an 'affectionate, close relationship' with Margaret, and paid her additional attention after she bore him a son in 1605. Margaret, alongside <mask>'s grandmother/aunt, Empress Maria – the Austrian representative to the Spanish court – and Margaret of the Cross, Maria's daughter – formed a powerful, uncompromising Catholic and pro-Austrian voice within <mask>'s life. They were successful, for example, in convincing <mask> to provide financial support to Ferdinand from 1600 onwards. <mask> steadily acquired other religious advisors. Father Juan de Santa Maria – confessor to <mask>'s daughter, doña Maria, was felt by contemporaries to have an excessive influence over <mask> at the end of his life, and both he and Luis de Aliaga, <mask> in 1618. Similarly Mariana de San Jose, a favoured nun of Queen Margaret's, was also criticised for her later influence over the King's actions.Style of government

The Spanish crown at the time ruled through a system of royal councils. The most significant of these were the Councils of State and its subordinate Council for War, that were in turn supported by the seven professional councils for the different regions, and four specialised councils for the Inquisition, the Military Orders, Finance and the Crusade tax. These councils were then supplemented by small committees, or juntas, as necessary, such as the 'junta of the night' through which <mask> II exercised personal authority towards the end of his reign. As a matter of policy, <mask> had tried to avoid appointing grandees to major positions of power within his government and relied heavily on the lesser nobles, the so-called 'service' nobility. <mask> had taken the traditional system of councils and applied a high degree of personal scrutiny to them, especially in matters of paperwork, which he declined to delegate – the result was a 'ponderous' process. To his contemporaries, the degree of personal oversight he exercised was excessive; his 'self-imposed role as the chief clerk to the Spanish empire' was not thought entirely appropriate. <mask> first started to become engaged in practical government at the age of 15, when he joined <mask>'s private committee.<mask>'s approach to government appears to have stemmed from three main drivers. Firstly, he was heavily influenced by the eirenic ideas being circulated in Italian circles in reaction to the new Humanist theories of governance, typified by Machiavelli. Writers such as Girolamo Frachetta, who became a particular favourite of <mask>, had propagated a conservative definition of 'reason of state' which centred on exercising a princely prudence and a strict obedience to the laws and customs of the country that one ruled. Secondly, <mask> may have shared Lerma's view that the governmental system of <mask> was fast proving impractical and unnecessarily excluded the great nobles of the kingdoms – it had been creaking badly in the last decades of his father's life. Lastly, <mask>'s own personality and his friendship with Lerma heavily shaped his approach to policy-making. The result was a radical shift in the role of the crown in government from the model of <mask>. Duke of Lerma as valido

Within a few hours of <mask> ascending to the throne, Lerma had been made a royal counsellor by the new king and set about establishing himself as a fully fledged valido, or royal favourite.Lerma, in due course declared a duke, positioned himself as the gateway to the king. All the business of government, <mask> instructed, was to arrive in writing and be channeled through Lerma before reaching him. Whilst <mask> was not hugely active in government in other ways, once these memoranda, or consulta, had reached him he appears to have been assiduous in commenting on them. Debates in royal councils would now only begin upon the written instruction of the king – again, through Lerma. All members of royal councils were under orders to maintain complete transparency with Lerma as the king's personal representative; indeed, in 1612 the councils were ordered by <mask> to obey Lerma as if he were the king. The degree to which Lerma himself played an active role in government has been disputed. Contemporaries were inclined to see Lerma's hand in every action of government; others have since thought Lerma to have 'neither the temperament nor the energy' to impose himself greatly on the actions of government; still others consider Lerma to have carefully attended only those Councils of State that addressed matters of great importance to the king, creating a space for the wider professionalisation of government that had been lacking under <mask> II.This new system of government became increasingly unpopular very quickly. The novel idea of a valido exercising power went against the long-standing popular conception that the king should exercise his powers personally, not through another. Before long, the apparatus of the Spanish government was packed with Lerma's relatives, Lerma's servants and Lerma's political friends, to the exclusion of others. Lerma responded by further limiting his public visibility in politics, avoiding signing and writing documents personally, and constantly stressing that he was, humbly, only working on behalf of his master, <mask>. Imperial proconsuls
De Lerma's role as royal favourite at court was further complicated by the rise of various 'proconsuls' under <mask>'s reign – significant Spanish representatives overseas, who came to exercise independent judgement and even independent policies in the absence of strong leadership from the centre. The challenges to government communication during the period encouraged aspects of this, but the phenomenon was much more marked under <mask> than under either the reign of his father or son. In the Netherlands, his father <mask> had bequeathed his remaining territories in the Low Countries to his daughter Isabella of Spain and her husband, Archduke Albert, under the condition that if she died without heirs, the province would return to the Spanish Crown.Given that Isabella was notoriously childless, it was clear that this was only intended to be a temporary measure, and that <mask> had envisaged an early revision to <mask> III. As a result, <mask>'s foreign policy in the Netherlands would be exercised through the strong-willed Archdukes, but in the knowledge that ultimately the Spanish Netherlands would return to him as king. Meanwhile, the Italian-born Ambrosio Spinola was to perform a crucial role as a Spanish general in the Army of Flanders. Having demonstrated his military prowess at the siege of Ostend in 1603, Spinola rapidly started to propose and implement policies almost independently of the central councils in Madrid, somehow managing to achieve military victories even without central funding from Spain. De Lerma was uncertain of how to deal with Spinola; on the one hand, de Lerma desperately needed a successful military commander in the Netherlands – on the other, de Lerma was contemptuous of Spinola's relatively low origins and scared of his potential to destabilise de Lerma at court. In the years leading to the outbreak of war in 1618, Spinola was working to produce a plan to finally defeat the Dutch, involving an intervention in the Rhineland followed by fresh hostilities aiming to cut the Low Countries in two: portrayed at the time as the 'spider in the web' of Catholic politics in the region, Spinola was operating without significant consultation with <mask> in Madrid. In Italy, a parallel situation emerged.The Count of Fuentes, as governor of Lombardy, exploited the lack of guidance from Madrid to pursue his own highly interventionist policy across north Italy, including making independent offers to support the Papacy by invading the Venetian Republic in 1607. Fuentes remained in power and pursuing his own policies until his death. The Marquis of Villafranca, as governor of Milan, similarly exercised his own considerable judgement on foreign policy. The Duke of Osuna, who had married into the Sandovel family as a close ally of Lerma, again showed significant independence as the Viceroy of Naples towards the end of <mask>'s reign. In conjunction with the Spanish ambassador to Venice, the influential Marquis of Bedmar, Osuna pursued a policy of raising an extensive army, intercepting Venetian shipping and imposing sufficiently high taxes that threats of a revolt began to emerge. To exacerbate matters, Osuna was found to have prevented the local Neapolitans from petitioning <mask> to complain. Osuna fell from power only when de Lerma had lost

masks:
Philip III
Philip II
Philip III
Philip II
Philip III
Philip
Philip
Philip
Philip
Philip III
Philip
Philip II
Philip
Philip II
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip II
Philip II
Philip III
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philiprma
Philip
Philip
Philip II
Philip
Philip II
Philip III
Philip
Philip
Philip II
Philip
Philip II
Philip
Philip
Philip
Philip
Philip
Philip III
Philip III
Philip III
Philip II
Philip II
Philip
Philip
Philip
Philip
Philip III


title: Philip III of Spain

texts:
 his royal favour, and Osuna's negative impact on <mask>'s plans for intervention in Germany had become intolerable.Fall of Lerma

From 1612 onwards, and certainly by 1617, the Lerma administration was crumbling. The monopoly of power in the hands of the Lerma's Sandoval family had generated numerous enemies; Lerma's personal enrichment in office had become a scandal; Lerma's extravagant spending and personal debts was beginning to alarm his own son, Cristóbal de Sandoval, Duke of Uceda; lastly, ten years of quiet diplomacy by Fathers Luis de Aliaga, <mask>'s confessor, and Juan de Santa Maria, <mask>'s daughter's confessor and a former client of Queen Margaret, had begun to apply personal and religious pressure on the king to alter his method of government. <mask>, however, and supported him in becoming a cardinal in March 1618 under Pope Paul V, a position which would offer Lerma some protection as his government collapsed. Lerma fell to an alliance of interests – Uceda, his son, led the attack, aiming to protect his future interests, allied with Don Baltasar de Zúñiga, a well-connected noble with a background in diplomacy across Europe, whose nephew, Olivares was close to the heir to the throne, <mask> departed for his ducal seat, and for six weeks <mask> did nothing; then, in October, <mask> signed a decree renouncing the powers of his former valido, and announcing that he would rule in person. Uceda initially took over as the primary voice at court, but without his father's extensive powers, whilst De Zúñiga became <mask>'s minister for foreign and military affairs. <mask>, whilst unwilling to move further against Lerma, took politically symbolic action against Lerma's former secretary Rodrigo Calderón, a figure emblematic of the former administration.Calderón, suspected of having killed <mask>'s wife Queen Margaret by witchcraft in 1611, was ultimately tortured and then executed by <mask> for the more plausible murder of the soldier Francisco de Juaras. Domestic policy

<mask> inherited an empire considerably enlarged by his father. On the peninsula itself, <mask> had successfully acquired Portugal in 1580; across Europe, despite the ongoing Dutch revolt, Spanish possessions in Italy and along the Spanish Road appeared secure; globally, the combination of Castilian and Portuguese colonial territories gave a Spanish ruler unparalleled reach from the Americas to the Philippines and beyond through India to Africa. The challenge for such a ruler was that these territories were in legal reality separate bodies, different entities bound together through the 'supraterritorial' royal institutions of the Spanish crown, utilising Castilian nobility as a ruling caste. Even within the peninsula itself, <mask> would rule through the kingdoms of Castile, Aragon, Valencia and Portugal, the autonomous provinces of Catalonia and Andalusia – all only loosely joined together through the institution of the Castile monarchy and the person of <mask>. Each part had different taxation, privileges and military arrangements; in practice, the level of taxation in many of the more peripheral provinces was less than in Castile, but the privileged position of the Castilian nobility at all senior levels of royal appointment was a contentious issue for the less favoured provinces. Expulsion of the Moriscos

One of <mask>'s first domestic changes was the issuing of a decree in 1609 for the expulsion of the Moriscos from Spain, timed to coincide with the declaration of a truce in the war for the Netherlands.The Moriscos were the descendants of those Muslims that had converted to Christianity during the Reconquista of the previous centuries; despite their conversion, they retained a distinctive culture, including many Islamic practices. <mask> had made the elimination of the Morisco threat a key part of his domestic strategy in the south, attempting an assimilation campaign in the 1560s, which had resulted in the revolt that concluded in 1570. In the final years of his rule, <mask>'s father had reinvigorated efforts to convert and assimilate the Moriscos, but with almost 200,000 in the south of Spain alone, it was clear by the early years of the new century that this policy was failing. The idea of completely cleansing Spain of the Moriscos was proposed by Juan de Ribera, the Archbishop and Viceroy of Valencia, whose views were influential with <mask>. <mask>'s eventual decree to expel a nationality that had lived in Spain for over 800 years and was assimilated within it was based less on doctrinal than financial considerations – confiscating the 'wealth' of the Moriscos - which caused jealousy and resentment by other Christians in Spain, especially in Valencia. Financially, the royal treasury stood to gain by seizing the assets of the removed peoples, whilst in due course those close to the crown would benefit from cheap land or gifts of estates. Estimates vary slightly, but between around 275,000 to over 300,000 Moriscos were forced out of Spain between 1609 and 1614.To accomplish this, the armada, or navy, and 30,000 soldiers were mobilized with the mission of transporting the families to Tunis or Morocco. <mask> intervened in the problematic decision of what to do with Morisco children – should they be allowed to take them to Islamic countries, where they would be brought up as Muslims – and if they were to remain in Spain, what should be done with them? <mask> paternalistically decreed that Morisco children under the age of seven could not be taken to Islamic countries, but that any children remaining in Valencia should be free from the threat of enslavement, and rejected some of Ribera's more extreme suggestions. Whilst popular at the time, and in keeping with earlier policies, this measure significantly damaged the economies of the Kingdom of Valencia, Aragon, and Murcia. The supply of cheap labour and the number of rent paying property owners in these areas decreased considerably, as did agricultural outputs. The cultivation of sugarcane and rice had to be substituted for white mulberry, vineyards, and wheat. Economic decline and failed reform

<mask>'s reign was marked by significant economic problems across Spain.Famine struck during the 1590s through a sequence of bad harvests, whilst from 1599 to 1600 and for several years afterwards there was a terrible outbreak of bubonic plague across Spain, killing over 10% of the population. Mateo Alemán, one of the first modern novelists in Europe, captured the despondent mood of the period, describing 'the plague that came down from Castile and the famine that rose from Andalusia' to grip the country. Whilst the failing harvests affected the rural areas most, the plagues reduced the urban population most significantly, in turn reducing the demand for manufactured goods and undermining the economy further. The result was an economically weakened Spain with a rapidly falling population. Financially, <mask>'s situation did not appear much better. He had inherited huge debts from his father, <mask>, and an unhelpful tradition that the kingdom of Castile bore the brunt of royal taxation – Castile carried 65% of total imperial costs by 1616. <mask> received no money from the cortes, or parliaments, of Aragon, the Basque provinces or Portugal; Valencia only provided one contribution, in 1604.<mask> did not openly challenge this situation, but instead depended more and more heavily on the Castilian cortes; in turn, the cortes increasingly began to tie new grants of money to specific projects, subtly but steadily altering the relationship between the king and cortes. By the financial crisis of 1607, the cortes had even insisted that it be recalled every three years, and that <mask> take an oath – on pain of excommunication – to promise that he had spent the royal funds in line with the promises made previously to the cortes. <mask> and Lerma's attempts to resolve this crisis largely failed, and were not helped by the increasing size of the royal household – an attempt to increase royal prestige and political authority  – <mask>'s own household costs rose enormously at a time of falling income. <mask>'s attempts to issue new currency – in particular the issues of the copper vélon coinage in 1603–04, 1617 and 1621 – simply created considerable instability. The costs of the Dutch campaign resulted in <mask>'s bankruptcy in 1607, and the crown's attempt to resolve this by converting the asiento tax system – high interest loans owed to tax farmers – into longer term juros bonds paying a much lower interest, produced a short-term benefit, but at the price of losing financial flexibility during future crises. By 1618, almost all <mask>'s incoming crown income was already assigned to its various creditors and he had almost no spending discretion left. Financially, the Spanish state had become dominated by Genoese bankers and lenders under <mask>, whose lines of credit had allowed the Spanish state to continue during its moments of financial crisis; under <mask> this process remained unchecked, building up considerable resentment against this foreign influence, some going so far as to term the bankers 'white moors'.Throughout <mask>'s reign, a body of analysis of Spain's condition began to emerge through the work of the numerous arbitristas, or commentators, that dominated public discussions from around 1600 through to the 1630s. These different voices focused heavily on the political economy of Spain – the rural depopulation, the diverse and bureaucratic administrative methods, the social hierarchies and corruption, offering numerous, if often contradictory, solutions. Nonetheless, through most of <mask>'s reign there was no significant attempt at reform – <mask> continued to rule in line with local laws and customs. <mask> encouraged consolidation of noble estates, selling off large quantities of crown lands to favoured nobles and creditors. There were no attempts to create an equivalent to the French intendant position – the closest equivalent, the corregidor, lacked the strong links to the crown required to overcome local opposition. Only in <mask>'s final years did reform begin to gain momentum; a reform committee, or Junta de Reformación, was established in Lerma's final months in 1618. Under the incoming administration, including the reformist Baltasar de Zúñiga, this committee ground on, but would only deliver substantial, if ill-fated results, when rejuvenated under <mask>'s reign.Foreign policy

On his accession, <mask> inherited two major conflicts from his father. The first of these, the ongoing and long-running Dutch revolt, represented a serious challenge to Spanish power from the Protestant United Provinces in a crucial part of the Spanish Empire. The second, the Anglo–Spanish War was a newer, and less critical conflict with Protestant England, marked by a Spanish failure to successfully bring its huge military resources to bear on the smaller English military. <mask>'s own foreign policy can be divided into three phases. For the first nine years of his reign, he pursued a highly aggressive set of policies, aiming to deliver a 'great victory'. His instructions to Lerma to wage a war of 'blood and iron' on his rebellious subjects in the Netherlands reflects this. After 1609, when it became evident that Spain was financially exhausted and <mask> sought a truce with the Dutch, there followed a period of retrenchment; in the background, tensions continued to grow, however, and by 1618 the policies of <mask>'s 'proconsuls' – men like Spinola, Fuentes, Villafranca, Osuna and Bedmar – were increasingly at odds with de Lerma's policy from Madrid.The final period, in which <mask> intervened in the Holy Roman Empire to secure the election of Ferdinand II as Emperor and in which preparations were made for renewed conflict with the Dutch, largely occurred after the fall of de Lerma and the rise of a new, more aggressive set of advisors in the Madrid court. War with the Dutch, England and the truce of 1609–21
<mask>'s initial aim was to achieve a decisive 'great victory' in the long running war against the rebellious Dutch provinces of the Spanish Netherlands, whilst placing renewed pressure on the English government of Queen Elizabeth I in an effort to terminate English support for their Dutch colleagues. The Spanish armada, or navy, rebuilt in the 1590s, remained effective against the English, but after the failure of the Spanish invasion of Ireland, leading to the defeat at the Battle of Kinsale, <mask> reluctantly accepted that further attacks on England were unlikely to succeed. In the Netherlands, a new war strategy resulted in a re-establishment of Spanish power on the north side of the great rivers Meuse and Rhine, stepping up the military pressure on the rebel provinces. The strategy of a 'great victory,' however, began to descend into a financial war of attrition: the Southern Netherlands – still under Spanish control – and the Dutch Republic in the north – dominated by Calvinist Protestants – were both exhausted, and after the 1607 financial crisis, Spain too was unable to pursue the war. <mask> turned to peace negotiations instead; with the accession to the throne of James I of England it became possible to terminate both the war and English support to the Dutch, with the signature in 1604 of the Treaty of London. The Twelve Years' Truce with the Dutch followed in 1609, which enabled the Southern Netherlands to recover, but it was a de facto recognition of the independence of the Dutch Republic, and many European powers established diplomatic relations with the

masks:
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title: Philip III of Spain

texts:
 Dutch.The truce did not stop the commercial and colonial expansion of the Dutch into the Caribbean and the East-Indies, although Spain had tried to impose the liquidation of the Dutch East India Company as a treaty condition. Minor concessions of the Dutch Republic were the scrapping of the plan to create a Dutch West India Company and to stop the harassment of the Portuguese in Asia. Both concessions were temporary as the Dutch soon recommenced preying upon Portuguese interests, which had already led to the Dutch-Portuguese War in 1602 and would continue till 1654. At least with peace in Europe, the Twelve Year's truce gave <mask>'s regime an opportunity to begin to recover its financial position. With the death of Henry IV of France – a supporter of the war against Spain – a period of instability commenced in the Kingdom of France. In a sequence of aggressive policy moves, and largely without firm direction from <mask>, his regional proconsuls of the Duke of Osuna, viceroy of Naples and the Marquess of Villafranca, the Governor of Milan, directed the Spanish policy in Italy that encountered resistance from the Duchy of Savoy and the Republic of Venice. To secure the connection between Milan and the Netherlands a new route was opened through Valtellina, then part of the independent state of the Three Leagues (the present day canton of Graubünden, Switzerland), and in 1618 the plot of Venice occurred in which the authorities engaged in the persecution of pro-Spanish agents.Entry to the Thirty Years' War
In the final years of <mask>'s reign, Spain entered the initial part of the conflict that would become known as the Thirty Years' War (1618–48). The result was a decisive Spanish victory in the Holy Roman Empire that would lead to a recommencement of the war with the Dutch shortly after <mask>'s death. Europe was anticipating a fresh election for the position of Emperor upon the likely death of Matthias, who was heirless. Spain and Austria's common Habsburg ancestry influenced Spain's involvement in the convoluted politics of the Empire: on the one hand, <mask> had a vested interest in the success of his cousin Ferdinand of Bohemia, who intended to follow Matthias to the throne; on the other, <mask> had hopes of appointing one of his own family, such as Prince <mask>, to the Imperial throne and worried that a failed bid by Ferdinand might reduce collective Habsburg prestige. <mask> finally chose to intervene behind Ferdinand. Prince <mask> had been rejected as unacceptable to the German nobility. <mask> had also been increasingly influenced over the years by first Queen Margaret, and later the other, powerful Habsburg women at court, whilst the incoming set of advisors that replaced de Lerma, especially de Zúñiga, also saw Spain's future as part of a strong alliance with a Habsburg Holy Roman Empire.Finally, by the Oñate treaty of 29 July 1617, Ferdinand made a successful appeal to <mask>'s self-interest by promising Spain the Habsburg lands in Alsace in return for Spanish support for his election. Crisis broke out in Ferdinand's kingdom of Bohemia during 1618–19, with a confrontation between Catholic and Protestant factions. Ferdinand asked Spain for help to put down the rebellion; the Protestant rebels turned to Frederick V of the Palatinate as a new ruler and Emperor. The situation in the Empire was in many ways auspicious for Spanish strategy; in the Spanish Netherlands Ambrosio Spinola had been conspiring to find an opportunity to intervene with the Army of Flanders into the Electorate of the Palatinate. The Palatinate was a vital, Protestant set of territories along the Rhine guarding the most obvious route for reinforcements from other Spanish territories to arrive into the rebellious Dutch provinces (through Genoa). France, assumed bound to support Frederick against Ferdinand, was in fact inclined to remain neutral. The Spanish troops headed by Spinola in the Palatinate and by Johann Tserclaes, Count of Tilly in Bohemia achieved a decisive victory against the Czechs in the Battle of White Mountain in 1620.With the Dutch now vulnerable to a strike through the Rhine valley, a renewed war against the Provinces, with the aim of forcing the Dutch to a more suitable permanent peace, appeared inevitable. <mask> died in 1621 shortly before the recommencement of war – his son, <mask>, retained his chief foreign policy advisor, de Zúñiga, and an initially highly successful campaign against the Dutch began the same year. Colonial policy

Chile
In the Americas <mask> inherited a difficult situation in Chile, where the Arauco War raged and the local Mapuche succeeded in razing seven Spanish cities (1598–1604). An estimate by  Alonso González de Nájera put the toll at 3000 Spanish settlers killed and 500 Spanish women taken into captivity by Mapuche. In retaliation the proscription against enslaving Indians captured in war was lifted by <mask> in 1608. This decree was abused when Spanish settlers in Chiloé Archipelago used it to justify slave raids against groups such as the Chono of northwestern Patagonia who had never been under Spanish rule and never rebelled. Jesuit missionary Luis de Valdivia believed the Mapuche could be voluntarily converted to Christianity only if there was peace.To diminish hostilities Valdivia proposed a Defensive War in a letter to <mask>. The king supported the idea, issuing a decree that established the Defensive War as an official policy in 1612. By the time Defensive War was established war between Spanish and Mapuche had been going on for 70 years. These policies were not without criticism. Maestre de campo and corregidor of Concepción Santiago de Tesillo claimed the Defensive War gave the Mapuche a much needed respite to replenish their forces that should have been denied. The Real Audiencia of Santiago opined in the 1650s that slavery of Mapuches was one of the reasons for constant state of war between the Spanish and the Mapuche. Legacy

<mask> died in Madrid on 31 March 1621, and was succeeded by his son, <mask>, who rapidly completed the process of removing the last elements of the Sandoval family regime from court.The story told in the memoirs of the French ambassador Bassompierre, that he was killed by the heat of a brasero (a pan of hot charcoal), because the proper official to take it away was not at hand, is a humorous exaggeration of the formal etiquette of the court. <mask> has generally left a poor legacy with historians. Three major historians of the period have described an 'undistinguished and insignificant man', a 'miserable monarch', whose 'only virtue appeared to reside in a total absence of vice'. More generally, <mask> has largely retained the reputation of 'a weak, dim-witted monarch who preferred hunting and traveling to governing'. Unlike <mask>, whose reputation has improved significantly in the light of recent analysis, <mask>'s reign has been relatively unstudied, possibly because of the negative interpretation given to the role of <mask> and Lerma during the period. Traditionally, the decline of Spain has been placed from the 1590s onwards; revisionist historians from the 1960s, however, presented an alternative analysis, arguing that in many ways <mask>'s Spain of 1621 – reinforced with new territories in Alsace, at peace with France, dominant in the Holy Roman Empire, and about to begin a successful campaign against the Dutch – was in a much stronger position than in 1598, despite the poor personal performance of her king during the period. <mask>'s use of Lerma as his valido has formed one of the key historical and contemporary criticisms against him; recent work has perhaps begun to present a more nuanced picture of the relationship and the institution that survived for the next forty years in Spanish royal government.Titles and styles

In the 1604 Treaty of London, <mask> was styled "<mask> the Third, by the grace of God, king of Castile, Leon, Aragon and the Two Sicilies, Jerusalem, Portugal, Navarre, Granada, Toledo, Valencia, Galicia, the Majorcas, Seville, Cordoba, Corsica, Murcia, Guinea, Algarve, Gibraltar, the Canary Islands, also of the Eastern and Western Indies, and the islands and terra firma of the Ocean Sea, archduke of Austria, duke of Burgundy and Milan, count of Habsburg, Barcelona, and Biscay, and lord of Molina, etc." in full and "<mask> III, King of the Spains" for short. Family tree
Like many Habsburgs, <mask> was the product of extensive inbreeding. His father, <mask>, a product of marriage between first cousins, married his niece, Anna of Austria, herself the product of a cousin couple. <mask> in turn married his first cousin once removed, Margaret of Austria. This pattern would continue in the next generation, ultimately culminating in the end of the Spanish Habsburg line in the person of <mask>'s feeble grandson, Charles II. |-
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Family
<mask> married Margaret of Austria, his second cousin.They had the following children:

Anne (22 September 1601 – 20 January 1666), queen of France
Maria (1 February 1603 – 2 February 1603)
<mask> of Spain (8 April 1605 – 17 September 1665)
Maria Anna (18 August 1606 – 13 May 1646), empress of the Holy Roman Empire
Charles (14 September 1607 – 30 July 1632)
Ferdinand (16 May 1609 – 9 November 1641), a cardinal and military commander
Margaret (24 May 1610 – 11 March 1617)
Alonso (22 September 1611 – 16 September 1612)

See also
Palacio de la Ribera

References

Bibliography
 Carter, Charles H. "The Nature of Spanish Government After Philip II." Historian 26#1 (1963): 1-18. online. Cipolla, Carlo M. (ed) The Fontana Economic History of Europe: The Sixteenth and Seventeenth Centuries. London: Fontana. (1974)
Cruz, Anne J. Discourses of Poverty: Social Reform and the Picaresque Novel. Toronto: University of Toronto Press. (1999)
Davenport, Frances G. European Treaties Bearing on the History of the United States and Its Dependencies.The Lawbook Exchange, Ltd. (2004)
Elliott, J. H. Imperial Spain: 1469–1716. London: Penguin. (1963)
Feros, Antonio. Kingship and Favouritism in the Spain of <mask> III, 1598–1621. Cambridge: Cambridge University Press. (2006)
Goodman, David. Spanish Naval Power, 1589–1665: Reconstruction and Defeat.Cambridge: Cambridge University Press. (2002)
Kamen, Henry. Spain, 1469–1714: A Society of Conflict. Harlow: Pearson Education. (2005)
Harvey, Leonard Patrick. Muslims in Spain, 1500–1614. Chicago: University of Chicago Press.(2005)
<mask>, <mask>. and Kathyrn Norberg (eds). Fiscal Crises, Liberty, and Representative Government 1450–1789. (Stanford University Press, 2001)
 Lynch, John. Spain Under the Habsburgs: vol 2 Spain and America (1959) online pp 14–61. De Maddalena, Aldo. Rural Europe, 1500–1750. in Cipolla (ed) 1974.Mattingly, Garrett. The Armada. New York: Mariner Books. (2005)
Munck, Thomas. Seventeenth Century Europe, 1598–1700. London: Macmillan. (1990)
Parker, <mask>.Europe in Crisis, 1598–1648. London: Fontana. (1984)
Parker, <mask>. The Dutch Revolt. London: Pelican Books. (1985)
Parker, <mask>. The Army of Flanders and the Spanish Road, 1567–1659.Cambridge: Cambridge University Press. (2004)
Perry, Mary Elizabeth. The Handless Maiden: Moriscos and the politics of religion in early modern Spain. Princeton: Princeton University Press. (2005)
Polisensky, J. V. The Thirty Years War. London: NEL. (1971)
Ringrose, David.Spain, Europe and the "Spanish Miracle", 1700–1900. Cambridge: Cambridge University Press. (1998)
Sánchez, Magdalena S. Pious and Political Images of a Habsburg Woman at the Court of <mask> (1598–1621). in Sánchez and Saint-Saëns (eds) 1996. Sánchez, Magdalena S. and Alain Saint-Saëns (eds). Spanish women in the golden age: images and realities. Greenwood Publishing Group.(1996)
Stradling, R. A. <mask> IV and the Government of Spain, 1621–1665. Cambridge: Cambridge University Press. (1988)
Thompson, I. A. A. Castile, Constitionalism and Liberty. in <mask> and Norburg (eds) 2001. Wedgwood, C. V. The Thirty Years War.London: Methuen. (1981)
Williams, Patrick. The Great Favourite: the Duke of Lerma and the court and government of <mask> of Spain, 1598–1621. Manchester: Manchester University Press. (2006)
Zagorin, Perez. Rebels and Rulers, 1500–1660. Volume II: Provincial rebellion: Revolutionary civil wars, 1560–1660.Cambridge: Cambridge University Press. (1992)

Further reading

See also Paul C. Allen, <mask> III and the Pax Hispanica: The Failure of Grand Strategy'' (Yale UP: 2000) for an extensive discussion of the foreign policy of <mask> III. Allen's is a revisionist work that also argues for a greater role played in international affairs by the Council of State and its leaders in this period rather than by Lerma. |-

Philippine dynasty
1578 births
1621 deaths
16th-century Spanish monarchs
17th-century Spanish monarchs
16th-century Portuguese monarchs
17th-century Portuguese monarchs
16th-century Castilian monarchs
17th-century Castilian monarchs
16th-century Aragonese monarchs
17th-century Aragonese monarchs
16th-century Kings of Sicily
17th-century Kings of Sicily
16th-century monarchs of Naples
17th-century monarchs of Naples
16th-century Navarrese monarchs
17th-century Navarrese monarchs
Spanish Baroque people
Spanish people of the Eighty Years' War
People of the Anglo-Spanish War (1585–1604)
Nobility from Madrid
Princes of Asturias
Dukes of Montblanc
Princes of Portugal
Spanish infantes
Portuguese infantes
Dukes of Milan
Knights of Santiago
Knights of the Golden Fleece
Burials in the Pantheon of Kings at El Escorial
Grand Masters of the Order of the Golden Fleece
Children of Philip II

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Philip


title: Padraig O'Malley

texts:
<mask>'Malley (born 1942 in Dublin, Ireland) is an Irish international peacemaker, author, and professor. O'Malley specializes in the problems of divided societies, such as South Africa and Northern Ireland. He has written extensively on these subjects and has been actively involved in promoting dialogue among representatives of differing factions. He's currently the John Joseph Moakley Distinguished Professor of Peace and Reconciliation at the University of Massachusetts Boston. Early life and education
O'Malley was born in Dublin. He was educated at University College, Dublin, and at Yale, Tufts and Harvard universities in the United States. Peace activism

Northern Ireland

O'Malley spent 20 years involved with the conflict in Northern Ireland.Working with all the political parties to the conflict, he convened the Amherst Conference on Northern Ireland (Massachusetts, 1975), the Airlie House Conference (Virginia, 1985), and co–convened the Arniston Conference with the government of South Africa (Western Cape, 1997). In 1992, he participated in bringing some of the South African figures to Boston, Massachusetts for a meeting with representatives of the factions in Northern Ireland. In 1996, he helped arrange a second such meeting, in Belfast, attended by South Africans Cyril Ramaphosa of the African National Congress and Roelf Meyer of the white National Party. In 1997, the Arniston Conference (also known as The Great Indaba) convened all the key parties of The Northern Irish peace process in South Africa to meet with Nelson Mandela. Included in the meeting from Northern Ireland were Martin McGuinness, David Trimble and Peter Robinson. "The outcome of the Indaba (the Zulu word for "gathering of the minds") was a series of historic events. Seven weeks after the conference, Sinn Féin declared a cease fire that paved the way for negotiations and ultimately the fragile Good Friday Agreement to share power, still in place today.A year later, Trimble and John Hume, leader of the Social Democratic and Labour Party, were awarded the Nobel prize for peace. And most recently, in fall 2001, the IRA mustered the courage to destroy its weapons to further the cause of peace. That stunning announcement came two weeks after Gerry Adams of Sinn Féin once again visited former president Mandela in South Africa." O'Malley was also a member of the Opshal Commission, which authored the report "Northern Ireland: A Citizens' Inquiry" (Belfast, 1993)

South Africa

Between 1989-1999, O'Malley conducted 2,000 hours of interviews tracking South Africa's transition to democracy. His work is archived in written transcription and on audio tape at the Robben Island Museum/Mayibuye Archives [University of the Western Cape]. His assiduous work of recording the different perspectives and developing attitudes within South Africa during the ten-year period had earned Nelson Mandela's highest regard. What particularly impressed Mr. Mandela was O'Malley's determination to face the greatest challenge posed once upon a time by W.B.Yeats, namely 'to hold in a single thought reality and justice'. Iraq

In 2007, based on his philosophy that cultures in conflict are in the best position to help other cultures in conflict, O'Malley became involved in working toward reconciliation within Iraq. He helped arrange a conference at a resort in Finland, where 16 Iraqis met senior negotiators from South Africa (SA), including Cyril Ramaphosa, chief negotiator for the African National Congress (ANC) under the leadership of Nelson Mandela; Roelf Meyer, chief negotiator for South Africa's last whites- only government and Mac Maharaj, who was co. secretary of the South African negotiating process. Senior negotiators from Northern Ireland (NI), including Martin McGuinness from Sinn Féin, currently Deputy First Minister of NI, Jeffrey Donaldson from the Democratic Unionist Party (DUP). O'Malley's role included recruiting the Iraqi participants, then roaming around Baghdad with $40,000 in cash and covertly procuring their airline tickets. The Iraqis concluded the meeting by agreeing among themselves on a statement based partly on the Mitchell Principles developed during the Northern Ireland peace process. The Boston Globe reported:

There would be two meetings, Helsinki I and Helsinki II."The participants in what O'Malley calls "Helsinki II" are an even more senior influential group than those who drafted the Helsinki principles. They include senior members of parliament and prominent tribal leaders. Among them is the head of the Iraqi Constitutional Review Committee, Sheik Humam Hamoudi, whose participation was endorsed by the speaker of the Iraqi parliament. The ethnic representation of the 36 at the meeting roughly reflects that of the Iraqi population, with 25 percent Sunni, 25 percent Kurdish, and 50 percent Shi'ite participation." Additional professional life
<mask> has owned the Plough and Stars pub in Cambridge, Massachusetts since the early 1970s. His brother Peter O'Malley, with DeWitt Henry, started the renowned literary magazine Ploughshares, publishing it at first, out of the back of the bar. O'Malley has monitored elections in South Africa, Mozambique, and the Philippines on behalf of the National Democratic Institute for International Affairs.He is also a frequent contributor to The Boston Globe. At the University of Massachusetts Boston, he is the John Joseph Moakley Professor of International Peace and Reconciliation at the John W. McCormack Graduate School of Policy Studies; a Senior Fellow in the Center for Development and Democracy; and the founder and editor of the New England Journal of Public Policy, a semiannual publication of the McCormack Graduate School. He is also a Visiting Professor of Political Studies at the University of the Western Cape in South Africa. O'Malley was honored with the Peace Abbey Foundation Courage of Conscience Award at the Community Church of Boston in 2018 for playing a major role in breaking the gridlock and promoting peace in South Africa, Northern Ireland, and the Middle East. Video of talk given at Boston University's Institute for Philosophy and Religion, 21 March 2009

Living people
1942 births
Irish emigrants to the United States
Writers from Dublin (city)
University of Massachusetts Boston faculty
Alumni of University College Dublin
Yale University alumni
Tufts University alumni
Harvard University alumni
University of the Western Cape faculty
Christopher Ewart-Biggs Memorial Prize recipients

masks:
Padraig O
Padraig


title: Giuseppe Castiglione (Jesuit painter)

texts:
<mask>, S.J. (; 19 July 1688 – 17 July 1766), was an Italian Jesuit brother and missionary in China, where he served as an artist at the imperial court of three Qing emperors – the Kangxi, Yongzheng and Qianlong emperors. He painted in a style that is a fusion of European and Chinese traditions. Early life
Castiglione was born in Milan's San Marcellino district on 19 July 1688. He was educated at home with a private tutor, then a common practice among wealthy families. He also learned to paint under the guidance of a master. In 1707, he entered the Society of Jesus in Genoa aged 19.Although a Jesuit, he was never ordained as a priest, instead joining as a lay brother. Works

Paintings
In the late 17th century, a number of European Jesuit painters served in the Qing court of the Kangxi Emperor who was interested in employing European Jesuits trained in various fields, including painting. In the early 18th century, Jesuits in China made a request for a painter to be sent to the imperial court in Beijing. Castiglione was identified as a promising candidate and he accepted the post. In 1710, on the way to Lisbon, he passed through Coimbra where he stayed for several years to decorate the chapel of St. Francis Borgia in the Church of the novitiate, today the New Cathedral of Coimbra. He painted several panels in the chapel and a Circumcision of Jesus for the main altar of the same church. In August 1715, Castiglione arrived in Macau, China, and reached Beijing later in the year.He stayed at a Jesuit church called St Joseph Mission or Eastern Hall (Dong Tang) in Chinese. He was presented to the Kangxi Emperor who viewed his painting of a dog, another source said a bird was also painted on the spot on Kangxi's request. He was assigned a few disciples, but was placed to work as an artisan in the palace enameling workshop. While in China, Castiglione took the name Lang Shining (郞世寧). Castiglione adapted his European painting style to Chinese themes and taste. His earliest surviving painting created in such style was from the first year of Yongzheng's reign in 1723. He was permitted to leave the enamel workshop by Yongzheng as it was affecting his eyesight.Although Castaglione was favored by Yongzheng who commissioned a number of works by him, Yongzheng's reign was a difficult period for the Jesuits as Christianity was suppressed and those missionaries not working for the emperor were expelled. His skill as an artist was appreciated by the Qianlong Emperor, and Castiglione served the Emperor for three decades and was granted increasingly higher official rank within the Qing court. He spent many years in the court painting various subjects, including the portraits of the emperor and empress. Qianlong showed particularly interest in paintings of tribute horses presented to the Emperor on which Castiglione painted a series, such as the Four Afghan Steeds. In 1765, Castiglione and other Jesuit painters also created a series of "Battle Copper Prints" commissioned by the Emperor to commemorate his military campaigns. Small-scale copies of his paintings were shipped to Paris and rendered into engravings with etching before being returned to China. This series of sixteen prints by Castiglione (who contributed two) and his contemporaries Jean-Denis Attiret, Ignatius Sichelbart and Jean-Damascène Sallusti were created in this way.Castiglione died in Beijing in 17 July 1766. An obituary was personally penned by Qianlong, who also erected a special stone in Castiglione's memory. He was buried in the Jesuits' Zhalan Cemetery in Beijing. Architecture
In addition to his skill as a painter, he was also in charge of designing the Western-Style Palaces in the imperial gardens of the Old Summer Palace with assistance from other Jesuits such as Jean-Denis Attiret. The project was initiated by Qianlong in 1747 in a garden once used by Yongzheng, with the construction of European-style palaces and gardens, aviaries, a maze, and perspective paintings organized as an outdoor theatrical stage, as well as fountains and waterworks designed by Michel Benoist. Castiglione also created trompe-l'œil paintings on the walls of the palaces. The buildings, however, were destroyed in 1860 during the Second Opium War.Castiglione's architectural works were lost, although influences of his trompe-l'œil murals survive in paintings on walls and ceilings which were executed by his assistant in Juanqinzhai in Qianlong Garden in the Forbidden City. Style and techniques

Castiglione's style of painting is a unique blend of European and Chinese compositional sensibility, technique and themes. He adjusted the European style he was trained in to suit Chinese taste; for example, strong shadows used in chiaroscuro techniques were unacceptable in portraiture as the Qianlong Emperor thought that shadows looked like dirt, therefore when Castiglione painted the Emperor, the intensity of the light was reduced so that there was no shadow on the face, and the features were distinct. Emperors also preferred to have their portraits painted full face with a frontal posture; therefore, the royal portraits are usually painted in such a manner. The paintings were done on silk, and unlike European painting where mistakes can be reworked, in Chinese painting, where brushwork on silk is almost impossible to be removed, it requires careful and precise painting. The painting needed to be worked out in detail beforehand, which Castiglione did in a preparatory drawing on paper before he traced the design onto silk. An example is the most important early work by Castiglione, One Hundred Horses in a Landscape (百駿圖), for which the preparatory drawings survive.It was painted in 1728 for the Yongzheng emperor. Some of the horses are in a 'flying gallop' pose, which had not been done before by European painters. The painting was executed using tempera on silk in the form of a Chinese handscroll of nearly eight meters in length. It was largely done in a European style in accordance with the rules of perspective, and with a consistent light source. However, the dramatic chiaroscuro shading typical of Baroque paintings is reduced and there are only traces of shadow under the hooves of the horses. Castiglione was assisted in many of his paintings by a number of court painters. For example, in the painting Deer Hunting Patrol (哨鹿圖, Shaolutu), he would be responsible for painting the portraits of the emperor and other officials on horseback.Other members of the hunting party, the trees and landscape however would be painted by other court painters in a Chinese style that is distinctly different from Castiglione's. Legacy
Due to Castiglione's work Qing court paintings began to show a clear Western influence. Other European painters followed and a new school of painting was created that combined Chinese and Western methods. The influence of Western art on the Qing court paintings is particularly evident in the light, shade, perspective, as well as the priority given to recording contemporary events. In 2005, Castiglione became the subject of the television series Palace Artist in China, played by Canadian-Chinese actor Dashan (Mark Rowswell), and broadcast by China Central Television (CCTV).. He is briefly portrayed at the end of the 48th episode of Ruyi's Royal Love in the Palace, painting the emperor and the empress together in one of the few happy episode of the TV series. Gallery

See also

Jean Denis Attiret
Louis Antoine de Poirot
<mask>
Matteo Ricci
Ignaz Sichelbarth

Bibliography
 Robert Loehr, <mask> (1688–1766) pittore di corte di Ch’ien-Lun, imperatore della Cina (Rome: ISMEO, 1940).George Robert Loehr, “European Artists at the Chinese Court,” in The Westward Influence of the Chinese Arts from the 14th to the 18th Century, ed. William Watson, Colloquies on Art & Archaeology in Asia, no. 3 (London: Percival David Foundation, 1972): 333–42. Joseph Deheregne, Répertoire des Jésuites de Chine de 1552 à 1800 (Rome: Institutum Historicum S. I., 1973), 95. Willard Peterson, “Learning from Heaven: the introduction of Christianity and other Western ideas into late Ming China,” in The Cambridge History of China, ed. Denis Twitchett and Frederick W. Mote, 15 vols. (Cambridge: Cambridge Univ.Press, 1988), 8:789–839. Cécile Beurdeley and Michel Beurdeley, <mask>e: A Jesuit Painter at the Court of the Chinese Emperors (London: Lund Humphrey, 1972). Hongxing Zhang, ed., The Qianlong Emperor: Treasures from the Forbidden City (Edinburgh: NMS, 2002). Evelyn Rawski and Jessica Rawson, China: The Three Emperors 1662–1795 (London: Royal Academy of Arts, 2005). John W. O’Malley et al., eds., The Jesuits: Cultures, Sciences, and the Arts 1540–1773, (Toronto: Univ. of Toronto Press, 1999). Ho Wai-kam, ed., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art (Bloomington: Indiana Univ.Press, 1980), 355. Memoria Postuma Fratris Josephi Castiglione, Bras. 28, ff. 92r–93v, Archivum Romanum Societatis Iesu (ARSI), Rome. Georg Pray, ed., Imposturae CCXVIII. in dissertatione R. P. Benedicto Cetto, Clerici Regularis e Scholis Piis de Sinensium Importuris Detectae et convulsae. Accedunt Epistolae Anecdotae R. P. Augustini e Comitibus Hallerstain ex China scriptae (Buda: Typis Regiae Universitatis, 1791).Marco Musillo, “La famille de <mask>e (1688–1766)”, (Paris: Thalia Edition, 2007). Marco Musillo, “Les peintures génoises de <mask>lione”, (Paris: Thalia Edition, 2007). Michèle Pirazzoli-t’Serstevens, <mask>e 1688-1766: Peintre et architecte à la cour de Chine (Paris: Thalia Edition, 2007), 18–25. Marco Musillo, “Bridging Europe and China: The Professional Life of <mask> (1688–1766)” tesi di dottorato (University of East Anglia, 2006). Marco Musillo: "Reconciling two careers: the Jesuit Memoir of <mask>e lay brother and Qing imperial painter" in Eighteenth-Century Studies, vol. 42, no. 1 (2008) Pp.45–59. Antonio Franco, Synopsis Annalium Societatis Jesu in Lusitania ab anno 1540 usque ad annum 1725 (Lisbon: Real collegio das artes da Companhia de Jesus, 1760), 441; e Imagem da Virtude em o Noviciado da Companhia de Jesus do Real Collegio do Espirito Santo de Evora (Lisbon: Real collegio das artes da Companhia de Jesus, 1714), 57. Relazione scritta da Monsignor Vescovo di Pechino al P. <mask>rù, in ordine alla Publicazione de Decreti apostolici (1715), ms. 1630, ff. 146r–152v, f. 149r. Biblioteca Casanatense, Rome. Copie manoscritte di vari scritti del Servo di Dio Matteo Ripa (1874), Cina e Regni Adiacenti Miscellanea 16, f. 21r, 26 December 1715, APF, Roma. Yang Boda, “The Development of the Ch’ien-lung Painting Academy,” in Words and Images, ed.Alfreda Murck and Wen C.Fong (New York: Princeton Univ. Press, 1991), 333–56, 345. George Robert Loehr, “<mask>,” Dizionario Biografico degli Italiani (Roma: Istituto della Enciclopedia Italiana, 1970), 22:92–94, 93. Father Jean Sylvain de Neu-vialle (Newielhe, 1696–1764) Relaçao da jornada, que fez ao Imperio da China, e sumamria noticia da embaixada, que deo na Corte de Pekim Em o primeiro de Mayo de 1753, o Senhor Francisco Xavier Assiz Pacheco e Sampayo (Lisbon: Officina dos Herd. De Antonio Pedrozo Galram, 1754), 8. Edward J. Malatesta and Gao Zhiyu, eds., Departed, yet Present. Zhalan the Oldest Christian Cemetery in Beijing (Macau and San Francisco: Instituto Cultural de Macau and Ricci Institute, 1995), 217.Lo-shu Fu, A Documentary Chronicle of Sino-Western Relations (1644–1820), 2 vols. (Tucson: Univ. of Arizona Press, 1966), 1:188–89. Ishida Mikinosuke, “A Biographical Study of <mask> (Lang Shih ning) a Jesuit Painter in the Court of Peking under the Ch’ing Dynasty,” Memoirs of the Research Department of the Toyo Bunko, no. 19 (1960): 79–121, 88–90. Lang Shining xiaozhuan (Short biography of Lang Shining) in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 3–26, 91-95.Aimé -Martin, M. L. (ed.) Lettres édifiantes et curieuses concernant l'Asie, l'Afrique et l'Amérique, avec quelques relations nouvelles des missions, et des notes géographiques et historiques, Paris 1838-1843, vol. II, III, IV. Beurdeley, C. et M., Castiglione, peintre jesuite a la cour de Chine, Fribourg 1971. Chayet, A., Une description tibétaine de Yuanmingyuan, in Le "Yuanmingyuan". Jeux d'eau et palais européens du XVIIIe siecle a la cour de Chine, Paris 1987.Cheng, T. K., Chinese Nature Painting, in "Renditions", n. 9, spring 1978, pp. 5–29. Durand, A., Restitution des palais européens du Yuanmingyuan, in "Arts Asiatiques", vol. XLIII, 1988, pp. 123–133. Hou Jinlang- Pirazzoli, M., Les chasses d'automne de l'empereur Qianlong à Mulan, in "T'oung Pao", vol. LXV, 1-3, pp.13–50. Hucker, C., A Dictionary of Official Titles in Imperial China, Stanford 1985. Jonathan, P.-Durant, A., La promenade occidentale de l'empereur Qianlong, in Le "Yuanmingyuan". Jeux d'eau et palais européens du XVIIIe siecle a la cour de Chine, Paris 1987, pp. 19–33. Ju Deyuan-Tian Jieyi-Ding Qiong, Qing gongtong huajia Lang Shining, in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 27–28.Kao Mayching, M., China's Response to the West Art: 1898-1937, Ann Arbor, Mich. 1972. Lettres édifiantes et curieuses, écrites des Missions Etrangères, Nouvelle edition, Paris 1781, vol. XXII, XXIII, XXIV. Liu Pinsan, Huama he Lang Shining "Bajuntu" in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 88–90. Nie Chongzheng, Lang Shining, Beijing 1984. References

External links

Lang Shining and his Painting Gallery at China Online Museum
National Palace Museum Taiwan
Palace Artist on Mark Rowswell's website
'Immortal Blossoms in an Everlasting Spring'

1688 births
1766 deaths
Artists from Milan
Qing dynasty painters
18th-century Italian painters
Italian male painters
Botanical illustrators
18th-century Italian Jesuits
Roman Catholic religious brothers
Jesuit missionaries in China
Jesuit missionaries
Italian Roman Catholic missionaries
Roman Catholic missionaries in China
Italian expatriates in China
Qianlong Emperor

masks:
Giuseppe Castiglione
Giuseppe Panzi
Giuseppe Castiglione
Giuseppe Castlion
Giuseppe Castiglion
Giuseppe Castig
Giuseppe Castiglion
Giuseppe Castiglione
Giuseppe Castiglion
Giuseppe Ce
Giuseppe Castiglione
Giuseppe Castiglione


title: Renée Green

texts:
<mask> (born October 25, 1959) is an American artist, writer, and filmmaker. Her pluralistic practice spans a broad range of media including sculpture, architecture, photography, prints, video, film, websites, and sound, which normally converge in highly layered and complex installations. She works to draw on cultural anthropology as well as social history, making her works well-researched and many times involving collaborators. Some of the topics she has covered include Sarah Baartman, the African slave trade, and hip hop in Germany. In 2014, <mask> published Other Planes of There: Selected Writings with Duke University Press, a work that compiles a substantial collection of her work written between 1981 and 2010. Early life and education
<mask> studied art at Wesleyan University, with an intermediary year at the School of Visual Arts in New York. <mask> also attended the Radcliffe Publishing Procedures Course at Harvard University, Cambridge, Massachusetts.In 1989 she was a participant in the Whitney Museum of American Art Independent Study Program (ISP). <mask> wrote Discourse on Afro-American Art as her graduating thesis from Wesleyan University, a "textual analysis of criticisms, which were written by both Black and White critics from the 1920s and the 1960s." A seminal influence was <mask>'s participation in cataloging Sol LeWitt's donated collection to Wadsworth Atheneum. <mask> wrote the catalog entries for Adrian Piper, and Lawrence Weiner. Her brother is <mask>, frontman of the Brazilian heavy metal band Sepultura. <mask>'s work adopts the form of complex and highly formalized installations in which ideas, historical events and narratives, as well as cultural artifacts, are examined from myriad perspectives. <mask>'s work investigates the shifts and gaps in what lives in private and public impressions as well as what has been envisioned and formulated.Her videos, exhibitions, and films have been presented and viewed in biennales, museums, and festivals across the world. As scholar Alexander Alberro notes, <mask>'s attempt is not a didactic one, rather an invitation to participate in the construction of knowledge, as well as shifting perception: "<mask> consistently gives the spectator a central role in the process of deconstructing genealogical discourses and assuming subject positions. Indeed, a feature that recurs in her installations is the production of interactive environments that galvanize the viewer into the role of an equal participant in the construction of meaning." <mask> explains in her own words the impetus behind this activity of collecting and exhibiting different data and materials: "I wanted to begin by examining an artifact, a text, a painting or a group of paintings, a decorative object, an image, a novel, a poem, a garden, a palace, a house. By beginning with these objects or places, and the contexts in which they appeared, it was possible to detect the intricate working of certain ideologies which were being put forth [...] and to attempt to decipher the contradictory pleasure which might accompany them." In 1992, <mask> collaborated with the Fabric Workshop in Philadelphia to create Mise-en-Scene: Commemorative Toile. This work encapsulates her use of appropriation to reevaluate history and claim attention to its type of presentation.In order to produce this work, <mask> incorporated “traditional bucolic scenes typical of eighteenth-century upholstery fabric with violent scenes of enslavement and uprisings. Benign floral garlands frame images of the lynching of a Frenchman during the Haitian revolution and of an enchained and unclothed black man kneeling by the desk of a sumptuously dressed white man. Using this fabric, <mask> constructs installations reminiscent of museum period rooms, with chairs, settees, drapes, and wallpaper crafted from the pinkish-red toile. She subverts the toile and period room as historical types to tell alternative histories.”

A lot of the materials collected for her projects come from the immense repository already in existence in our culture, but her work can not be considered as a mere assemblage of cultural artifacts, nor an appropriationist practice. In each of her projects, <mask> produces works of art in different mediums like photography [Secret (1994–2006)], prints [Code: Survey], films [Some Chance Operations (1999); Wavelinks (2002), Elsewhere? (2002], and sound [Vanished Gardens (2004), Muriel's Words (2004)], which are integrated in highly designed installations or environments. Due to the selective accumulation of materials <mask>'s work has been labeled in some instances as archival.As a result of the complex web of relations and conceptual links among the materials and projects, these normally take place during a duration of time, and in different locations, in which the same theme is presented in different formats. For example, Import/Export Funk Office (1992), was presented as an installation in Cologne and Los Angeles, and exists also as Cd-Rom (1996); or Code: Survey (2005–2006) takes the form of a permanent public work installed at the Caltrans Headquarters in Downtown Los Angeles, and as a website, which can be accessed worldwide. Due to the density and formal complexity of her different projects, <mask> uses the standard catalogue published alongside her exhibitions, as a part of her work. These books function in a variety of levels: as an exhibition catalogue, as an artist's book, as a repository of documents, as transcripts of conversations and scripts of the films and videos produced for the different projects . In 1997 <mask> was chosen by the American Federation of the Arts to design Artist/Author: Contemporary Artist's Books. <mask> has also written extensively, and her work has been published in different publications from United States and Europe. Among the publications are October, Texte zur Kunst, Transition, Sarai Reader, Multitudes, and Collapse.Indeed, <mask> <mask>'s video works tend to be more formally subtle. Her video, Climates and Paradoxes (2005), considers the centenary of Albert Einstein's theory of relativity via an excavation of the history of a high-rise apartment building in Berlin that <mask> once lived in and that occupies the former site of the pacifist organization Bund Neues Vaterland, of which, the video's associative narration informs us, Einstein was the twenty-ninth member. Walking in NYL (2016), follows from <mask>'s long-standing interest in Lisbon and the broader Portuguese sphere of influence. Since her arrival at MIT in 2011, <mask> has had numerous solo exhibitions, including: Lumiar Cité, Lisbon; Museum of Modern Art, New York; MAK Center for Art and Architecture at the Schindler House, Los Angeles; Fondazione Antonio Ratti, Como, Italy; Galerie Nagel Draxler, Berlin; Carpenter Center for Visual Arts, Harvard University, Cambridge, MA; and Prefix Institute for Contemporary Art, Toronto. She has also been involved in many group exhibitions: Hammer Museum, and Museum of Contemporary Art, both in Los Angeles; Whitney Museum, New Museum, and the Studio Museum in Harlem, New York; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Museum Moderner Kunst, Vienna; Institute of Contemporary Art, Philadelphia; Museum der Moderner, Salzburg; Centro Andaluz de Arte Contemporáneo, Seville; and numerous others. <mask> has assembled numerous books and writings over the years, including: Other Planes of There: Selected Writings (2014), published by Duke University Press; Endless Dreams and Time-Based Streams (2010), produced in the Yerba Buena Center for the Arts, San Francisco; Ongoing Becomings (2009) represents 20 years of Green's work, and was organized by the Musée Cantonal des Beaux-Arts, Lausanne; Negotiations in the Contact Zone (2003); Between and Including (2001); Shadows and Signals (2000); Artist/Author: Contemporary Artists’ Books; Certain Miscellanies: Some Documents (1996); After the Ten Thousand Things (1994); Camino Road (1994); and World Tour (1993). Green has also submitted many published essays and fictions in magazines and journals, including: Transition; October; Frieze; Texte zur Kunst; Spex; Multitudes; Sarai Reader; Collapse; among other magazines and journals, and an assortment of international cultural and scholarly books.Projects
A brief description of selected projects by <mask>. <mask> reflected on the historical display of black women's bodies in a number of her early artworks, above all the display of the "Hottentot Venus": Sarah Baartman, a South African woman exhibited as a sideshow in London and then Paris in the early Nineteenth Century, and who was thought at the time to be of the "Hottentot" tribe. Three of these artworks, Permitted (1989), Sa Main Charmante (1989), and Seen (1990) were shown together at <mask>'s 1990 Anatomies of Escape exhibition, held at the P.S. 1 Contemporary Art Center's Clocktower Gallery. Permitted (1989). This artwork, one of the first in which <mask> combined texts and images, attempted to evoke the position of early nineteenth-century audiences vis-a-vis bodies put on display. <mask> enlarged an engraving of Sarah Baartman's body to life-size and overlaid it with wooden slats stamped with Sir Francis Galton's description of measuring the buttocks of a "Hottentot" woman.<mask> highlighted the simultaneously "objective" and "subjective" character of this text by signaling each element with distinct typefaces, either capitalized Times Roman or cursive script. The artwork also involved a peephole through which viewers could see an image of Baartman standing on a crate, therefore aligning this kind of sideshow with pornography. Sa Main Charmante (Her Charming Hand, 1989). The central features of this artwork are a soapbox marked with two footprints and placed in front of a wall-mounted, ladder-like construction whose slats are stamped with two texts describing Sarah Baartman. These texts, one describing Baartman's performance as the Hottentot Venus, and the other written by Georges Cuvier after his postmortem dissection of Baartman, are interspersed and thus

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title: Renée Green

texts:
 interrupt and disrupt one another. Cuvier's text provides the title for the work: though he aligned Baartman with animals, he also noted "her charming hand." The soapbox and slatted structure are flanked by a klieg light and a peepbox containing a reproduction of an early nineteenth-century French print showing European viewers ogling the "Hottentot Venus."The klieg light simultaneously provides the light for this print and spotlights the viewer peeking into the box, highlighting their complicity in such degrading displays. Seen (1990). This artwork builds on several features of Sa Main Charmante: it uses interspersed texts that reference the sideshow/stage entrance of Sarah Baartman, as well as, this time, that of the celebrated dancer, singer, and actress Josephine Baker—Baker's voice, singing "Voulez-vous de la canne" ("Would you like some sugar cane? "), plays in a loop in the background. The artwork also involved a peephole through which viewers could see an image of Baartman standing on a crate, therefore aligning this kind of sideshow with pornography. These texts can be read on the slats of a wooden platform, reminiscent of the crude constructions used to display and sell slaves, that the viewer accesses via a short stair. Once there, the viewer finds themselves spotlit, their shadow thrown against an attached scrim, and looked at through an illuminated hole in the floor by a pair of motorized, spectacled eyes that wink.Rather than observing performing black female bodies transformed into eroticized spectacle, it is the viewers themselves that become the performance/spectacle. Import-Export Funk Office (1992) is a subjective map of the flow of hip hop music and related culture between New York City, Los Angeles and Cologne. The work explored "the process of information gathering and the international, national and local transfer of cultural products (specifically hip-hop music, various material produced as a result of the African diaspora… [and] other forms of cultural commerce)." <mask> positioned herself as an artist-ethnographer, studying the "import/export" of Hip Hop culture through German cultural critic Diedrich Diederichsen, whom <mask> treats as a "native informant" while he assessed that state of Hip Hop in the United States through German magazines. <mask> confronted ideologies surrounding cultural economy and pointed to disparities between the production and economy of culture. The archive of cultural fragments she displayed challenged the ethics of cultural appropriation without historical context; images of Angela Davis and Theodore Adorno serve to further confuse the contexts of social translation. Mise-en-Scène (1992), an investigation of the role in which French cities like Clisson and Nantes played in the Atlantic slave trade.She juxtaposes traditional scenes seen on toile and depictions of violence against Haitian slaves.Secret (1994). <mask> inhabited an apartment at Le Corbusier's Firminy Unité d'Habitation, and documented her stay via photographs and video. Partially Buried in Three Parts (1995–1997). Robert Smithson's land art work Partially Buried Woodshed (1970) functions as the starting point in <mask>'s examination of student's protest movements in the United States, which focuses in the Kent State shootings, as well as in Kwangju's student's massacre which took place in Korea in 1981, also known as Gwangju Democratization Movement. In its installation form, the work presents an examination of the year 1970 from different perspectives. Some Chance Operations (1999). An essay-film about Italian filmmaker Elvira Notari.Elsewhere? (2002–2004). The film Elsewhere? was created for an installation located in a garden setting in Kassel, for Documenta 11, Standardized Octagonal Units for Imagined and Existing Systems (2002). The film explores the idea of imaginary places, as well as the history of gardens and garden architecture or follies. In 2003 Elsewhere? was presented as an installation at Portikus, Frankfurt where 1400 colored imaginary place names covered the spaced walls .Muriel's Words (2004) Andrew McNeely describes this fifty-minute, single-channel sound installation, "In a soft and scarcely audible voice, <mask> gently whispers a series of discontinuous excerpts from the work of the U.S. poet and activist Muriel Rukeyser (a continual source of fascination for the artist). Cryptic passages such as "it is their violence" and "land, allow me to stand" are read under the breath. The hushed tone leaves one with the sensation of rudely eavesdropping on someone secretly reciting journal entries." Endless Dreams and Water Between (2009). In this project commissioned by the National Maritime Museum, Greenwich, <mask> created an immersive environment in which through drawings, sound, banners and films, ideas of islands, physical or mental, are explored. In a film bearing the same title as the exhibition, fictional characters write to each other reflecting on a different range of subjects, among these historical figures like George Sand, Laura Riding, Frédéric Chopin, Robert Graves, and Llorenç Villalonga; the characters also investigate longer histories of the three locations that they inhabit: Mallorca, Manhattan, and the San Francisco Bay Area. Endless Dreams and Water Between.Begin Again, Begin Again (2015). This exhibition took place at one of the MAK Center for Art and Architecture's site: the former Los Angeles home of Viennese modernist architect R.M. Schindler (1887–1953). This exhibition was composed of ten years' worth of old and new artworks by <mask> that trace the movement of multiple bodies through time and space. An exhibition statement describes the various installations as a "circulatory experience," where all facets—material and immaterial—combine to "perform" the Schindler House through "converging contrapuntal points." Begin Again, Begin Again (Circulatory Sound)(2015) features a baritone voice (that of the artist's brother, <mask>, a frontman for the heavy metal group Sepultura) that utters "begin again, begin again." The show's centerpiece is Begin Again, Begin Again I.1887–1929  (2015), a single channel forty-five-minute video montage interweaving images of the house with historic footage, oceanic tidal scenes, and various architectural sites. <mask> <mask> later displayed twenty-eight small fabric banners from the Begin Again, Begin Again exhibition in a 2016 exhibition at the Nagel Draxler Galerie. Nagel Draxler writes, "Combining aspects of continuity and rupture, the installation served as a relatively immediate illustration of what <mask>—borrowing a term from literary theorist Mary Louise Pratt—has called the "contact zone," referring to the encounter staged in her practice between disparate people, cultures, and events. In the contact zone, discrete genealogies become entwined." Begin Again, Begin Again (Years) (2018). <mask> exhibited Begin Again, Begin Again at New York's FRIEZE exhibit in 2018. Cinematic Migrations Project (2014).From March 6–7, 2014 <mask> presented her two-year collaboration project with John Akomfrah, OBE, and Lina Gopaul called Cinematic Migrations. This presentation was a symposium. This project "poses the notion of “migrations" in relation to "the cinematic" in an intentionally porous juxtaposition, conceived to allow a wide range of questions, interpretations and permutations to emerge. On September 24, 2019, Pacing, her two-year project at Harvard University's Carpenter Center for Visual Arts, focused on the building's iconic design by Le Corbusier. <mask> acknowledges conditions of displacement and residency, institutional memory, subjective experience, architectural modernism, notions of progress, and the certainty of decay, all the while reevaluating how time is manifested. <mask> consistently seeks to expand the likelihood of working within institutions. Educator
Working as an educator has been an important facet of <mask>'s career.She has been guest faculty at the Whitney Museum of American Art Independent Study Program (ISP) since 1991, and became the Director of the Studio Program in 1996–1997. From 1997 to 2002 she was Professor at the Akademie der bildenden Künste in Vienna. In 2003 she moved back to the United States to become Distinguished Artist Professor at the University of California, Santa Barbara. From 2005 to June 30, 2011, <mask> was Professor and Dean of Graduate Studies at the San Francisco Art Institute. During her tenure as Dean she directed Spheres of Interest, the Graduate Lecture Series. Since 200, she has been a guest faculty at the Maumaus School of Visual Arts in Lisbon. She is currently a Professor at the Art, Culture and Technology (ACT) Program, School of Architecture and Planning, Massachusetts Institute of Technology.Other teaching venues as guest professor have included Yale University, Vermont College, Hochschule der Kunst in Berlin, and the Hochschule für Angewandte Kunst, Vienna. Awards
In 2010, <mask> won a United States Artists Fellow award. References

External links
 Code: Survey
 <mask> <mask>'s Free Agent Media Website
 <mask> <mask> Fundació Antoni Tàpies

1959 births
Living people
American installation artists
American multimedia artists
American art writers
American art educators
African-American contemporary artists
African-American women artists
American women installation artists
American women photographers
American women video artists
American video artists
MIT School of Humanities, Arts, and Social Sciences faculty
Wesleyan University alumni
Harvard University alumni
Artists from Cleveland
20th-century American educators
21st-century American educators
20th-century American women artists
21st-century American women artists
20th-century American women writers
21st-century American women writers
American women non-fiction writers
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century women photographers
21st-century women photographers
20th-century African-American women
20th-century African-American artists
21st-century African-American women
21st-century African-American

masks:
Green
Green
Green
Green
Green
Green
Green
Green
Derrick Green
Renée
Green
Green
Green
Green
Green
Green
Green
Green
Green
Renée
Green
Renée
Green