title: Ken Khachigian

texts:
<mask><mask> (born September 14, 1944, in Visalia, California) is an American political consultant, speechwriter, and attorney. He is best known for being a longtime aide to President Richard Nixon and chief speechwriter to President Ronald Reagan. He served as chief speechwriter on Reagan's successful 1980 presidential campaign, and continued as chief speechwriter in the Reagan administration, writing Reagan's first inaugural address, his three main economic speeches, and the welcome home speech to the Iranian hostages. Although he resigned after several months to return to the private sector in California, he continued to write many of the major political and policy speeches as chief speechwriter on Reagan's successful 1984 re-election campaign and throughout the second term, including the 1984 nomination acceptance speech, the 1985 remarks at the former Bergen-Belsen concentration camp in Germany, and the 1988 Republican National Convention farewell address. He is a veteran of nine presidential campaigns. Most recently, he served as a senior advisor to the presidential campaigns of Bob Dole (1996), John McCain (2000), and Fred Thompson (2008). Early life and education
Khachigian was born September 14, 1944, in Visalia, California.He was raised with his three brothers on a 60-acre, cotton, walnut, and grape farm founded by his paternal grandfather, who had escaped from Armenia ahead of the Armenian genocide and immigrated to the United States in 1912. He attended Mt. Whitney High School in Visalia, where he was elected sophomore, junior, and senior class president, and graduated in 1962. He received his Bachelor of Arts in political science, with honors, from the University of California, Santa Barbara in 1966 and his Juris Doctor from Columbia Law School in 1969. Career

1968 presidential campaign
Khachigian was in law school at Columbia University at the time that former Vice President Richard Nixon decided to seek the presidency. He wrote to the campaign, offering to volunteer and in December 1967, he was hired by Pat Buchanan to work in the New York campaign headquarters answering letters between classes at law school. He went on to handle small research projects, such as locating quotations and figures for Nixon speeches.By the summer of 1968, he had worked his way up to writing agriculture, housing, and transportation position papers as a research and policy aide reporting directly to Alan Greenspan, the campaign's economic and domestic policy advisor. Nixon administration, first term (1970–72)
In January 1970, shortly after graduating from Columbia Law School, he joined the Nixon Administration as part of the national goals research staff. In August 1970, he became staff assistant to the director of communications, Herbert Klein. He became involved in the 1970 congressional midterm elections, writing speeches and preparing political analyses. In the early months of 1971, he was responsible for generating support for specific administration proposals. In the spring of 1971, he was transferred along with most of Klein's staff to Charles Colson, the special counsel to the President, with his duties remaining unchanged. 1972 presidential campaign
By May 1971, Khachigian was working on the 1972 Presidential re-election campaign.In a memorandum of May 27, 1971, Buchanan described to the chief of staff, H. R. Haldeman, the duties which he proposed to delegate to Khachigian: "to keep tabs on candidates, to keep the 'relevant' research on hand, to write materials needed to get into hands [sic] of various speakers, to communicate with party leaders and the like in states where opposition candidates appear." By late spring of 1972, he was regarded as the White House's major research source on the McGovern campaign. Nixon administration, second term (1973–74)
In early 1973, Khachigian transferred to the President's speechwriting staff, working under chief speechwriter David Gergen, with the title of deputy special assistant to the President. At first his subject areas of expertise were agriculture, natural resources and the environment, and political and legal affairs. Beginning in June 1973, however, he took on the tasks of researcher and writer on issues and problems evolving from the Watergate break-in. Presidential memoirs and Frost/Nixon interviews
Khachigian worked for President Gerald Ford for two months, until the fall of 1974. He then moved to San Clemente, California to assist Nixon with his presidential memoirs.In 1977, he served as chief researcher for Nixon's interviews with David Frost. He was portrayed by actor Gabriel Jarret in the 2008 historical drama film Frost/Nixon that tells the story behind the Frost/Nixon interviews. Nixon's memoirs were completed in the spring of 1978, however, Khachigian continued to work for Nixon for an additional year, assisting with several post-publication activities, including organizing briefing books for Nixon's trips to Europe and outlining ideas for speeches. He would later attribute much of his expertise to the four years spent working closely with Nixon on his memoirs. 1980 presidential campaign
Khachigian joined Ronald Reagan's 1980 presidential campaign, having been recruited by Reagan's campaign manager, Stu Spencer. Khachigian traveled on the campaign plane to punch-up speeches between campaign stops. He helped coin the term "fatally flawed", which was used throughout the campaign, in reference to the Strategic Arms Limitation Talks (SALT) II with the Soviet Union.Reagan administration, first term (1981–84)
In 1981, Khachigian was named chief speechwriter and special consultant to the President. Within the first 100 days, Khachigian wrote Reagan's inaugural address, his three main economic speeches, and the welcome home to the Iranian hostages. 1984 presidential campaign
During the 1984 presidential campaign, Khachigian served as chief campaign speechwriter, senior advisor, and director of issues and research. He wrote the 1984 nomination acceptance speech and was one of only two campaign aides who accompanied President Reagan aboard Air Force One throughout his landslide re-election. Khachigian also, along with Stuart Spencer, James A. Baker III, Richard Darman, David Stockman, and Michael Deaver, helped prepare Reagan for his presidential debates with Democrat Walter Mondale. Reagan administration, second term (1985–88)

In May 1985, Reagan delivered a Khachigian crafted speech at the former Bergen-Belsen concentration camp in Germany. In the previous month, the Administration had announced that Reagan would visit the Kolmeshohe Cemetery near Bitburg, at the suggestion of Chancellor Helmut Kohl of West Germany, to pay respects to the soldiers interred there.The visit was intended to be symbolic of the goodwill between the two countries, but unbeknownst to the Reagan Administration, 49 of the graves contained the remains of men who had served in the Waffen-SS. In an effort to placate the protesters, Reagan added a visit to the Bergen-Belsen concentration camp to his itinerary. Reagan famously said, "... we can and must pledge: Never again." TIME magazine praised the address as a "skillful exercise in both the art of eulogy and political damage control". Reagan biographer, Edmund Morris regards this as the best speech of Reagan's career. In August 1988, Khachigian drafted Reagan's farewell address to the Republican National Convention in New Orleans, and then joined the Bush presidential campaign as an aide to vice presidential nominee Dan Quayle. He traveled with Quayle for 10 weeks through election day, preparing him for debates and writing campaign speeches.California campaigns
Khachigian has been active in California elections since the early 1980s. He is regarded as the "lion" of California GOP politics. Nationally prominent political commentator Bob Novak has written that Khachigian is "perhaps the state's premier Republican strategist and wordsmith." During the 1982 and 1986 California gubernatorial campaigns, Khachigian was senior adviser and principal strategist for Governor George Deukmejian. He also served as campaign chairman, campaign manager and senior consultant to Dan Lungren for his two victories as Attorney General and to U.S. Senate candidate Bruce Herschensohn — engineering come-from-behind wins for Lungren's first campaign and for Herschensohn's primary victory in 1992. For Herschensohn's dramatic upset victory, The San Francisco Chronicle'''s leading political reporter, Jerry Roberts, described Khachigian as "the wily veteran GOP message-maker" and dubbed him "best manager" for his efforts. Khachigian counseled Pete Wilson in his winning U.S. Senate and gubernatorial campaigns, and in 1998 guided the successful statewide retention election of California Supreme Court Justice Ming Chin.Presidential campaigns
Khachigian has worked on nine presidential campaigns. In addition to his work on the Nixon, Reagan, and Bush-Quayle campaigns, he served as a national senior adviser to presidential nominee Bob Dole in 1996. He ran Dole's California campaign and oversaw all scheduling and issue planning for the state. During the 2000 election campaign, Khachigian was a senior adviser traveling with Senator John McCain to New Hampshire, South Carolina and California during the primaries, as McCain sought the Republican Presidential nomination. Subsequently, he served as an adviser to the Bush-Cheney campaign nationally and in California. More recently, Khachigian served as senior advisor to Fred Thompson's 2008 presidential campaign. According to the Center for Public Integrity, the practice of opposition research became systematized in the 1970s, when Khachigian suggested that the GOP keep files on individuals as insurance against future races, rather than "scramble" in an ad hoc'' fashion, race by race.Notable speeches
Khachigian wrote many of Reagan's most important speeches, including:
 President Reagan's First Inaugural Address
 Welcome home ceremony remarks for the hostages taken during the Iran hostage crisis
 Acceptance speech at the 1984 Republican National Convention
 1985 remarks at the former Bergen-Belsen concentration camp in Germany
 Farewell address at the 1988 Republican National Convention

Personal life
Khachigian is an attorney and writer in Orange County, California,  and serves as director emeritus to the Richard Nixon Foundation, on the advisory board for the Armenian Eyecare Project and has memberships in the Orange County Cardinals and Orange County Triple X Fraternity. Previously, he served on the board of overseers for the Hoover Institution from 1986–1992 and as a board member of the Armenian Assembly of America from 1983–1989. From 1981-1982, he served as President Reagan's appointee to the National Institute of Justice advisory board. In 1989, he received the Distinguished Alumni Award from the University of California, Santa Barbara, where he graduated With Honors as Outstanding Graduating Senior and served as Student Body President. He has been honored for public service by the 4-H Clubs of America, the Armenian Assembly of America, the Armenian Eyecare Project, The Armenian Educational Foundation, the Armenian National Committee, and the Armenian American Museum and Cultural Center. References

External links
Khachigian Quotes at Think Exist
UCB Notable Alumni

1944 births
American political consultants
American politicians of Armenian descent
American writers of Armenian descent
California lawyers
California Republicans
Columbia Law School alumni
Living people
Nixon administration personnel
People from Visalia, California
Reagan administration personnel
Speechwriters for presidents of the United States
University of California, Santa Barbara alumni
White House Directors of Speechwriting

masks:
Kenneth L
. Khachigian


title: Sachio Yamashita

type: original

texts:
<mask> (1933–2009) was a Japanese-American artist primarily known as the creator of more than 100 public murals throughout the Midwest between 1968 and 1982, and later as an abstract painter and muralist in the San Francisco Bay Area. As a muralist, Yamashita identified as an "environmental" artist "who creates, or alters environments." Chicago art historian Rebecca Zorach observes that Yamashita "showed how murals could be understood not just as community-based art but as huge environmental installations, breaking free from the gallery, changing city dweller's consciousness." Early life

<mask> was born in Kagoshima, Kagoshima Prefecture, Japan in 1933 and immigrated to the United States in 1968. Living in Japan during World War II, he attended elementary school in a bomb shelter as warplanes could be heard overhead. He began drawing at an early age, covering the walls of his childhood home. As a young man, he was a cartoonist for local publications like the Nishinippon Shimbun newspaper, where he often expressed his political views.In a 1976 interview with People Magazine, he claimed to have first traveled to the U.S. as a journalist covering the 1968 Democratic Convention. Earlier newspaper profiles of Yamashita, however, state that the initial purpose of his visit was to teach East Asian spatial design at Prairie State College. Accounts of his life in Japan and his initial months in the U.S. vary, depending on the information he gave reporters. Rebecca Zorach notes that he received advanced training in art while living in Tokyo. He eventually settled in Chicago and quickly became part of a tight-knit circle of artists who sought to beautify the city with public art. Midwest Murals

Chicago
When Yamashita arrived in Chicago in the late 1960s, he was struck by the vast potential of the city for public art. "The whole city is my canvas," he told Time Magazine in 1976.Within a year of arriving from Japan, Yamashita worked alongside an activist group known as CVL, Inc ("Conservative Vice Lords), a former street gang from Chicago's West Side, at a community-focused non-profit art center called Art & Soul in the North Lawndale neighborhood of the city. The art space was affiliated with Chicago's Museum of Contemporary Art. Enlisting volunteers from the neighborhood, <mask> painted his "Rainbow" mural (1969), which covered the front and side exterior walls of its one-story storefront building. According to Rebecca Zorach, rainbow stripes were his signature motif in the late 1960s and early 1970s. For example, he painted the exterior of Chicago's famed Billy Goat's Tavern, located at 430 North Michigan Ave, in thin rainbow stripes after agreeing to produce the mural in exchange for beer and food. The Billy Goat Tavern mural was removed with the exception of small sections in the shape of leaping goats near the entrance of the building. On Michigan Ave, he painted the exteriors of seven underground storefronts in his rainbow color scheme.In addition to his stated goal of transforming Chicago's urban landscape with color, he proposed converting the city's elevated train tracks into sprawling bike paths. In addition to covering the walls of playgrounds, commercial buildings, parking garages, and other public spaces he sought to cover every water tower in Chicago with his bright palette, each painted in a single hue and numbered in sequential order. Although he intended to paint 1,000 water towers in the city, upon leaving the Midwest for the San Francisco Bay Area, he had covered no more than a dozen. According to Chicago historian Tim Samuelson, Yamashita's stated goal was to paint a public work every day. He would regularly approach the owners of buildings with water towers, sometimes convincing them to pay for the supplies. On hot days, Samuelson notes, Yamashita would swim in the water towers to cool down. The first towers in his series were painted red and royal blue over Piper's Alley and numbered 1 and 2.Other towers were painted vibrant colors such as purple, blue-green, yellow, and bright orange. The water tower series was part of his broader "Environment Art for Everywhere" project and was partially funded by a grant from the National Endowment for the Arts in cooperation with the Museum of Contemporary Art, Chicago. When interviewed by the Chicago Tribune in 1971 during the initial stage of his project, Yamashita declared, "The whole city is my studio, where I paint only bright, peaceful things." Although he received institutional and municipal support, at times he would act without permission and cover additional surfaces such as stop signs and no parking signs, much to the dismay of city officials. One of his most well-known murals is based on a Japanese woodblock print by ukiyo-e artist Hiroshige depicting Mount Fuji and massive waves, which he painted on the facade of a three story hardware store at the corner of North Avenue and Wieland Street. "The Wave" (1971) mural has since been removed. By 1980, it was estimated that Yamashita had painted more than 20 large-scale murals in Chicago, largely focusing on the lower Michigan Ave area of the city In addition to his signature rainbow patterns, he created "super graphic" works, large-scale illusionist murals that appear to transform space with geometric compositions.His celebrated super graphic work "Balance of Power," which was located along lower Wacker Drive, appears as the backdrop in a portion of the iconic final car chase scene in the 1980 film The Blues Brothers. More recently, "Balance of Power" and other notable Chicago murals by Yamashita were discussed on the WTTW segment "Ask Geoffrey" in the episode "What Became of Artist Behind These 1970s Murals," which first aired on December 12, 2018. Greater Midwest
Profiles in Time and People magazines in the mid 1970s in addition to regular coverage of his work in the Chicago Tribune and other regional newspapers inspired more municipalities and businesses to commission Yamashita for murals across the Midwest. In Neligh, Nebraska he was invited to propose a mural design for the town auditorium. Completed in 1977, "The Good Earth" occupied two walls of the building and was sponsored by the Neligh Arts Council. Dubbed "the Blue Cow" mural, it depicted a cow and calf in a prairie scene flanked by a vertical rainbow and a plow, sun, and ear of corner on another side of the building. Only a portion of the mural remains, having been painted over despite the fact that it was restored in 1994.In 1980, the Neligh City Council and Park Board commissioned him to paint a mural on the exterior of its new community swimming pool. Working with a local team, Yamashita painted a rainbow colored whale on the southern wall and a corresponding hardedge pattern on the eastern side of the aquatic center building. The swimming pool mural remains intact. While <mask> was a widely popular public artist in the Midwest, many of his murals later suffered at the hands of developers who painted over or covered his designs in the process of renovations or expansions. In 1981, for example, he was invited to Salina, Kansas as an artist-in-residence in order to create a mural for the south side of the First National Bank and Company building. The project was sponsored by the Salina Arts Commission and received much local fanfare, including the praise of the bank president, who favorably cited his homage to local farmers. "Golden Wave" was inspired by the surrounding Kansas landscape and depicted an abstracted scene of wheat fields and grain elevators under a vivid blue sky and radiant sun.Only six years later, the mural was covered by the bank when it sought to replace the facade of the building for "aesthetic purposes". <mask>'s residency also included his participation in the town's annual Smoky Hill River Festival, during which he painted a giant abstract sunflower on a municipal pool turned ice skating rink in Oakdale Park. The mural covered an area of about 7,000 square feet. Locals were invited to assist the painter with his project. The mural fell into disrepair and by 2012 a new commissioned work by Brooklyn based artist Molly Dilworth was installed. Public Collections
Sacramento Convention Center
Fine Arts Museums of San Francisco
Hallie Ford Museum of Art, Willamette University, Salem, Oregon
Oakland Museum of California
University of Oregon, Eugene. References

1933 births
2009 deaths
Artists from California
Artists from the San Francisco Bay Area
American muralists
Abstract painters
Japanese emigrants to the United States
American artists of Japanese descent
Artists from Kagoshima Prefecture
Japanese painters
Japanese artists

masks:
Sachio Yamashita
Yamashita
Yamashita
Yamashita
Yamashita


title: Everett Shinn

texts:
<mask> (November 6, 1876 – May 1, 1953) was an American painter and member of the urban realist Ashcan School. Shinn started as a newspaper illustrator in Philadelphia, demonstrating a rare facility for depicting animated movement, a skill that would, however, soon be eclipsed by photography. Here he worked with William J. Glackens, George Luks and John Sloan, who became core-members of the Ashcan School, led by Robert Henri, which defied official good taste in favour of robust images of real life. Shinn is best known for scenes of disaster or street violence, as well as theatrical subjects, regarding the theatre as a place of satisfying illusion. Shinn was the only Ashcan artist who preferred to work in pastels. He was reportedly a model for the protagonist of Theodore Dreiser's  novel The "Genius". Early life

Shinn was born in Woodstown, New Jersey, a large Quaker-dominated community.His parents Isaiah Conklin <mask> and Josephine Ransley <mask> were rural farmers. Their second son, he was named for the author <mask> Hale, of whom his father was a great fan. "Shinn's ability to draw was evident from very early childhood." At age 15 he was enrolled at the Spring Garden Institute in Philadelphia, where he studied mechanical drawing. The following year he took classes at the Pennsylvania Academy of the Fine Arts, and by age 17 was working as a staff artist for the Philadelphia Press. Moving to New York City in 1897, he was soon known as one of the more talented urban realists who were chronicling in paint the energy and class divisions of modern metropolitan life. In 1898 Shinn married Florence "Flossie" Scovel, another artist from New Jersey; in 1912 they divorced, and in 1913 he married Corinne Baldwin, going on to have two children, Janet and David.By 1933 Shinn had divorced two more wives and was the subject of many tabloid rumors. Though he exhibited less frequently later in his life, Shinn had a well-established career by the 1920s but suffered serious financial losses during the Depression and sold very few paintings during that time. Between 1937 and his death in 1953, Shinn received several awards for his innovative paintings and participated in a number of exhibitions; he would always be associated, however, with the achievements of the Ashcan School of American art . He died of lung cancer in New York City in 1953. Shinn was reportedly a model for the talented, promiscuous artist-protagonist of Theodore Dreiser's 1915 novel The "Genius". With his well-known taste for the good life, Shinn was dubbed by art historian Sam Hunter "the dandy of the realists." Career

Most art historians, as well as Shinn himself, consider his employment by the Philadelphia Press the true beginning of his art career.He was entering the field of newspaper illustration in its heyday, and he was a draughtsman of great facility. (In later years, Shinn would express his dismay over the development of photography as the new art form that eventually replaced drawing as the principal source of visuals in all American newspapers.) Shinn moved from paper to paper for the rest of his illustrating career, receiving a larger salary with each move. The ability to convey animated movement and the attention to detail necessary for his newspaper illustrations is reflected in Shinn's paintings and pastels, especially those treating urban themes. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a successful illustrator and who brought in a good deal of the household income. He ultimately illustrated for a wide range of popular journals over the next twenty years, including Harper's, Vanity Fair, Life, Look, and Judge. Shinn also started displaying his paintings and pastels publicly in 1899 to mixed reactions.In 1900, he and Flossie traveled to Europe to allow him an opportunity to study other painters and to prepare to produce enough work for another exhibition. The trip influenced his art in years to come; he was especially taken with Impressionism and European art that focused on depictions of the theater. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, <mask>n and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists Robert Henri, John Sloan, and Joseph Laub established the Charcoal Club as an informal alternative art school. The group, which included Henri, Sloan, Shinn, and fellow illustrators and would-be painters like William Glackens and George Luks, reached a peak membership of thirty-eight and sketched nudes and critiqued of each other's work. The club, which was both ribaldly social and intellectual, is often thought of a point of origin for what became known as the Ashcan school of American art. To his friends and fellow artists, Henri (the elder statesman of the group) urged the study of Whitman, Emerson, Zola, and Ibsen and the need for painters to forge a new style of art that spoke more to their time and experience.He believed that younger artists should look to the modern city for their subject matter and paint in a freer, less academic style than art lovers of the time were accustomed to. It was an outlook with which Shinn readily agreed. New York and The Eight

In 1897, Shinn was offered a higher paying job as an illustrator for Joseph Pulitzer's New York World. (Theodore Dreiser also worked for the World at that time.) He was joined shortly after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the hustle and bustle of Manhattan. His fascination with the intensity of urban life is evident in paintings like Fire on Mott Street and Fight or in his renderings of election rallies and matinee crowds.Shinn had a particular interest in scenes of drama (accidents, buildings on fire) and street violence. His preferred medium at this time when not drawing for the newspaper was pastel, the medium least associated with the grittiness of his subject matter. He is the only Ashcan artist to produce a large body of work in pastel. Shinn left no record or notes of any kind about his time in Europe, but it is generally assumed that he saw the work of Daumier, Degas, and Lautrec while in France and Walter Sickert while in England. Echoes of the style of all four artists can be found in Shinn's work, especially in the affinity he shares with Degas in depictions of stages marked by unusual croppings and compositions. Some of these paintings, like Trapeze, Winter Garden, New York (1903) or Curtain Call (n.d.), view the performers from the rear of the stage and include the audience as a backdrop to the picture itself; others, like London Hippodrome (1902), assume an imaginary aerial perspective from a balcony; and others take as a vantage point the middle of the orchestra pit (e..g, the 1906 The Orchestra Pit: Old Proctor's Fifth Avenue Theater), looking up toward the stage at a sharp angle. Whether depicting ballet dancers, magicians, actors, acrobats, or vaudevillians, Shinn (who presumably spent a good deal of time at the theater himself) presents performance art as an enlivening and sensuous, if sometimes raucous, experience for both the men and women on the stage and the audience.Shinn became friendly with a number of major theater professionals in New York, including playwright Clyde Fitch, actress Julia Marlowe, and producer David Belasco. They were able to introduce him to a social elite in Manhattan that included interior designer Elsie de Wolfe and architect Stanford White. As a result, "Shinn did a number of murals for houses built by Stanford White and for many houses and apartments decorated by Elsie de Wolfe." His clients were usually interested in a Louis XVI style called "rococo revivalism." The ceilings and pianos in Clyde Fitch's apartments were also decorated by Shinn, and Fitch was happy to recommend his services to other wealthy acquaintances. It was a lucrative arrangement and a somewhat incongruous one for a man who also painted dock workers and brawling barflies. Shinn's most lasting contribution in this area, recently restored, are the murals he painted for Belasco's Stuyvesant Theatre (today the Belasco Theatre), which opened in 1907 and is still a prominent Broadway playhouse.About this space, one theater historian has written: "The rich walnut paneling, ornamental Tiffany lamps, and eighteen murals by <mask>n created a warm, comfortable setting for Belasco's standard mix of dazzling scenic effects and melodramatic hokum." In February 1908, Shinn exhibited in a legendary exhibition at the Macbeth Galleries in New York that was intended as a protest against the conservative tastes and restrictive exhibition practices of the powerful National Academy of Design. The show, which also traveled to several cities from Newark to Chicago, occasioned considerable comment in the press about appropriate styles and content in art and gave the Ashcan painters more national publicity than they had previously enjoyed. The exhibiting artists, known as The Eight, included five realists (Shinn, Henri, Sloan, Glackens, and Luks) and three other artists (Arthur B. Davies, Ernest Lawson, Maurice Prendergast) who painted in a less realistic, more impressionistic style. Among the paintings Shinn chose to exhibit with The Eight was The London Hippodrome (1902), his most reproduced work and a painting that art historian Milton Brown called "among the best that the Ashcan school produced." Later life

Unlike the other members of The Eight, Shinn did not exhibit in the famous 1913 Armory Show of modern art and, in fact, became over the years a confirmed anti-Modernist, expressing nothing but disdain for Picasso and Matisse. He remained a representational artist all his life with no interest in stylistic experimentation, and throughout the 1910s and 1920s he cultivated a market for deftly-made drawings in the spirit of a latter-day Watteau or Boucher.This resistance to the changing era he was living in accounts, in part, for his declining place in art history after his death. His style, in the view of many observers, also took on a more facile, commercial quality, and some of his later works, like the murals painted for the bar of the Plaza Hotel, have an essentially nostalgic aim, reimagining in the 1940s the world of hansom cabs and city streets lighted by gas-lamps. "Except for one exhibition at Knoedler's in 1920," his biographer writes, "<mask>n does not seem to have exhibited paintings between 1910 and 1937." (In 1937, Shinn was included in the Whitney Museum's "New York Realists" show, which was, in essence, a reunion of the major Ashcan painters now that their day had passed.) The 1940s saw his work included in more museum exhibitions, though, and just prior to his death he was taken on by the prestigious James Graham Gallery in New York. In his best years, Shinn was well-paid and owned large houses in Connecticut and Upstate New York, but he went through a vast amount of money (along with four wives and numerous mistresses) and was financially straitened in his final days. Legacy
Shinn was the youngest member of The Eight.Though his work is varied and resistant to easy categorization, it is considered most commonly in art histories in the context of The Eight and the Ashcan school, designations that do not quite fit the range of his individual vision. Shinn's relations with other members of The Eight, most of whom remained friendly into their later years, were never strong. "He was an accidental member of The Eight," John Sloan remarked in the late 1940s when he cast a vote against Shinn's nomination for membership in the Institute of Arts and Letters. Shinn's commitment to the high life and to interior decoration rubbed a Socialist and true urban realist like Sloan the wrong way. Yet Shinn had never claimed for himself a political stance in his art or intended to narrow his interests in service to a movement or school of art. His best works effectively capture a slice  of American urban life in the first years of the twentieth century, in both a realist and a romantic spirit, and his most ambitious paintings (The London Hippodrome, The Orchestra Pit: Old Proctor's Fifth Avenue Theater) are among the greatest theater-inspired images in American art. Gallery

Selected painting analysis
The Fight, 1899 (Charcoal).In The Fight, a group of men stand on the right side of the drawing, watching a fistfight outside a bar. Both black and white men are represented in the drawing, an unusual feature for period, which added to its controversial nature. The bold, sketchy quality of the brushstrokes makes the subjects appear appropriately uneasy and off-balance. The bulk of the drawing is heavily on the right side with much more open urban space depicted on the left. Though Shinn is often associated with portrayals of more elegant settings (notably, theater interiors), this drawing is typical of his equally pronounced interest in working-class subjects and is a classic example of Ashcan realism. Spoiling for a Fight, New York Docks (1899), Barges on the East River (1899), Cross Streets of new York (1899), The Docks, New York City (1901), The Laundress (1903), Eviction (1904), and Night Life: Accident (1908) are other examples of work produced by Shinn through his walks about the city, observing intently and sketching on the spot. Theater Scene, 1906 (oil pastel on canvas).This painting is representative of Shinn's work depicting theater scenes, his favorite subject, and an intricate set design, another of Shinn's hobbies. The artist portrays of a group of dancers, clad in mostly white, onstage with a detailed backdrop of picturesque hills and a garden. The brushstrokes are broad and wide, giving the painting has a vivid sense of immediacy; the figures within the painting almost seem to be moving. The painting has a faintly dream-like quality, making it seem more impressionist than realist in style. Stagestruck from youth, Shinn never tired of depicting the theater as a place of energy, skill, and satisfying illusion. Selected works

Fifth Avenue Coach, Winter (1906): Montclair Art Museum
Backstage Scene (1900): Delaware Art Museum
Tenements at Hester Street (1900): The Phillips Collection, Washington, D.C.
Self-Portrait (1901): National Portrait Gallery, Washington, D.C. American Painting from the Armory Show to the Depression.Princeton: Princeton University Press, 1955. De Shazo, Edith,  <mask>n, 1876–1953: A Figure in His Time. New York: Clarkson N. Potter, 1974. Hunter, Sam. Modern American Painting and Sculpture. New York: Dell, 1959. Life's Pleasures: The Ashcan Artists' Brush with Leisure, 1895–1925 (exhibition catalogue for the Detroit Institute of Arts and the New York Historical Society).London: Merrill Publishers, 2007. Loughery, John. John Sloan: Painter and Rebel. New York: Henry Holt, 1995. Mazow, Leo G.  "<mask>n's Time Warp" (pp. 129–137) in Elizabeth Kennedy (ed. ), The Eight and American Modernisms.Chicago: University of Chicago Press, 1009. Metropolitan  Lives: The Ashcan Artists and Their New York (exhibition catalogue). Washington, D.C.: the National Museum of American Art, 1996. Perlman, Bennard N.  Painters of the Ashcan School: The Immortal Eight. New York: Dover, 1999 edition. Wong, Janay. <mask>n: The Spectacle of Life (exhibition catalogue).New York: Berry-Hill Galleries, 2000. External links

  National Portrait Gallery artist profile
  <mask> biography (Illustration-house.com)
 <mask> biography at artfact.com (auction website)
 <mask>, Hunter Museum of American Art
 <mask> collection, 1877-1958, digitized archive of Shinn's papers, Archives of American Art, Smithsonian Institution. 1876 births
1953 deaths
American illustrators
American muralists
19th-century American painters
19th-century male artists
American male painters
20th-century American painters
People from Woodstown, New Jersey
Artists from New Jersey

masks:
Everett Shinn
Shinn
Shinn
Edward Everett
Everett Shin
Everett Shin
Everett Shin
Everett Shin
Everett Shin
Everett Shin
Everett Shinn
Everett Shinn
Everett Shinn
Everett Shinn


title: Ann Bartuska

texts:
<mask><mask> (born August 6, 1953) is an ecologist and biologist. She is a senior advisor at Resources for the Future and a former Deputy Under Secretary for Research, Education, and Economics (REE) at the United States Department of Agriculture and former USDA Chief Scientist. Education
Bartuska graduated from Wilkes University in 1975 with a bachelor's degree in biology. She went on to earn a master's degree in botany and ecology from Ohio University in 1977, and a doctorate in biogeochemistry and ecosystem ecology from West Virginia University in 1981. Her dissertation, titled Detrital processes in a black locust reforested surface mine compared to a sugar maple dominated mixed hardwood stand, was completed under adviser, Dr. Gerald E. Lang. Her research has focused on ecosystems processes in landscapes disturbed by coal mining. She is married to Dr. Mark R. Walbridge, Chair of the Department of Biology at West Virginia University.Career
From 1982 until 1989 Bartuska managed research, development, and assessment programs associated with the effects of acid rain and air pollution, first for North Carolina State University and then under the United States Forest Service. Both projects fell under the National Acid Precipitation Assessment Program. In 1989 she was named Assistant Station Director for Continuing Research at the Southeastern Forest Experiment Station; while there, she was responsible for research in both Florida and Georgia. She joined the staff of Forest Environment Research at the Forest Service's Washington Office in 1991 as a Wetlands Specialist with the responsibility of developing a National Wetlands Research Program. In 1992, when the Ecosystem Management staff was created, she was named the first head. Bartuska spent a year in 1993 as the Forest Service Liaison to the National Biological Survey of the U.S. Department of Interior and in October 1994 became director of Forest Health Protection for the Forest Service. In January 1999, Bartuska was named Director of Forest Management, of which she was the first woman and first ecologist to hold the position.She would continue on as director, when Forest Management and Range Management were merged. Bartuska left the Forest Service in 2001 to become the executive director of The Nature Conservancy's Invasive Species Initiative, and she remained there until 2004. She returned to the Forest Service as Deputy Chief for Research and Development in 2004 and from January to October 2009 served as acting Deputy Undersecretary for Natural Resources and Environment. In 2010 she joined the USDA's Research, Education, and Economics (REE) mission area, where she was Deputy Under Secretary. Her responsibilities included oversight over four agencies which support the REE mission: Agricultural Research Service (ARS - which includes the National Agricultural Library and National Arboretum), National Institute of Food and Agriculture (NIFA), Economic Research Service (ERS), and National Agricultural Statistics Service (NASS). <mask> was named chair of the Subcommittee on Global Change Research (SGCR) by Dr. Tamara Dickinson, Principle Assistant Director for Environment and Energy at the White House Office of Science and Technology Policy in 2016, of which she previously served as vice-chair. The group was created and is responsible for, meeting the requirement of the Global Change Research Act of 1990.In 2017, Bartuska joined the non-profit, Resources for the Future (RFF), as Vice President of the newly formed program on Land, Water, and Nature. She currently serves as a senior adviser to RFF, focused on natural resources and forestry with special consideration of natural climate solutions through forest and agricultural lands. Memberships and legacy
<mask> was vice president for public affairs at the Ecological Society of America from 1996 to 1999 and president of the society from 2003–2004. She was a co-chair of the Science and Technology for Sustainability Roundtable of the National Academies,  served on the Board of the Council of Science Society Presidents, and is a member of the American Association for the Advancement of Science(AAAS) and Society for the Advancement of Chicanos and Native American in Science (SACNAS). Bartuska has also served on the advisory board of the National Science Foundation and on the External Advisory Board for the Cornell Atkinson Center for Sustainability. She served as co-chair of the Ecological Systems subcommittee of the Committee on Environment, Natural Resources, and Sustainability of the White House National Science and Technology Council. She was also a part of the Sustainability Roundtable of the National Academy of Sciences.Publications

 "Elemental concentrations in plant tissues as influenced by low pH soils" by Plant and Soil, 1980
 "The Report of the Ecological Society of America Committee on the Scientific Basis for Ecosystem Management" from Ecological Applications from the Ecological Society of America, 1996
 "Ecosystem management to achieve ecological sustainability: The case of South Florida" from Environmental Management, 1996
 "Cross-Boundary Issues to Manage for Healthy Forest Ecosystems" from the book, Landscape Ecological Analysis, 1999, p. 24-34
 "Towards a shared vision" from Frontiers in Ecology and the Environment, 2004
 "Science Priorities for Reducing the Threat of Invasive Species to Sustainable Forestry" from BioScience, 2005
 Why Biomass is Important - The Role of the USDA Forest Service in Managing the Using Biomass for Energy and Other Uses from the U.S. Forest Service, 2006
 "Restoring Justice/Restoring Ecosystems:the Intersection of Ecology and Environmental Justice" from Bulletin of the Ecological Society of American, 2007
 "The role of federal agencies in the application of scientific knowledge" from Frontiers in Ecology and the Environment, 2010
 "USDA Forest Service research and development - caring for the land and serving people" from Folia Forestalia Polonica, 2011
 "When peer-reviewed publications are not enough! Delivering science for natural resource management" (Reprint - original from 2012) from Forest Policy and Economics, 2013
 "Nature as capital: Advancing and incorporating ecosystem services in United States federal policies and programs" from Proceedings of the National Academy of Sciences of the United States of America, 2015
 "The IPBES Conceptual Framework - connecting nature and People" from Current Opinion in Environmental Sustainability, 2015
 "Beyond desertification" from Frontiers in Ecology and Environment, 2015

References

Living people
American ecologists
Women ecologists
American women biologists
West Virginia University alumni
Wilkes University alumni
Ohio University alumni
United States Department of Agriculture people
United States Department of Agriculture officials
1953 births
Resources for the Future
21st-century American women

masks:
Ann M
. Bartuska
Ann Bartuska
Bartuska


title: Sergey Chemezov

texts:
<mask> (; born 20 August 1952) is the CEO of Rostec Corporation. A former KGB agent and high-ranking general, Chemezov befriended Vladimir Putin when both were stationed in East Germany in the 1980s. Chemezov enriched himself when Putin became President of Russia. In 2007, Putin appointed him as CEO of Rostec. The Pandora Papers leaks revealed that <mask> and his family maintained a large network of offshore wealth, including a superyacht. Biography
<mask> was born on 20 August 1952 in the city of Cheremkhovo in Irkutsk Oblast. <mask> graduated with honours from Irkutsk Institute of National Economy (presently Baikal State University of Economics and Law) in 1975 and then completed his postgraduate education at the Military Academy of the General Staff of the Armed Forces of Russia.<mask> has a doctorate in economics and is also a professor and full member of the Military Academy. At the Irkutsk Scientific and Research Institute of Rare and Nonferrous Metals, Chemezov provided economic assessment of deposits as an engineer, a research associate, and chief laboratory assistant for six months from 15 October 1975 to 28 April 1976 while he was waiting for his paperwork to process to enter the ranks of the KGB. From 1980 to 1988 as KGB, he worked at "Luch" Research-Industrial Association which was the KGB surveillance operation gathering scientific and technical intelligence in the communist controlled German Democratic Republic (GDR). From 1983 to 1988, <mask> served as the head of the Luch Association representative office in East Germany, where he met Vladimir Putin and Nikolay Tokarev. Nikolay Tokarev, <mask>, and Vladimir Putin worked for their KGB boss Lazar Matveev while in East Germany and both <mask> and Putin lived in the same block of flats in Dresden. There they became friends. From 1988 to 1996, <mask>, as the KGB controller with the 3rd department of the 11th department of the 5th department of the KGB, was deputy CEO of the "Sovintersport" Foreign Trade Association under the leadership of Viktor Galaev ().Sovintersport, which held a monopoly on Soviet sports with the West, is a portmanteau of Soviet, International, Export, and Sport formed by Vladimir Putin and Chemezov. In 2011, <mask>, Makarov, and Alexei Miller, chairman of Gazprom, were the supervisory board of Team Katyusha (), which was formed in 2008, and, along with Novikombank () and Transneft (), their companies, Rostec, ITERA, and Gazprom, respectively, were the major sponsors of Katyusha. During this time, <mask> was involved with Igor Makarov in forming the main subsidiary of the ITERA Group, the Itera Oil and Gas Company, founded in 1992 with headquarters in Jacksonville, Florida and originally owned by <mask>'s wife Iganatova. From 1996 to 1999, he was chairman of the Department for Foreign Economic Relations within the Office for Presidential Affairs, serving under Vladimir Putin. Later he transitioned to the position of chairman of the Department for Foreign Economic Relations of the Presidential Administration of Russia. During this time and although both Ukraine and Georgia objected, <mask> was pivotal in securing for Russia, Russia's correct share from the former USSR's state property, state archives and state debts. From September 1999 to November 2000, <mask> served as CEO of Promexport.In August 2000, he became a member of the Presidential Committee on Military and Engineering Cooperation between Russia and Foreign Countries. From November 2000 to April 2004, <mask> served as first deputy CEO of Rosoboronexport and then as its CEO from 2004 to 2007. After Rosoboronexport obtained an 66% stake in VSMPO-Avisma in October 2006, <mask> became chairman of VSMPO-AVISMA in November 2006. By a decree of the Russian President, on 26 November 2007, Vladimir Putin appointed <mask> as CEO of Russian Technologies Corporation, which was renamed Rostec in late 2012. At the 6th United Russia party convention held on 2 December 2006, <mask> was elected to the party's Supreme Council. At the 7th party convention on 26 May 2012, <mask> was reelected. On 28 April 2014, he was barred by the Obama administration from entering the United States.Through Serguei Adoniev's charitable contributions, <mask> had become an influence in Novaya Gazeta since 2014. <mask> is married to Yekaterina Ignatova, who is a trained planning engineer. She is a co-founder and seventy percent stockholder of Kate LLC, a company that develops and manufactures automatic gearboxes. Ignatova is also the majority shareholder (along with Gor Nahapetyan, the managing director of Troika Dialog) of Étage, a chain of nineteen restaurants in Moscow. She has an apartment at 28 on Povarskaya Street () in Moscow. <mask> has four children. According to information accessed in May 2009, <mask>'s eldest son Stanislav (born in 1973) has been working for the company Itera.He is a thirty percent shareholder of Medfarmtekhologia, a member of the board of directors of AvtoVAZEnergo, and chairman of the board of directors of Interbusinessgroup, which holds via structural companies such commercial organizations as Independent Insurance Group LLC, Oborontsement JSC, and Oborontsement-energo LLC. Since 2003, Stanislav <mask> has been the co-owner (together with Vladimir Artyakov's son, Dmitri) of the Meridian hotel facilities in Gelendzhik. Stanislav <mask> is the only founder of Interbusinessgroup LLC () which has the shares in several construction companies, Russian Industrial Nanotechnologies (), I.A.D. business industry () and shares in Natural and Organic Products LLC () which is one of several companies clustered around Andrey Dolzhich's () Virgin Islands firm Natural and Organic Products, Inc that sells soil improvers to Persian Gulf countries including the soil near Bahrain's Royal Palace which now have palm trees growing in soil improvers from Dolzhich's firm. According to other information accessed in May 2009, <mask>'s second son was studying in a medical institute. His youngest son <mask> was in primary school and his daughter was a graduate student at MGIMO University.

masks:
Sergey Viktorovich Chemezov
Chemezov
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title: Graham Chapman

texts:
<mask> (8 January 1941 – 4 October 1989) was an English actor, comedian and writer. He was one of the six members of the surreal comedy group Monty Python. He portrayed authority figures such as the Colonel and the lead role in two Python films, Holy Grail (1975) and Life of Brian (1979). <mask> was born in Leicester and was raised in Melton Mowbray. He enjoyed science, acting and comedy and, after graduating from Emmanuel College, Cambridge and St Bartholomew's Hospital Medical College, he turned down a career as a doctor to be a comedian instead. <mask> eventually established a writing partnership with John Cleese, which reached its critical peak with Monty Python during the 1970s. He subsequently left Britain for Los Angeles, where he attempted to be a success on American television, speaking on the college circuit and producing the pirate film Yellowbeard (1983), before returning to Britain in the early 1980s.In his personal life, <mask> was openly homosexual and a strong supporter of gay rights, and was in a long-term partnership with David Sherlock. He was an alcoholic during his time at Cambridge and the Python years; he quit drinking shortly before working on Life of Brian. He later became an enthusiast and patron of the Dangerous Sports Club. <mask> died in 1989, on the Pythons' 20th anniversary, of tonsil cancer which had spread to his spine. His life and legacy were commemorated at a private memorial service at St Bartholomew's with the other five Pythons. Early life and education

<mask> was born on 8 January 1941 at the Stoneygate Nursing Home, Stoneygate, Leicester, the son of policeman <mask> and Edith Towers. <mask> was a police constable at the time of <mask>'s birth; he ended his career as a chief inspector.He had been trained as a French polisher for a coffin-maker before entering the police force in the 1930s. <mask> had an elder brother, John, who was born in 1936. They had, according to <mask> and his brother, an "extremely poor upbringing". One of <mask>'s earliest memories was seeing the remains of Polish airmen who had suffered an aeroplane accident near Leicester, later saying the sight remained in his memory. <mask> was educated at Melton Mowbray Grammar School. He showed a strong affinity for science, sports and amateur dramatics and was singled out for attention when a local paper reviewed his performance of Mark Antony in Shakespeare's Julius Caesar. <mask> and his brother John were both avid fans of radio comedy, being especially fond of The Goon Show and Robert Moreton's skill of telling jokes the wrong way round and reversing punchlines.Biographer Jim Yoakum said "the radio shows didn't necessarily make him laugh". In 1959, <mask> began to study medicine at Emmanuel College, Cambridge. He joined the Cambridge Footlights, where he first began writing with John Cleese. Following graduation, <mask> joined the Footlights show Cambridge Circus and toured New Zealand, deferring his medical studies for a year. After the tour, he continued his studies at St Bartholomew's Medical College, but became torn between whether to pursue a career in medicine or acting. His brother John later said, "He [<mask>] wasn't ever driven to go into medicine... it wasn't his life's ambition." Career

Pre-Python career
Following their Footlights success, <mask> and Cleese began to write professionally for the BBC, initially for David Frost but also for Marty Feldman.Frost had recruited Cleese, and in turn Cleese decided he needed <mask> as a sounding board. <mask> also contributed sketches to the radio series I'm Sorry, I'll Read That Again and wrote material on his own and with Bill Oddie. He wrote for The Illustrated Weekly Hudd (starring Roy Hudd), Cilla Black, This Is Petula Clark and This Is Tom Jones. <mask>, Cleese and Tim Brooke-Taylor later joined Feldman in the television comedy series At Last the 1948 Show. It was <mask>'s first significant role as a performer as well as a writer and he displayed a gift for deadpan comedy (such as in the sketch "The Minister Who Falls to Pieces") and imitating various British dialects. The series was the first to feature <mask>'s sketch of wrestling with himself. Despite the series' success, <mask> was still unsure about abandoning his medical career.In between the two series of At Last The 1948 Show, he completed his studies at St Bartholomew's and became professionally registered as a doctor. <mask> and Cleese also wrote for the long-running television comedy series Doctor in the House, and both appeared on a one-off television special, How to Irritate People alongside Brooke-Taylor and future Python member Michael Palin. One of Cleese and <mask>'s sketches, featuring a used car salesman refusing to believe a customer's model had broken down, became the inspiration for the Dead Parrot sketch. <mask> also co-wrote several episodes of Doctor in the House follow up, Doctor in Charge, with Bernard McKenna. Monty Python

In 1969, <mask> and Cleese joined the other Pythons, Michael Palin, Eric Idle, Terry Jones and Terry Gilliam, for their sketch comedy series Monty Python's Flying Circus. The group's writing was split into well-defined teams, with <mask> collaborating almost exclusively with Cleese. <mask> was particularly keen to remove stereotypical punchlines in sketches and created The Colonel, who would stop them in mid-flow by saying they were "too silly".Although the pair were officially equal partners, Cleese later thought that <mask> contributed comparatively little in the way of direct writing, saying "he would come in, say something marvellous and then drift off in his own mind". The other Pythons have said that <mask>'s biggest contribution in the writing room was an intuition for what was funny. Gilliam later recalled that "<mask> would do the nudge that would push it into something extraordinary". The series was an immediate success, and <mask> was delighted to learn that medical students at St Bartholomew's crowded round the television in the bar to watch it. <mask> was frequently late for rehearsing or recording, leading to the other Pythons calling him "the late <mask>". <mask>'s main contribution to the "Dead Parrot sketch", derived from the piece within How to Irritate People and involving a customer returning a faulty toaster, was "How can we make this madder? ", turning the toaster into a dead Norwegian Blue parrot.Cleese later said he and <mask> believed that "there was something very funny there, if we could find the right context for it". Cleese was in particular concerned that the Cheese Shop sketch simply was not funny, in that it was just mainly a man listing different makes of cheese. <mask> urged his partner to continue with it, telling him "Trust me, it's funny." When it was read out at the next script meeting, Cleese found that the others, particularly Palin, thought it was hilarious. The group felt that <mask> had the best acting skills among them. Cleese complimented <mask> by saying that he was "particularly a wonderful actor". <mask> played the lead role in two Python films, Holy Grail and Life of Brian.He was chosen to play the lead in Holy Grail because of the group's respect for his straight acting skills, and because the other members wanted to play lesser, funnier characters. <mask> did not mind being filmed fully nude in front of a crowd in Life of Brian, but the scene, filmed in Tunisia, caused problems with the female Muslim extras. Other work
In 1975, <mask> and Douglas Adams wrote a pilot for a television series, entitled Out of the Trees, but it received poor ratings after being broadcast at the same time as Match of the Day and only the initial episode was produced. In 1978, <mask> co-wrote the comedy film The Odd Job with McKenna and starred as one of the main characters. <mask> wanted his friend Keith Moon to play a co-lead role alongside him, but Moon could not pass an acting test, so the part went to David Jason who had previously appeared on Do Not Adjust Your Set with Pythons Idle, Jones and Palin. The film was moderately successful. <mask> guest-starred on several television series including The Big Show.In 1976, <mask> began writing a pirate film, Yellowbeard (1983), which came out of conversations between <mask> and Moon while in Los Angeles. Moon had always wanted to play Long John Silver, so <mask> began to write a script for him. Moon died in 1978 and the work stalled, eventually being rewritten by McKenna, then by Peter Cook. The film, which starred <mask> as the eponymous pirate, also featured appearances from Cook, Marty Feldman, Cleese, Idle, Spike Milligan and Cheech & Chong. It marked the last appearance of Feldman, who suffered a fatal heart attack in December 1982. The project was fraught with financial difficulties and at times there was not enough money to pay the crew. It was released to mixed reviews.David Robinson, reviewing the film in The Times, said  that "the Monty Python style of comic anarchy requires more than scatology, rude words and funny faces". <mask> published his memoirs, A Liar's Autobiography, in 1980, choosing the title because he said "it's almost impossible to tell the truth". He returned to Britain permanently after Yellowbeard was released. He became involved with the extreme sports club Dangerous Sports Club, which popularised bungee jumping. <mask> was scheduled to perform a bungee jump himself, but it was cancelled due to safety concerns. After reuniting with the other Pythons in the film The Meaning of Life (1983), <mask> began a lengthy series of US college tours, talking about The Pythons, the Dangerous Sports Club and his friend Moon, among other subjects. Saturday Night Live creator and Python fan Lorne Michaels persuaded <mask> to star in The New Show.In 1988, <mask>

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title: Graham Chapman

texts:
 appeared in the Iron Maiden video "Can I Play with Madness". The same year, he starred in a pilot of a proposed television series, Jake's Journey, but financial problems prevented a full series from being made. In 1988, he also appeared on stage with three other Pythons (Gilliam, Jones and Palin) at the 41st British Academy Film Awards where Monty Python received the BAFTA Award for Outstanding British Contribution To Cinema. Broadcast in November 1989, the 20th anniversary television special, Parrot Sketch Not Included – 20 Years of Monty Python, hosted by Python fan Steve Martin, was <mask>'s final onscreen appearance with the other five Python members. <mask> was intended to be cast in the Red Dwarf episode "Timeslides", but died before shooting could begin. Personal life

<mask> first met his long-term partner David Sherlock in Ibiza in 1966. He later described realising he was homosexual as "an important moment in my life".The following year, he told his close friends, including Cleese and Feldman, about his relationship. <mask> and Sherlock moved to Belsize Park in 1968, and the pair enjoyed visiting gay clubs in Central London. In the early 1970s, after <mask> had found fame with Monty Python, they moved to a house in Highgate, North London. In 1972, on a television show hosted by British jazz musician George Melly, <mask> first disclosed his homosexuality publicly, becoming one of the first celebrities to do so. He was a vocal spokesman for gay rights, supporting the Gay Liberation Front. In 1972, <mask> supported the newspaper Gay News, which listed him as one of the publication's "special friends" in recognition. During a college tour, <mask> mentioned that a television audience member had written to the Pythons to complain about them having a gay member, citing a Bible passage that said any man who lies with a man should be taken out and stoned.Idle replied jokingly that they had found the perpetrator and killed him. In 1971, <mask> and Sherlock adopted John Tomiczek as their son. <mask> met Tomiczek when Tomiczek was a 14-year-old run-away from Liverpool. After discussions with Tomiczek's father, it was agreed that <mask> would become Tomiczek's legal guardian. Both Sherlock and Tomiczek remained a constant in <mask>'s life. During the 1970s, <mask> became increasingly concerned about the Pythons' income and finances. He subsequently moved to Los Angeles to avoid British income tax.In the mid-1980s, he returned to the UK and moved to Maidstone, Kent, with Sherlock and Tomiczek. Tomiczek later became <mask>'s business manager, and got engaged, but died of a heart attack in 1992. <mask> took up pipe smoking aged 15, which became a lifelong habit. He began drinking heavily during his time at Cambridge and St Bartholomew's, favouring gin. By the time Monty Python went out on tour in 1973, <mask>'s drinking had begun to affect his performance, causing him to miss cues to go on stage. He was known to suffer from delirium tremens. He stopped drinking during Christmas 1977, concerned about being able to act in Life of Brian successfully, and remained sober for the rest of his life.Illness and death
In 1988, <mask> made a routine visit to a dentist, who found a small, malignant tumour on one of his tonsils, leading to both being removed via a tonsillectomy. The following year, the cancer had spread into <mask>'s spinal column, where another tumour was surgically removed. <mask> had several chemotherapy treatments and surgeries during the final months of his life, but ultimately the cancer was declared inoperable. According to his brother, <mask> was visibly upset by the death of his mother that July, by which time he was terminally ill. Shortly afterwards, <mask> filmed scenes for the 20th anniversary of the first broadcast of Monty Python's Flying Circus, the final time he appeared on television. <mask> died on 4 October 1989 in Maidstone Hospital. At the time of his death, he was being visited by Sherlock, brother John and his sister-in-law, and fellow Pythons Palin and Cleese, the latter of whom had to be led out of the room to deal with his grief.Peter Cook had intended to visit, but arrived too late and was visibly shaken by the news. <mask>'s death occurred on the eve of the twentieth anniversary of the Pythons' collective debut on British television, and Jones called it "the worst case of party-pooping in all history". Memorial service

The five surviving Python members had decided to stay away from <mask>'s private funeral to prevent it from becoming a media circus and to give his family some privacy. They sent a wreath in the shape of the Python foot, with the message: "To <mask> from the other Pythons with all our love. PS: Stop us if we're getting too silly". The Rolling Stones also sent a floral arrangement, saying "Thanks for all the laughs." A public memorial service for <mask> was held at St Bartholomew's on 3 December, two months after his death.The service began with a chorus of the hymn "Jerusalem" sung in Engrish with a mock Chinese accent. Cleese delivered a eulogy to <mask> with shock humour that he believed <mask> would have appreciated, and became the first person at a televised British memorial service to say "fuck". Palin also delivered a eulogy to <mask>, as did Idle, quipping that <mask> had decided to die rather than listen to Palin again. Idle led the other surviving Pythons and <mask>'s close friends and family in a rendition of the song "Always Look on the Bright Side of Life", from Life of Brian, and later closed his remarks by saying: "I'd just like to be the last person at this meeting to say 'fuck'." Ten years after <mask>'s death, his ashes were first rumoured to have been "blasted into the skies in a rocket" with assistance from the Dangerous Sports Club. In a second rumour, <mask>'s ashes had been scattered on the mountains of Snowdonia, Wales, where he had visited regularly as a climber. Legacy

Following <mask>'s death, reformations of the Pythons have included an urn said to contain his ashes.At the 1998 Aspen Comedy Arts festival, the urn, brought onstage by a stiff English butler, was "accidentally" knocked over by Terry Gilliam, spilling the "ashes" on-stage. The apparently cremated remains were then removed with a DustBuster. Idle recalled meeting Sherlock, saying "I wish he [<mask>] was here now" and Sherlock replied "Oh, but he is. He's in my pocket!" Asteroid 9617 <mask>an, named in <mask>'s honour, is one of six asteroids named after the Python members. In 1997, Sherlock allowed Jim Yoakum to start the 'Graham Chapman Archives'. Later that year, the novel Graham Crackers: Fuzzy Memories, Silly Bits, and Outright Lies was released.It is a semi-sequel to A Liar's Autobiography, with <mask>'s works compiled by Yoakum. A compendium of writings, Calcium Made Interesting: Sketches, Letters, Essays & Gondolas, also compiled and edited by Yoakum, was published in 2005 in association with the David Sherlock and John Tomiczeck trust. In 2000, <mask>'s play O Happy Day was performed by Dad's Garage Theatre Company in Atlanta, Georgia, with the assistance of Cleese and Palin. In 2006, the album and DVD release Looks Like Another Brown Trouser Job came out, featuring a college lecture recorded in April 1988. In June 2011, it was announced that Cleese, Jones, Gilliam and Palin would perform in a 3-D animated version of <mask>'s memoir A Liar's Autobiography: Volume VI. Co-director Jeff Simpson worked closely with <mask>'s estate and the surviving Python members to "get this exactly right". The film, titled A Liar's Autobiography: The Untrue Story of Monty Python's <mask>, was shown at the Toronto International Film Festival in September 2012 and premiered in the UK the following month as part of the BFI London Film Festival.The voices of Cleese, Gilliam, Jones and Palin were spliced into commentary recorded by <mask> reading from his memoir and taped shortly before his death. The film's official trailer quoted <mask> as saying, "This is the best film I've been in since I died." In September 2012, a British Comedy Society blue plaque commemorating <mask> was unveiled at The Angel pub in Highgate by Jones, Palin, Barry Cryer, Ray Davies and Carol Cleveland. Palin said, "Highgate was his patch, and he should be celebrated because he was a very good, brilliant, funny, nice, wise, kind man, who occasionally drank too much." In December 2014, a green plaque funded by Leicestershire County Council was placed on <mask>'s former home in Burton Road, Melton Mowbray. A year later, a blue plaque at the entrance of <mask>'s old school, King Edward VII School was reported as stolen but was later found inside the building. In March 2017, the plaque was moved to Melton Mowbray town centre.Filmography

References

Bibliography

External links

 <mask> at PythOnline Pythons Page

 <mask> at the BBC Comedy Guide
 <mask> at the Comedy Zone
 <mask> at Gay Greats

1941 births
1989 deaths
20th-century English medical doctors
Alumni of Emmanuel College, Cambridge
Alumni of the Medical College of St Bartholomew's Hospital
Deaths from cancer in England
Deaths from oropharyngeal cancer
British male comedy actors
English comedy writers
English male film actors
English male comedians
English male television actors
English television writers
English gay actors
Gay comedians
English gay writers
LGBT rights activists from England
LGBT writers from England
20th-century LGBT people
Monty Python members
People from Leicester
People from Melton Mowbray
People from Wigston Magna
Male actors from Leicestershire
20th-century English male actors
20th-century British comedians
British male television writers
British surrealist artists
British surrealist writers
20th-century English screenwriters
Pipe

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title: John Mills Houston

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<mask> (September 15, 1890 – April 29, 1975) was a member of the United States House of Representatives from the 5th congressional district of Kansas from 1935 to 1943. He was also a member of the National Labor Relations Board from 1943 to 1953, originally appointed by Franklin Roosevelt. Early life and career
<mask> was born to Samuel J. and Sarah H. (Nieves<mask> on a farm near the small town of Formoso in Jewell County, Kansas, in September 1890. His father was a wealthy businessman who owned a lumber yard. He attended public school in Wichita, Kansas, from the first to fifth grade. He then entered St. John's Military School in Salina, Kansas, graduating in 1905 after two years. He graduated Fairmount College (now known as Wichita State University) in Wichita, Kansas, in 1906, having focused on business administration.From 1906 to 1912, he worked a series of odd jobs, but then became an actor on the theatrical stage with the Harry Frazee company. He was with the Frazee troupe from 1912 to 1917. At the outbreak of World War I, he enlisted in the United States Marine Corps, and was one of 19 men selected to act as President Woodrow Wilson's honor guard. He also served as a Marine guard at the State, War and Navy Building in Washington, D.C., and for a few months was the military orderly for United States Secretary of the Navy Josephus Daniels. After the war, he returned to Kansas. He was manager of the Houston-Doughty Lumber Co. (the firm his father co-owned) from 1917 to 1935. During his tenure as manager of the firm, he also served a term as president of the Kansas Lumbermen's Association and as a member of the board of directors of the Kansas State Chamber of Commerce.He married Charlotte Stellhorn of St. Louis, Missouri, on May 28, 1919 (some sources say 1920). The couple had two children, Patricia (1922) and Robert (1925). <mask> was elected mayor of Newton, Kansas, in 1927, serving two two-year terms. He was elected secretary of the Kansas Democratic State Central Committee in 1934, serving for a year. <mask> was also active in the American Legion and in Freemasonry. Congressional career
<mask> was elected to the United States Congress by the voters of Kansas' 5th Congressional District in 1934. The incumbent, William Augustus Ayres, resigned from Congress on August 21, 1934, to accept an appointment to the Federal Trade Commission.Somewhat surprisingly, <mask> easily defeated Republican Ira C. Watson 57 percent to 36.2 percent. He won re-election two years later with 60 percent of the vote over Republican challenger J.B. Patterson. Houston barely defeated Republican Stanley Taylor in 1938, 43,990 to 43,480. In a rematch in 1940, Houston more handily defeated Taylor by a 5,500-vote margin (58,436 to 52,901). During his tenure in Congress, <mask> was a member of the House Committee on Appropriations. The 1940 census led to redistricting which pitted <mask> against Edward Herbert Rees, the incumbent Republican in Kansas' 4th congressional district. Rees easily defeated Houston, 55,612 to 44,333.Republican Clifford R. Hope, who had once held the 7th congressional district (it had been eliminated due to redistricting) won the new 5th district seat once held by Houston. NLRB career
Houston's strong support for Roosevelt in Congress was rewarded when President Roosevelt appointed him on March 5, 1943, to succeed William M. Leiserson on the National Labor Relations Board (NLRB). His nomination was not well received. NLRB chairman Dr. Harry A. Millis had supported NLRB general counsel Robert B. Watts, and had urged Roosevelt repeatedly to appoint someone with extensive credentials in labor relations (which Houston lacked). Roosevelt also passed over Lloyd K. Garrison, Dean of the University of Wisconsin Law School and former chair of the National Labor Board (NLB) in the early 1930s; Dr. George W. Taylor, vice chairman of the National War Labor Board and a former NLB regional director; and Edward C. Witte, a noted professor of labor relations at the University of Wisconsin. Houston had no labor relations experience prior to his service on the NRLB. For the first several years of his first five-year term on the board, Houston relied heavily on his legal staff for advice.United States Department of Labor solicitor general Gerard D. Reilly was appointed to the NRLB in September 1942 to replace the departing Edwin S. Smith. Reilly was deeply conservative, and some staff at the NLRB considered him reactionary. Reilly also had a great deal of influence on Houston during Houston's first few years in office. But as Houston gained experience, he forged an alliance with the NLRB's moderate chairman, Harry Millis, who was a firm believer in collective bargaining and labor unions. In his second five-year term on the NLRB, Houston became the most consistently pro-labor member of the board. Reilly came to believe that NLRB Chief Trial Examiner Frank Bloom (a left-wing lawyer) heavily influenced Houston in these later years. Houston's renomination to the Board proved to be something of a watershed.In 1947, the Taft-Hartley Act expanded the NLRB's size from three to five members. President Harry S. Truman had appointed one relatively liberal and one relatively conservative member to the Board after the Act's passage. <mask> was renominated for the NLRB on April 12, 1948. His renomination was seen as something of a restoration of a "New Deal" (e.g., liberal) coalition on the NLRB, one which would interpret federal labor law more expansively and in favor of labor unions. <mask> was involved in several important votes during his tenure on the NRLB. Almost immediately after joining the board, he allied with Chairman Millis in voting to overturn a previous decision of the NLRB and deny plant foremen the right to join unions (as they were supervisors and not employees). But just two years later, he and Millis allied again to overturn their 1943 decision.Houston and new NLRB Chairman Paul M. Herzog again combined in 1946 to uphold the 1945 decision. In 1945, he again allied with Millis to force the resignation of Charles T. Douds, the board's controversial and liberal Northeast regional director. In 1947, he was embroiled along with the Board in a major dispute over the Taft-Hartley Act. The Act had become law over President Truman's veto in the summer of 1947, and among its many provisions was a requirement that all elected union leaders file an affidavit with the NLRB asserting that they were not now and never had been a member of the Communist Party USA and that they disavowed any future attempt to overthrow the United States government by force. The question before the NLRB was whether this applied to union leaders who were elected not to sit on the executive board of their home union but to serve on the board of directors of some other federation, organization, or body. The NLRB's general counsel ruled that members of the boards of directors of the American Federation of Labor and Congress of Industrial Organizations must sign these oaths. This was a concern, since many of these individuals had been communists in their youth (although they were no longer).Since they did not hold elected positions on their home unions, they had escaped the Taft-Hartley Act's anti-communist oath provisions, but the general counsel's ruling put their service in jeopardy. <mask>, along with three other members of the NLRB overruled the general counsel in a series of votes in September and October 1947. Retirement and death
<mask> retired from the NLRB on August 27, 1953. Having divorced his first wife Charlotte, <mask> married Ireta Robinson on November 16, 1945. <mask> moved to Laguna Beach, California. He died there April 29, 1975, after suffering a heart attack. He is interred in Melrose Abbey Cemetery, Anaheim, California.Footnotes

References
"Ayres Is Appointed to Succeed Landis." New York Times. July 2, 1934. "Board Vacancies Filled." New York Times. July 29, 1953. Connelley, William Elsey.History of Kansas State and People: Kansas at the First Quarter Post of the Century. Chicago: American Historical Society, 1928. "Douds Ouster Started by NLRB." New York Times. January 17, 1945. "Douds Will Fight to Keep NLRB Post." New York Times.January 16, 1945. "Foremen Demands Granted by NLRB." New York Times. March 27, 1945. Gross, James A. The Reshaping of the National Labor Relations Board: National Labor Policy in Transition, 1937-1947. Albany, N.Y.: State University of New York Press, 1981."J.M<mask> Renamed for NLRB." New York Times. April 13, 1948. "<mask>." New York Times. April 30, 1975
"Kansans in U.S.Congress." Kansapedia. Kansas Historical Society. 2010. Accessed 2010-11-18. Moore, <mask>; Preimesberger, Jon. P.; and Tarr, David R. Congressional Quarterly's Guide to U.S.Elections. Washington, D.C.: CQ Press, 2001. "'New Deal' NLRB Is Seen." United Press International. November 6, 1948. "NLRB Discharges Douds." New York Times.February 20, 1945. Nomination of Albert Cummins Beeson to be a Member of the National Labor Relations Board. United States Senate. Committee on Labor and Public Welfare. 83d Cong., 2d sess. Washington, D.C.: U.S. Government Printing Office, 1954. Rosow, Jerome M. American Men in Government: A Biographical Dictionary and Directory of Federal Officials.Washington, D.C.: Public Affairs Press, 1949. "Rules Wagner Act Covers Foremen." New York Times. March 8, 1946. Stark, Louis. "Houston Named to Labor-Board." New York Times.March 6, 1943. Stark, Louis. "NLRB Cancels, 4-1, Denham Red Order for AFL, CIO Chiefs." New York Times. October 8, 1947. Stark, Louis. "NLRB Is Expected to Overrule, 4-1, Denham Red Stand."New York Times. October 2, 1947. Stark, Louis. "NLRB Now Rejects Foremen's Unions." New York Times. May 12, 1943. "Takes Trade Board Post."New York Times. August 22, 1934. "Text of the NLRB Announcement on Reversal of Non-Communist Affidavit Ruling." Associated Press. October 8, 1947. External links

1890 births
1975 deaths
Mayors of places in Kansas
Members of the United States House of Representatives from Kansas
People from Laguna Beach, California
People from Harvey County, Kansas
People from Jewell County, Kansas
Wichita State University alumni
National Labor Relations Board officials
United States Marines
Kansas Democrats
Democratic Party members of the United States House of Representatives
Franklin D. Roosevelt administration personnel
Truman administration personnel
Eisenhower administration personnel

masks:
John Mills Houston
John Houston
) Houston
Houston
Houston
Houston
Houston
Houston
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Houston
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. Houston
John Houston
John Leo


title: Lorenzo Ghiberti

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<mask> (, , ; 1378 – 1 December 1455), born <mask>, was a Florentine Italian artist of the Early Renaissance best known as the creator of the bronze doors of the Florence Baptistery, called by Michelangelo the Gates of Paradise. Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of Commentarii contains important writing on art, as well as what may be the earliest surviving autobiography by any artist. Early life

<mask> was born in 1378 in Pelago, a comune 20 km from Florence. It is said that <mask> was the son of Cione di Ser Buonaccorso <mask> and <mask>. However, there is some doubt about whether Cione was Ghiberti's actual father. At some point in their marriage, Fiore went to Florence and lived with a goldsmith by the name of Bartolo di Michele.Fiore and Bartolo maintained a common law marriage, so it is unknown who Ghiberti's biological father was. There is no documentation of Cione's death, but it is known that after his passing Fiore and Bartolo married in 1406. Regardless, Bartolo was the only father <mask> knew and they had a close and loving relationship. Bartolo was a clever and popular goldsmith in Florence, and trained <mask> in his trade. It was from this apprenticeship that <mask> learned the first principles of design. <mask> was interested in many forms of art and did not confine himself to gold-working. He delighted in modeling copies of antique medals and also in painting.<mask> received formal training as a painter from Gherardo Starnina, an Italian artist from Florence. He then went to work in the Florence workshop of Bartolo di Michele, where Antonio del Pollaiolo also worked. When the bubonic plague struck Florence in 1400, Ghiberti moved to Rimini. In Rimini he was fortunate enough to receive employment in the palace of Carlo Malatesta for the Lord of Pesaro, where he assisted in the completion of wall frescoes of the castle of Carlo I Malatesta. At the palace Ghiberti was given a room to paint in, and he spent much of his time here. It is believed that this is where he gained his deep love for the art of painting. However, shortly after his arrival he received word from his friends back in his home town of Florence that the governors of the Baptistery were holding a competition and sending for masters who were skilled in bronze working.Despite his great appreciation for painting, Ghiberti asked Malatesta for leave. In 1401 he headed back to Florence to participate in a competition that was being held for the commission to make a pair of bronze doors for the Baptistery of the Cathedral of Florence. Florence Baptistery doors

<mask>'s career was dominated by his two successive commissions for pairs of bronze doors to the Florence Baptistery (Battistero di San Giovanni). They are recognized as a major masterpiece of the Early Renaissance, and were famous and influential from their unveiling. <mask> first became famous when as a 21-year-old he won the 1401 competition for the first set of bronze doors, with Brunelleschi as the runner up. The original plan was for the doors to depict scenes from the Old Testament, but the plan was changed to depict scenes from the New Testament instead. However, the trial piece, which survives, depicts the sacrifice of Isaac.To carry out this commission, he set up a large workshop in which many artists trained, including Donatello, Masolino, Michelozzo, Paolo Uccello, and Antonio Pollaiuolo. When his first set of twenty-eight panels was complete, <mask> was commissioned to produce a second set for another doorway in the church, this time with scenes from the Old Testament, as originally intended for his first set. Instead of twenty-eight scenes, he produced ten rectangular scenes in a completely different style. These were more naturalistic, with perspective and a greater idealization of the subject. Dubbed "The Gates of Paradise" by Michelangelo, this second set remains a major monument of the age of Renaissance humanism. The Gates of Paradise had ten panels with several episodes from a particular story from the Old Testament portrayed on each of them. The list below shows where each story is placed on the Gates of Paradise.Gates of Paradise multiple descriptive panels

The Story of Adam and Eve (Panel)

In the beginning of Genesis, God created the Universe (shown on the top of the image). When he created the universe, he created “The Garden of Eden”. This is where he created the first humans Adam and Eve. Adam and Eve are eating an apple from the forbidden tree. Eve was tricked by Lucifer, God's fallen angel, the serpent from being told she would be like God if she ate the forbidden fruit (shown on left middle side). Lucifer, his most beautiful angel, became a fallen angel and the devil (shown on the bottom left). The Story of Cain and Abel (Panel)

Cain and Abel were the sons of Adam, the first man.Abel was younger than Cain. Out of jealousy, Cain was enraged with God preferring Abel's sacrifice over his (shown at the top of the photograph). Abel was known to be peaceful and is sitting peacefully with the herd (shown on the middle left side). Cain tricks Abel to follow him and murders him (shown on the bottom). The Story of Noah (Panel)

God did not like how the world was full of violence. He told Noah he was going to destroy the earth with a flood and that he needed to build an Ark (shown by the waves in the photograph). He was told to bring two of each kind of animal and his family (shown on the left, right, and on the middle area).There is a Moses laying next to a barrel signifying the drunks (shown on the bottom left). There is Moses offering a sacrifice (shown on the bottom right). The Story of Abraham (Panel)

Three men came to Abraham. He clothed them, fed them, and gave them drinks. The three men were angels and they revealed themselves as messengers of God (shown at the bottom left). They told him his wife Sarah, who was 80 years old, would bear a child. Once they had the child God order Abraham to sacrifice Isaac, but was ordered to stop by an angel (shown at the top).The Story of Isaac (Panel)

Isaac is the son of Abraham. He was going to be sacrificed before an angel stopped Abraham. Jacob is receiving Issac's blessing (shown on the right). Rebecca is listening to God tell her of her two sons who will have conflicts (shown on the rooftop). The Story of Joseph (Panel)

Joseph's father's name was Jacob and they lived in Canaan. Joseph was the second youngest of 11 brothers and his father spent more time with him because of it. Jacob had given Joseph a special robe, which his brothers became envious of.Joseph had two dreams he told his brothers about one where they were all killing him and the other was where they were bowing to him. They were enraged and were planning on killing him, but sold him to slavery and being owned by Egypt (shown at the bottom right). Joseph was imprisoned and told people their meaning of their dreams. The Pharaoh sought Joseph to explain his dream. The Pharaoh told Joseph of his dreams of his city becoming low in food resources. Joseph suggest putting food aside each year for the upcoming low harvest (shown with people having plentiful food). The Story of Moses (Panel)

Moses was hidden by his birth mother in a basket in the Nile River.The Pharaoh's daughter spotted Moses and took him from the basket (shown on the left with the river and people). Moses became a child of the Pharaoh of Egypt. He was born an Israelite and his people were enslaved by people of Egypt. The ten plagues hit Egypt and people are shown to be frightened (shown by the people on the right). Moses lead the Israelites out of Egypt to cross the Red Sea (shown on the right, people rejoicing) Moses receives the ten commandments from God on Mount Sinai (shown at the top). The Story of Joshua (Panel)

Moses died. Joshua was now the leader of the Israelites and had to lead them to the Promised Land (shown at the bottom).God's people, to cross the Jordan River (seen in the middle of a river stream). Joshua carries the ten commandments around the city of Jericho seven times then the wall collapsed. Joshua and his army then took over the city (shown at the top). They were victorious in taking the city (shown at the top). The Story of David (Panel)

Saul was the king of Israel. God said Saul was not the chosen king to lead God's people. Samuel, a prophet, who was sent by God to search for a new king.David was brought back to Saul like David and had become his armor bearer and had him carry his shield. A war was between Israel and Egypt (shown throughout the photograph). Goliath promised his armies work quit if someone could kill him. David was skilled at killing beast from protecting his sheep, as a herdsman, and hit Goliath with a rock and killed him with his own sword (shown at the bottom of the photograph). The Story of King Solomon (Panel)

King Solomon made an alliance with the Pharaoh king of Egypt and married his daughter (shown in the middle). God Solomon any wish. Solomon asked God to become a better leader and God rewarded him with wisdom.People acknowledged Solomon as a good and wise king (shown with the rejoiceful crowd). Two prostitutes came to the king. They both had a baby. One of the babies died. The mother of the dead baby claimed that the live baby was hers. Both women swore the live baby was theirs. King Solomon ordered the baby to be cut in half so they could share the baby.Its mother cried out for mercy on her baby, while the other shamelessly submitted. Solomon rewarded the one who cried out, since he believed she was truly the mother (shown on the middle left side, behind his wife). Earlier doors by Andrea Pisano

As recommended by Giotto, Andrea Pisano was awarded the commission to design the first set of doors at the Florence Baptistery in 1329. The south doors were originally installed on the east side facing the Duomo, and were transferred to their present location in 1452. These proto-Renaissance doors  consist of 28 quatrefoil panels, with the twenty top panels depicting scenes from the life of St. John the Baptist. The eight lower panels depict eight virtues: hope, faith, charity, humility, fortitude, temperance, justice, and prudence. Pisano took six years to complete them, finishing in 1336.In 1453, <mask> and his son Vittorio were commissioned to add a door case to Pisano's existing panels. <mask> died in 1455, eight years before the frame was finished leaving a majority of the work to Vittorio and other members of his workshop. There is a Latin inscription on top of the door: "Andreas Ugolini Nini de Pisis me fecit A.D. MCCCXXX" (Andrea Pisano made me in 1330). The South Doors were undergoing restoration during September, 2016. 1401 competition
In 1401, the Arte di Calimala (Cloth Importers Guild) announced a competition to design doors that eventually would be placed on the north side of the baptistry. The original location for these doors was the east side of the baptistry, but the doors were moved to the north side of the baptistry after Ghiberti completed his second commission, known as the "Gates of Paradise". These new doors would serve as a votive offering to celebrate Florence being spared from relatively recent scourges such as the Black Death in 1348.Each participant was given four tables of brass, and was required to make a relief of the “Sacrifice of Isaac” on a piece of metal that was the size and shape of the door panels. Each artist was given a year to prepare their panel, and the artist who was judged the best was to be given the commission. While many artists competed for this commission the jury selected only seven semifinalists which included <mask>, Filippo Brunelleschi, Simone da Colle, Francesco di Val d’Ombrino, Niccolo d’ Arezzo, Jacopo della Quercia da Siena, and Niccolo Lamberti. In 1402 at the time of judging, only <mask> and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them. Brunelleschi's pride got in the way, and he went to Rome to study architecture, thereby leaving the then 21-year-old Ghiberti to work on the doors himself. <mask>'s autobiography, however, claimed that he had won, "without a single dissenting voice." The original designs of The Sacrifice of Isaac by <mask> and Brunelleschi are on display in the museum of the Bargello in Florence.Differences between the Sacrifice of Isaac created by Brunelleschi and Ghiberti include the way that the panel was constructed and the overall efficiency of the panel. Brunelleschi's panel consisted of individual pieces of the figures of the artwork being placed onto the bronze framework. In contrast to Brunelleschi's method of creating the artwork on his panel, Ghiberti's casting of the art had all of the figures, with the exception of Isaac, created as one piece. The pieces of the figures themselves were all hollowed out on the inside. Due to the methods of how Ghiberti made the panel, it ended up being stronger, used less bronze, and had less weight than Brunelleschi's panel. By using less bronze, the panels were also more cost efficient. Including the aspect of the art itself, these differences were included on how the council of the competition decided on the victor.After the competition
After the competition, <mask>'s father Bartolo assisted him greatly in perfecting the design of his door before it was cast. This commission brought immediate and lasting recognition to the young artist. In 1403 the formal contract was signed with Bartolo di Michele's workshop, the same workshop he had previously been trained in, and overnight it became the most prestigious in Florence. Four years later in 1407, <mask> legally took over the commission and was prohibited from accepting additional commissions. He devoted much of his time to creating the gates, and was paid two-hundred florins a year for his work. To cast the doors, <mask> worked in a studio named the Aja or Threshing floor. The studio was located near the Hospital of Saint.Maria Nuova, the oldest hospital that is still active in

masks:
Lorenzo Ghiberti
Lorenzo di Bartolo
Ghiberti
Lorenzo
Ghiberti
Fiore Ghiberti
Lorenzo
Lorenzo
Lorenzo
Lorenzo
Lorenzo
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Ghiberti
Lorenzo
Lorenzo