title: Michiel Coxie

texts:
<mask>, <mask> or <mask>, Latinised name Coxius (1499 – 3 March 1592), was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor Charles V and King Philip II of Spain. Highly respected by his contemporaries, <mask> was given the nickname the Flemish Raphael as some of his contemporaries regarded him as being on an equal level as the Italian master. This also reflected his contemporaries' appreciation that his study of classical Antiquity and the art of Renaissance masters like Raphael, Michelangelo and Leonardo da Vinci during his 10-year residence in Italy had left an important mark on his style. His innovative style and bold compositions were in the centuries after his death an inspiration to Flemish artists including Peter Paul Rubens. He was thus an important artistic link between the artists of early Netherlandish painting and the Flemish Baroque.<mask> was also a copyist and produced a well-known copy of the Ghent Altarpiece by the van Eyck brothers as well as a Descent from the Cross by Rogier van der Weyden. Life

Early life and training
No records survive about the early life and training of <mask> <mask>. His year of birth has been determined to be 1499 through deduction from later sources. The place of his birth also remains uncertain. It is generally assumed that he was born in Mechelen as this was the first place he appears to have returned to after his long-term residence in Italy. Some art historians have suggested that his place of birth was in the region around Hasselt, then in the Prince-Bishopric of Liège. The master or masters from whom he received his artistic training are not documented.Most known facts and statements of later biographers point to a training in the workshop of the Brussels master Bernard van Orley. It is known that during his stay in Rome, Coxie enjoyed the favor of the Flemish Cardinal Willem van Enckevoirt who may have been Bernard van Orley's patron in Rome assuming van Orley really took the trip to Rome as some sources have suggested. It has been speculated that this relationship with the Cardinal proves that van Orley recommended his pupil to his former patron. <mask> <mask> was also asked to complete the commission for the stained glass windows of the Brussels cathedral of St Michael and St Gudula after Bernard van Orley died in 1541. The early Flemish artist biographer Karel van Mander states in his Schilderboeck of 1604 that Coxie trained with a 'Bernard van Brussel' (Bernard from Brussels). It is therefore reasonable to conclude that Coxie was a pupil of Bernard van Orley. Even so, due to the lack of contemporary documentary evidence and surviving youth works by Coxie it is not possible to confirm with certainty that Bernard van Orly was <mask>'s master.Foreign travel
The earliest documents attesting to <mask> <mask>'s life and activities date to the period of his residence in Rome. The Florentine artist and artist's biographer Giorgio Vasari knew <mask> personally. He recounts that <mask> was commissioned by Cardinal Willem van Enckevoirt to paint frescoes in the Santa Maria dell'Anima. Work on the frescoes likely commenced around 1531. As the fresco technique is a painting technique typical of the Italian Renaissance and virtually unknown in contemporary Flemish painting, it must be assumed that by the time <mask> started work on the frescos he had already resided in Italy for a period of time so as to familiarise himself with this technique. It is therefore believed he may have arrived in Italy around 1527 after the sack of Rome by the Spanish king Charles V. It appears that the frescoes in the Santa Maria dell'Anima earned him a reputation in Rome. Not long after completing the frescoes in 1534 he was admitted to the Compagnia di San Luca, Rome's guild of painters and miniaturists.He was one of the first Flemish artists to be inducted into the guild. <mask> stayed in Italy until the end of the 1530s executing many commissions. He was involved in the decoration of the new St. Peter's Basilica but the frescoes that he created are lost due to later renovations to the interior of the church. During his stay in Italy he also provided designs for Italian engravers including for the series of 32 prints on the history of Amor and Psyche which was engraved by Agostino Veneziano and the Master of the Die and published by Antonio Salamanca in Rome between 1530 and 1560. Return to Flanders
<mask> travelled in 1539 back to his home country via Milan. While in Milan he made two designs for tapestries. He first settled in Mechelen where he registered in the local Guild of Saint Luke on 11 November 1539.He lived in Mechelen in a house on the Bruul, in the city centre. He married Ida van Hasselt, a native of the city of Hasselt, then in the County of Loon in the Prince-Bishopric of Liège. He later resided in Liège, the principal city in the Prince-Bishopric of Liège. Liège was at that time an important artistic centre where important artists such as Lambert Lombard, Frans Floris an Willem Key were active. Lombard and Floris were Romanists, i.e. artists from the Low Countries who had travelled to Rome where they had assimilated the new Renaissance currents which they translated upon their return home into a break with the Netherlandish painting traditions. It is not entirely clear how long he stayed in Liège.It may be that for a while he travelled between Mechelen and Liège. The first children of Coxie, a son Raphael and a daughter Anna, may have been born in Liège although other sources place their births in Mechelen. Raphael followed in his father's footsteps and became a successful painter. Another son called Willem was born in Mechelen in 1545 or 1546. Willem also became a painter but no existing works by him are known. Upon his return to the Low Countries Coxie became a sought-after artist who gained many commissions. The first important one was the 1540 commission for The Holy Kinship (now in Stift Kremsmünster, Kremsmünster, Austria).This work, probably commissioned by the Antwerp Hosemakers Guild for their altar in the Antwerp Cathedral, is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures. With this work Coxie offered the general public in Flanders its first confrontation with the monumental, grand style of the High Renaissance. When Bernard van Orley died in 1541, while he was working on the designs for stained glass windows for the chapel of the Habsburg rulers in the Cathedral of St. Michael and St. Gudula in Brussels, Coxie took over the commission and delivered four designs. Afterwards he was commissioned to design a cycle of stained glass for the St Bavo's Cathedral in Ghent. It is believed that around this time he succeeded van Orley as the court painter to Mary of Hungary, sister of Charles V, Holy Roman Emperor and the governor of the Netherlands. Coxie also contributed to the new Habsburg castle in Binche, construction of which started in 1546.The architect was Jacques du Broeucq from Mons who had also lived and studied in Italy. Coxcie realized fresco paintings in the new castle. He also received the commission to paint a retabel for the rood screen of the Cathedral of St. Michael and St. Gudula in Brussels. In 1543 <mask> was registered as a poorter (citizen) of the city of Brussels and as a member of the local Guild of Saint Luke. Brussels was at the time the administrative capital of the Low Countries where the court of Mary of Hungary was established. He operated a large workshop in Brussels. His financial success was such that by 1550 he owned two houses in Brussels.He became gradually sought after as a designer of cartoons for tapestries, first by the Habsburg rulers but later also by the local industry. This is not surprising because at that time Brussels was the world center for the production of tapestries, then an important economic factor in the entire Netherlands. He was given the title of cartoon painter of the city of Brussels for which he received an annual salary. Several of Coxcie's tapestry designs have been documented, but none have survived. Some cartoons and series of tapestries have been attributed to him, based on stylistic rather than archival grounds. He participated in the 'Jagiellonian tapestries' which were sold to Sigismund II Augustus for his castle on the Wawel. He created the designs for some biblical scenes including scenes from the Story of the First Parents, the Story of Noah and the Story of the Tower of Babel.Coxie may also have designed the tapestries for Phillip II's Royal Palace of Madrid depicting episodes of the life of Cyrus II, based on the writing of Herodotus. Charles V, Holy Roman Emperor, then the ruler over the Low Countries, commissioned many works from Coxie. Coxie also gained commissions from many other prominent persons such as the Morillon family for whom he painted the Triptych with the triumph of Christ (M – Museum Leuven). Guy Morillon, originally from Burgundy, was one of the most prominent notables of Leuven and a secretary to king Charles V.  Coxie further designed the decorations for the joyous entry of then crown prince Philip II in Brussels in 1549 and a series of portraits of the Habsburg rulers. When in 1555 king Charles V stepped down from the throne in favor of his son Philip II, the new ruler maintained the royal support for Coxie. Philip tasked Coxie with making a true-to-life copy of the Ghent Altarpiece by the van Eyck brothers. As the altarpiece was located in the St Bavo's Cathedral in Ghent, Coxie temporarily moved to Ghent to execute this commission.He resided there from 1557 to 1559. After completing his copy in 1559, he moved to Mechelen where he acquired a house on the Bruul by swopping it for one of his Brussels homes. He continued to live in this city and became a member of the local chamber of rhetoric de Peoene and the guild of musketeers. At the time Mechelen had gained importance as a religious centre in Flanders because of the founding in 1559 of the Archbischopric of Mechelen, which from 1561 was led by the powerful cardinal Antoine Perrenot de Granvelle who was also the king's chancellor. Philip II of Spain commissioned two copies of Van der Weyden's Descent from the Cross from Coxie. When in 1566 the Beeldenstorm caused the destruction of many religious objects he is said to have attempted to defend Mechelen against the iconoclasts. This shows that he was at heart a devout Catholic and a loyalist of the Habsburg court.This attitude earned him the strong support of the king as well as the protection of the Duke of Alba, governor of the Habsburg Netherlands between 1567 and 1573. The Beeldenstorm caused the loss of a large portion of Coxcie's existing works. This era of religious turmoil saw the painter facing many other setbacks. His son Willem who had travelled to Rome in 1567 to study art was arrested in Italy on suspicion of heresy as he had travelled with a group of Dutch and German Protestants. He was convicted to the galleys for 10 years. After the king's chancellor de Granvelle, who was then living in Rome, interceded personally with the Pope the sentence was cut in half. A few years later king Philip II himself intervened leading to the liberation of Willem.This illustrates the extent of the support by powerful figures which the artist enjoyed at that time. Even the Duke of Alva bestowed favors on him and his family when he granted <mask> and his son Raphael dispensation from the compulsory billeting of Spanish soldiers at their homes. His wife died in 1569. Two months after her death he married Jeanne van Schelle (or van Schellen or van Schallen), with whom he had two more children of whom <mask> the Younger became a painter. The painter's whereabouts from the 1570s are not entirely clear. In October 1572 Spanish troops plundered Mechelen for three days after retaking the city from an army under the command of William the Silent, the leader of the Dutch Revolt. The event known as the Spanish Fury caused many local painters to flee to Antwerp.<mask> was outside of the country, possibly in Spain, when the events happened. His house was plundered and some painters from Antwerp were able to buy back some tapestry designs which Spanish soldiers had looted from his home. Upon his return to Flanders, <mask> stayed in Mechelen and took on two pupils in his workshop. However, Mechelen had become a cultural wasteland while Antwerp offered attractive opportunities as many of the altarpieces which had been destroyed needed to be replaced and its leading history painters Frans Floris and Willem Key had just died. He completed an altarpiece in Antwerp in 1575 and was registered in the Guild of Saint Luke of Antwerp in 1578. He remained in Antwerp during the period from 1580 to 1585 when the city was governed by a Calvinist government. He was even able as a Catholic to obtain commissions from the local government, which was tolerant of Catholics.In 1585 he was registered as a tenant in the Kloosterstraat in Antwerp, while his house in Mechelen was rented out. After the Fall of Antwerp and the return of Spanish Catholic control over the city in 1585, Coxie immediately gained commissions from patrons in Mechelen, including the city government. The continued appreciation of the Spanish king for the elderly artist was demonstrated when in 1589, he granted him an annuity. Coxie continued painting even when he was over 90 years old.. His last work, dated 1592, was the Triptych of the Legend of Santa Gudula, today in the Cathedral of St. Michael and St. Gudula in Brussels. This contains on the back of one of the side panels the only known portrait of Philip II painted by the artist. Shortly thereafter, he died after accidentally falling off a scaffold while working on the restoration of the Judgment of Solomon in the Antwerp City Hall that he had made nine years earlier for the Antwerp City Council. Work

General
<mask> was a prolific artists, who painted altarpieces and portraits and produced designs for stained-glass windows, tapestries and prints.He was skilled in the traditional Flemish oil on panel technique as well as the Italian fresco technique. His career spanned almost the entire 16th century. He operated a large workshop which ensured a large output which contributed to his lifetime reputation and influence. After his death his work soon fell into oblivion as it was overtaken quickly by the triumphant Baroque style introduced into Flanders by Rubens, another Flemish artist who had studied and worked for an extended time in Italy. His style is a unique synthesis of the Flemish and Italian artistic traditions. His presumed master Bernard van Orley had possibly never studied in Italy but had certainly familiarised himself with the new pictorial vocabulary of the Italian Renaissance through his study of the designs of Raphael. These designs had been brought to Brussels.He had responded to Raphael's work by making the ﬁgures in his altarpieces more monumental and heroic. He also included classical architecture in his compositions. During his stay in Rome, Coxie was able to directly study the works of Raphael, Michelangelo and other Renaissance painters as well as study the works of Antiquity that were being rediscovered at the time. He also read classical literature and philosophy and was aware of the intellectual discussions on the reception of Antique art in Italy. The panel Plato’s Cave which he likely painted during his stay in Rome is an attempt by Coxie to express these visual and philosophical influences. The painting references Plato's ideas expressed in his The Sofist about how art imitates nature and sometimes deviates from perfect imitation by changing the proportions in order for the viewer to get a true appreciation of the real object. Coxie deals in Plato's Cave with the question about how art can properly depict reality and what art can tell us about that reality.Only the viewer of the painting can see the way out of the cave, and according to Plato, this search should be the object of all true philosophy. In Plato's Cave Coxie borrows heavily from Michelangelo's models as well as from Antique models. For instance, the Roman Antique statue of Falling Galatian (Venice National Archaeological Museum) was the model for the tormented man in the centre. The first important work he realised upon his return to Flanders after his stay in Italy shows all the key characteristics of his style and the contribution he made to Flemish painting. The triptych of The Holy Kinship (now in Stift Kremsmünster, Kremsmünster, Austria) was painted in 1540 for the Antwerp Hosemakers Guild's altar in the Antwerp Cathedral. It is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures.With this work <mask> showed that he had mastered the Italian style, while not abandoning his roots. The painting has many Italian characteristics. The figure of the Virgin, for instance, goes back directly to Da Vinci. The architectural columns, drapes and niches were inspired by Raphael. Flemish elements in the work are the attention to detail and the rich colour which evoke the work of Jan van Eyck and Rogier van der Weyden. Prints
Like many artists of his time, <mask> provided designs for the printers and engravers. An important graphic series by Coxi recounts the story of Amor and Psyche.The series was attributed for a long time to Raphael, which testifies to Coxcie's excellence as a draughtsman. The Italian artist biographer Giorgio Vasari who knew Coxie personally recounts that Coxie made the design sketches. Another series of prints designed by Coxie tells the stories of The loves of Jupiter. He based his designs for both series on stories and art works from Antiquity as well as on works by Raphael and Michelangelo. References

External links

1499 births
1592 deaths
Michiel
16th-century Flemish painters
Flemish history painters
Flemish engravers
16th-century engravers
Flemish Renaissance painters
Court painters
Artists from Mechelen
Flemish tapestry artists

masks:
Michiel Coxie the Elder
Michiel Coxcie the Elder
Michiel van Coxcie
Coxie
Coxie
Michiel
Coxie
Michiel
Coxie
Coxie
Michiel
Coxie
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title: Freddie Barnes

type: original

texts:
<mask> (born December 6, 1986) is a former American football wide receiver. He was signed by the Chicago Bears of the National Football League (NFL) as an undrafted free agent in 2010. He played college football at Bowling Green. During 2009, including the Humanitarian Bowl, <mask> accumulated an NCAA Football Bowl Subdivision record 155 receptions for 1,770 yards, 19 receiving touchdowns, as well as two rushing touchdowns. The 155-reception total not only surpassed the Division I record, but also an NCAA All-division record. He also broke Randy Moss' single-season Mid-American Conference yardage record. In addition, he established several Bowling Green Falcons football records during the season.During his senior season, in established numerous receiving records, was named a 2009 College Football All-American and was one of three 2009 Fred Biletnikoff Award finalists. Previously, he had been a multisport athlete at Homewood-Flossmoor High School. Early years
<mask> attended Homewood-Flossmoor High School in Flossmoor, Illinois, where he earned three letters for the Vikings playing quarterback. He served as team captain and was named team MVP, as well as All-Area and All-Conference in 2004. <mask> also lettered in basketball, where he was a teammate of Julian Wright. Considered only a two-star recruit by Rivals.com, <mask> was not ranked among the nation's elite quarterback prospects in 2005. He chose Bowling Green over Eastern Michigan and Indiana.College career
<mask>' freshman season he caught 20 passes for 203 yards, two touchdowns, and rushed for 405 yards and 9 touchdowns. As a sophomore, he caught 82 passes for 962 yards and 9 touchdowns, and  was selected for All-Mid-American Conference third team honors. He caught 41 passes for 364 yards, but no touchdowns as a Junior in 2008. During his senior year in 2009 he accumulated 16 touchdown catches and a league leading 138 receptions. He is third in reception yards with 1,551, and among his season's highlights was a school-record 22-catch effort (one short of an NCAA single-game record) for 278 yards, including three touchdowns, in a 36-35 victory over Kent State. <mask> was four receptions away from matching the NCAA single-season record as Bowling Green awaited its bowl game against the Idaho Vandals. In his final game at Bowling Green against the Idaho Vandals in the Humanitarian Bowl, <mask> had 17 receptions for 219 yards and 3 touchdowns including a go-ahead score with 32 seconds left in the game.It turned out to be enough time for the Vandals to answer on their final drive, and they converted a two-point conversion for the win. <mask> established both new Football Bowl Subdivision and All Division single-season reception records by surpassing Manny Hazard and Nick Smart, respectively. On the season, <mask>' 1770 yards surpassed Randy Moss MAC single-season total. <mask> also surpassed several school records such as single-season touchdown receptions and career receptions. <mask>' yardage total and yards per game were second to Danario Alexander among FBS receivers for 2009. <mask> was chosen as one of three finalists for the Fred Biletnikoff Award. Notre Dame's Golden Tate won the award.<mask> was also discussed as a dark horse candidate for the 2009 Heisman Trophy, despite being on a BCS non-AQ conference team and not being a quarterback, based on thirty more catches than any other receiver and being close to the top in touchdowns. <mask> was named to the All-Mid-American Conference first team on December 2, 2009, and on December 12, he was named a 2009 All-American by the Football Writers Association of America. College awards and honors
2009 All-American (FWAA)
2009 Biletnikoff Award finalist

National Collegiate Athletic Association record
Single-season receptions (155, 2009–) (both Division I and All Divisions)

Mid-American Conference record
Single-season receiving yards (1770, 2009–)

Bowling Green record
Career receptions (298, 2009–)
Single-season touchdown receptions (19, 2009–)
Single-game receptions (22, 2009–)
Single-game receiving yards (278, 2009–)

Professional career

2010 NFL Draft
Wes Bunting of National Football Post opined that <mask> may lack the speed to be an elite NFL receiver, but stated that "he certainly has the talent to fill out an NFL receiving corps." At the 2010 East-West Shrine Game practice, <mask> "impressed scouts with the ability to consistently separate from defensive backs and find the openings in the coverage," according to Sports Illustrated's Tony Pauline. Chicago Bears
<mask> signed as an undrafted free agent with the Chicago Bears on April 24, 2010. He was waived on September 3, and was re-signed to the team's practice squad on November 2. Chicago Rush
<mask> was also a member of the Arena Football Team Chicago Rush, having signed a contract on October 8, 2010.He was on a league exemption during his stint with the Chicago Bears after being signed to the practice squad on November 2, 2010. He then returned to the Rush on December 15, 2010 after being released by the Bears. Saskatchewan Roughriders
<mask> was signed to the practice roster of the Saskatchewan Roughriders on August 9, 2011. He appeared in one regular season game in 2011, but was released on January 31, 2012. Personal life
His hometown is Chicago Heights, Illinois. His mother, Clarissa Charles, who had him at age 14, dropped out of high school, but later earned her high school equivalency degree, then her college degree. See also
 List of NCAA major college football yearly receiving leaders

References

External links

Official biography at Bowling Green
Barnes at ESPN.com
Barnes at NCAA.org

1986 births
Living people
Players of Canadian football from Chicago
Players of American football from Chicago
American football wide receivers
Canadian football wide receivers
American players of Canadian football
Bowling Green Falcons football players
Chicago Bears players
Saskatchewan Roughriders players
Chicago Rush players
Homewood-Flossmoor High School alumni

masks:
Freddie Lee Barnes
Barnes
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title: Alice Fulton

texts:
<mask> (born 1952) is an American author of poetry, fiction, and nonfiction. <mask> is the Ann S. Bowers Professor of English Emerita at Cornell University. Her awards include the American Academy of Arts and Letters Award in Literature, Library of Congress Rebekah Johnson Bobbitt National Award, and Ingram Merrill Foundation Award, as well as the MacArthur Fellowship. Biography
<mask> was born and raised in Troy, New York, the youngest of three daughters. Her father was the proprietor of the historic Phoenix Hotel, and her mother was a visiting nurse. She began writing poetry in high school. In 1979 she attended a women's poetry conference in Amherst, Mass., which she would later cite as a formative experience.While an undergraduate, she received competitive scholarships to study poetry with Thomas Lux at The Writers Community in New York City. In 1980 she married Hank De Leo and moved to Ithaca, New York, to study poetry under A. R. Ammons, Phyllis Janowitz, Kenneth McClane, and Robert Morgan in Cornell University's Creative Writing Program. While at Cornell, her first book was selected by W. D. Snodgrass for the Associated Writing Program's publication prize. After receiving her MFA, she was a fellow at The Fine Arts Work Center in Provincetown. In 1983 <mask> moved to the University of Michigan in Ann Arbor, Michigan, for a three-year appointment as Fellow in the Michigan Society of Fellows. Mark Strand selected <mask>'s second book, Palladium, for publication in the 1985 National Poetry Series. In the interdisciplinary Society of Fellows she further developed her interest in using scientific metaphor and began her lifelong friendship with John H. Holland.She has often cited Holland's writing on Complex Adaptive Systems as being instrumental in the development of her theory on Fractal Poetics [see <mask>'s prose collection]. It was also where she met the composers William Bolcom and Enid Sutherland. In 1991 <mask> was awarded a MacArthur "Genius Grant" Fellowship. In addition to poetry, <mask> has written essays and criticism and has been widely praised for her finely crafted and emotionally powerful short fiction. The Nightingales of Troy collects the ten stories she had published before 2008. Two of those stories were selected for inclusion in The Best American Short Stories. Three contemporary authors share the distinction of appearing in both The Best American Short Stories and The Best American Poetry series: <mask>, Lydia Davis, and Stuart Dybek.<mask> was a senior fellow in the Michigan Society of Fellows from 1996 to 2000. She remained at University of Michigan until 2002, when she returned to Ithaca as the Ann S. Bowers Distinguished Professor of English at Cornell University. In 2011 she received an American Academy of Arts and Letters Award in Literature. The Library of Congress awarded <mask> the Rebekah Johnson Bobbitt Award in 2002. In 2004 she was the Holloway Lecturer in the Practice of Poetry at University of California, Berkeley, and in 2010 she was the George Elliston Poet at University of Cincinnati. She has also been a visiting professor at University of California, Los Angeles, University of Virginia, Charlottesville, and a number of other universities. Works
<mask>'s poetics "challenges the conventional wisdom among many poets that the content of a poem is less important than its form.In practice, <mask> has created a poetic style that is remarkably "about things" in the sense that her poems explore their overt subject matter deeply and uphold their convictions with rigor. Cascade Experiment ... amply demonstrates not only <mask>'s broad range of interests but also her continual and evolving sense of how to use the most seemingly insignificant details to illuminate the nuances of difficult moral ideas." -- Sarah Cohen

<mask> has suggested that poetry is a "model of the way the world works." Her poetry has been described as "intricately crafted, yet expansive — even majestic — in its scope and vision. One senses there is something startling about to be revealed in these poems, and indeed that mystery or tension often resolves in powerful acts of linguistic reckoning, as if a piece of psychological origami were unfolding before our eyes." The editors of Twentieth-Century American Poetry suggest that "In her drive to freshen poetic diction, avoid cliche and sentimentality, and create 'skewed domains‚' in her poetry, <mask> has distinguished herself as one of the most original American poets writing today. She has succeeded in challenging not only assumptions about gender roles, but also the assumptions underlying current modes of poetry such as the autobiographical, first-person lyric or the experimental 'Language poem.'"In his introduction to <mask>'s first book, Dance Script With Electric Ballerina, W. D. Snodgrass reads <mask>'s poetry as a rare example of logopoeia ("the dance of the intellect among words") and writes that "we are always engaged by ... the sense of linguistic virtuosity ... a constant delight ... in language textures, the every-shifting shock and jolt of an electric surface." Newsday, called it an "extremely impressive poetic debut‚" and a Boston Herald reviewer wrote, "Reading her poems is something like listening to a set of the most spirited and peculiar jazz: you must sharpen your spirit to be moved by what is uncanny and rare." While most critical response to this debut volume was positive, conservative critics were "more guarded, or even catty." Her second collection consolidated the "polyphonic textures," shifts in diction, and signature enjambments that have become hallmarks of her poetry. Palladium is structured in six parts, each focused on the etymology of "palladium" with the trope carried to Ellen Foscue Johnson's palladium photographic print on the cover. One review explained the organizing structure this way: "Etymology breeds metaphor; palladium generates the imagery and energy of the poems, informing them all without necessarily intruding upon them. The organizing principle of an <mask> poem allows for cohesiveness yet is not so narrow or restrictive as to inhibit the flow of associations and ideas.It's as though the world itself were endowed with a centrifugal force, enabling the poet to branch out in numerous directions — parallel lines that manage to intersect on their separate paths to infinity." Sven Birkerts, noting <mask>'s "irrepressible inventiveness" and "startling juxtapositions," named this an "aesthetic of profusion." Critics praised these "compressed poems of great texture and inventiveness," as "prepossessing and formidable," "hardwon and solid." Palladium was admired for its "energy and passion for specificity," its "wit and unpredictable, wildly heterogenous combinations," the way "surface and substance, style and content, coexist and are often at odds with one another." Peter Stitt described the style of Palladium as having "so much texture, thanks to [<mask>'s] images and to her use of words, and that texture places a palpable surface on the abstract construct of the poem." Many critics praised <mask>'s "energy," but Calvin Bedient and others were hostile toward the "wicked intelligence" in Palladium. <mask> defiantly included these criticism in the hand-written marginal comments of her innovative "Point of Purchase" in Powers of Congress.Rita Dove in the Washington Post described it as "a wry sendup of academics, featuring a bona-fide poem littered with marginalia from different critics, each with distinct personalities, literary persuasions and handwriting." Stephen Behrendt commented that this poem "comes with its own set of marginal annotations by (and in) several different hands. Not since Coleridge's "The Rime of the Ancient Mariner" has a long poem presented the reader with so remarkable an example of this particular phenomenon." <mask> has often referred to Walt Whitman's "I am large, I contain multitudes" as a guiding principle for postmodern verse. David Baker, in reference to the multiplicity of experience evident in Powers Of Congress, wrote that "<mask> is embarked on a project to redefine or recreate poetry according to the multiforms of experience and intellect, rather than to shape experience by modeling it on a received poetic vision." For Larissa Szporluk, <mask>'s "truly phenomenal poetics leave me where I've never been, changing the rules of the game of poetry completely." Lawrence Joseph instructs <mask>'s reader to "expect a vision of American society — its technological, sexual, class, and religious relationships and context — embodied in language conscientiously intelligent and physical."Commenting on how <mask>'s treatment of the "real world is never treated only as an exercise in 'realism'" British poet Rodney Pybus notes the "blessedly unpredictable and unconventional" nature of her use of "psychic and social turmoil." David Barber argues that <mask>'s "expansiveness" of subject is realized in "poems that binge not just on language but on lexicons and argots, poems that lift their riffs not only from the deep wells of the American vernacular but from the streamlined vaults of newfangled technology and scientific determinism." Powers of Congress contains many examples of her signature use of polyphony and word superclusters which <mask> has described in interviews and in a 1990 essay on her own poetics, "To Organize A Waterfall." Sensual Math introduced <mask>'s invention of the double-equal or bride sign (see Poetics below). Dorothy Barresi claimed that this work is "what great poetry must do and be" and that "<mask>'s poems are like no one else's today‚" with their "on-again, off-again elasticity — a stretching smoothness to some lines, and a snapped back, taut quality to others — that manages to sound both eloquent and scared." Barresi concluded that "<mask> writes with fiery intelligence, and unapologetically so, for it is in the acts of thinking and rethinking that this poet believes we stave off the brute world's numbing assault." Stephen Yenser remarked, "Hers is a maximalist poetry, exploding beyond its boundaries."Many critics have praised the aural dimension of <mask>'s poetry. Writing about Sensual Math, Larissa Szporluk asserted that "<mask>'s acoustic signals reign, giving the impression that behind their creation lies some kind of unimaginable technology, telepathic jazz, or just plain genius." Edward Falco corroborated, "Her poems, spoken out loud or 'heard' in the process of reading, offer a subtle, magnificent jazz: a music for the intellect, felt on the tongue and in the body, resonating in the mind. And nowhere is the music of <mask>'s poetry more stirring than in Sensual Math." Sensual Math contained a long sequence "reimagining Daphne and Apollo." Donald Riggs writes helpfully about <mask>'s tale of Daphne and Apollo takes on, in <mask>'s version, an expanded significance: that of the suppression of women's power by the Indo-Aryan patriarchal culture." Building on the music within the poems, the composer Enid Sutherland produced a monumental operatic scoring of this sequence that runs nearly two and one-half hours.Writing about Felt in The New York Times Book Review, Megan Harlan also commented on how <mask>'s poems are "aurally rich with slant rhymes and musical rhythms." The wordplay present in <mask>'s earliest poems has by now become thoroughly suffused:

In <mask>'s poetry, those charged instances when the literal and the metaphysical (and the sensual and the philosophical) overlap are often mediated by wordplay — a pun, a double entendre, a witty turn of phrase. The title of her marvelous fifth collection, Felt, is meant to signify both an emotion once experienced [and] the fabric constructed by fibers that are forcibly pressed, rather than woven, together. Carol Muske-Dukes has asserted that <mask>'s "poetic intuition is a kind of apperceptive proof — never false," concluding that Felt is "fetishistic, wildly associative, demonically apt and simply eloquent, calling to mind Max Planck's quote about the purpose of science as an 'unresting endeavor' developing toward a vision which 'poetic intuition may apprehend, but which the intellect can never fully grasp.' " Selected from all poetry books published in the United States in 2000 and 2001, Felt was praised by the Rebekah Johnson Bobbitt Award committee as "Full of animated, charged poems." The statement also noted that Felt sizzles with logophilia and tropes, is blessed with the kind of direct wiring between sensation and language, feeling and form, that strikes first with physical and then with intellectual and emotional wallop. Hers is a poetic sensibility at once remarkably comprehensive and remarkably precise, and felt; her best book so far is possessed of great velocity, great staying-power."Felt was also selected by the Los Angeles Times as one of the Best Books of 2001. As with her poetry collections, <mask>'s first fiction collection is carefully constructed from interwoven parts "playing off and enhancing the meaning of one another." What sets The Nightingales of Troy apart from so many other precocious debut collections is <mask>'s knack for the ineffable, for creating stories that are more than the sum of their intricately assembled parts. Her best stories not only exhibit her architectural prowess, they also remind the reader of the near-magical capaciousness of the story form. Donna Seaman notes that "<mask> displays extraordinary verve in the originality of the predicaments she creates for her irresistible characters, her evocation of the majesty of the land and the rise and decline of the town, and her ravishingly inventive language" and that she draws "brilliantly on the vernacular and ambience of each decade. ""<mask>'s prose thrives on the tactile, and, as in her poetry, the language is brilliantly precise. While often rooted in the physical, <mask>'s narration frequently moves beyond the immediate, both powerfully and subtly."Poetics
<mask>'s "fingerprint-distinct voice" is immediately recognizable for its poetic ambition laced with humor and shifting poetic diction. While sharing an interest in scientific metaphors and diction with her mentor, A.R. Ammons, she differs from Ammons through her engagement with injustice and cruelty. In a statement accompanying her selection of Lisa F. Jackson's film, The Greatest Silence, for the 2008 "Revolution" writers conference and film festival at University of North Dakota, <mask> had this to say about her poetics:

As a poet and writer, I'm committed to undermining postures of arrogance and entitlement, the context of "impunity" [depicted in The Greatest Silence]. Silence — especially enforced silence – has been one of my deep subjects, as has resistance, a quality as important to poetics as to revolutions. I've tried to engage with the background rather than the figure, to find new linguistic ways of confronting disenfranchisement, cruelty, and suffering, while retaining the uncanny qualities of poetry. I've tried to be a student of inconvenient knowledge — the sort of knowledge that, when taken to heart, forces us to change our lives in revolutionary ways.Sacred, religious, spiritual, compassionate, and ethical themes are incorporated in her work. Miller has noted that "faith" is an "issue that comes up in all of [<mask>'s] volumes and in poem after poem," as have Marchant and others. Peter Brier asserts that "<mask> conveys much of the ecstasy that is associated with the strongest religious poets, poets such as Gerard Manley Hopkins" with similarities in phrasing, imagery, and sprung rhythm. Camille Paglia also finds "heavy sprung rhythms ... reminiscent of the poet-priest Gerard Manley Hopkins" and that <mask>'s "ecstatic techniques" are deployed "for far earthier and more carnal purposes." "Like the Language poets, <mask> is interested in linguistic play and artifice,

masks:
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Alice Fulton
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fultonvid
Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton


title: Alice Fulton

texts:
 and also in critical theory and philosophy, although the theories most evident in her poetry and essays are those of science and mathematics." "From the first," <mask> "has been as theoretically astute as the Language poets" as well as being interested in a poetry that will "discomfit readers and unsettle their expectations, a poetry of inconvenient knowledge," a phrase originally used in <mask>'s 1997 essay. <mask> first proposed her ideas for a new poetics based on the concepts of fractals and emergent patterns in her 1986 essay, "Of Formal, Free, and Fractal Verse: Singing the Body Eclectic," in which she uses the term "fractal" to suggest "a way to think about the hidden structures of free verse."Tigerlily states that <mask> "coined the phrase 'fractal poetry' as a method of revisioning the value of both formal and free verse, calling the 'poetry of irregular form fractal verse.'" Some critics have taken <mask> to task for an inexact usage of "fractal." Other critics have countered that her use of "fractal" is more metaphorical than literal. Susan Duhig in the Chicago Tribune noted that "For <mask>, the fractal serves as a potent metaphor for a poetry with a form that exists somewhere between utter shapelessness and the Euclidean order of regular meter and genre, a poetry whose volatile, irregular patterning exists on the threshold of structure." Duhig concluded that <mask>'s essays explicate "one possible language for understanding poetry in the age of quantum mechanics." Biogeneticist Ana Marti-Subirana writes at length and with specificity on how "Chaos theory and fractal poetics allow <mask> to analyze the complexity of social structures and cultural constructions through new perspectives in poetic form." <mask>'s fractal poetics operates "as a means to engage both the poet and the reader of poetry into an intellectual immersion beyond the obvious."<mask> elaborated on her conceptualization of fractal verse in her 1996 essay, "Fractal Amplifications: Writing in Three Dimensions," in which she posits a "poem plane," a concept analogous to the picture plane in painting. She suggests that "By juxtaposing transparent with textured passages, fractal poetry constructs a linguistic screen that alternately dissolves and clouds." This later fractal essay shows evidence of her conversations with Holland on the subject of complexity. <mask> has stated that John H. Holland's work in complexity theory "greatly affected my poetics in the nineties." A full description of Fractal Verse is beyond the scope of this article; both of the seminal essays are reprinted in <mask>'s prose collection. A third essay titled "Fractal Poetics: Adaptation and Complexity" was published in 2005 in Interdisciplinary Science Reviews (UK) with this summary:

Barbara Fischer's analysis of <mask>'s ekphrastic poem "Close" in Felt explains this maximalist approach:

<mask>'s mixture of media is edgy and experimental — "This is not an illustration." She stands close enough to her subjects to see that art, visual or verbal, is adulterated by evidence of the processes that have made it.The museum-goer notes that "In person, [the painting] looked a little dirty. / I could see the artist's hairs / in the pigment—traces of her / head or dog or brush." She sees "gooey gobs of / process painted in," and notes Mitchell's knifework, which has "left some gesso showing through, / a home for lessness that— / ... / is a form of excess." This paradoxical excess of absence describes a characteristic feature in <mask>'s work, here and in earlier books — a lavish and roiling expenditure of imagery and wordplay that draws attention to the means by which any representational illusion of plenitude is sustained. Critics have emphasized the "excesses" of <mask>'s vivacious artifice, digressiveness, and heterogeneous diction (I would agree with those who do not consider such "excess" pejorative), and Felt ... powerfully investigates the emotional stakes of this "form of excess" as a poetics. Reviewing Powers Of Congress in 1991, Eavan Boland was the first to liken <mask> to Emily Dickinson. With the 1995 publication of Sensual Math, Publishers Weekly suggested "[<mask>] may be Dickinson's postmodern heir."Critic and Dickinson scholar Cristanne Miller further expounded on similarities between Dickinson and <mask>: "Like Dickinson, <mask> crosses the boundaries of popular and highly experimental genres of poetry writing ... Even in long poems and sequences of poems, <mask>'s verse has the tight constructedness and multiple layered qualities of Dickinson's poetry ... <mask> shares Dickinson's outrageous sense of play with both cultural icons and aspects of English normally taken for granted." Miller also has pointed to <mask>'s kinship with Dickinson in the use of end-of-line syntactic doubling, and was the first critic to note similarities in punctuation. Where Dickinson makes the dash key to the rhythms and expression of her poetry, <mask> introduces a new sign of punctuation that she calls 'a bride / after the recessive threads in lace' [= =]. This double-equal sign, which 'might mean immersion,' is 'the unconsidered // mortar' between bricks; it makes 'visible the acoustic signals / of things about to flame,' 'hinging one phrase to the next,' throwing the reader into the same kind of adventurous uncertainty as Dickinson's dash. Miller goes on to say, "For both poets, this interest in hinges, in connections, in incongruities and contiguities reveals itself in verbal and syntactical structures as well as in themes. In short, while these are poets of big ideas, they also are very much poets of language ... Like Dickinson, <mask> makes us see the pomposity, ridiculousness, and fragility of our beliefs, hopes, and attitudes as well as the sometimes terrible wonder of human interaction and the universe beyond ourselves."In addition to Dickinson's influence, Mark Jarman and Cristanne Miller have noted the influence of Marianne Moore. Rita Dove has written that "Nabokov is one of <mask>'s literary mentors: The sheer delight in language's subterfuges, the knotty avenues of recollections and desire, the human need for 'significance' that forms narratives even where there are none — these themes are the very bone and gristle of <mask>'s prodigal, energetic poetry." Quotes

"Anguish is the universal language." "The truly new looks truly wrong at first." "Emotion is the best mnemonic device." "A perfect skepticism questions disbelief." "Poetry is neither future driven nor teleological in spirit.The pleasure exists in the presence and texture of each line, as each line is experienced. Which is to say: fiction is about what happens next; poetry is about what happens now." "The unseemly has been the enemy of women's progress." "Simplicity is prized as a symptom of sincerity." "I used the hand's most important attribute, opposition, to hold the pen." "The wish to survive turns poets into poeticians, mincing their words." "Nothing is lonlier than what's human.""...as free verse broke the pentameter, fractal verse can break the poem plane or linguistic surface." Many critics have commented on <mask>'s command of scientific metaphor. Marti-Subirana asserted that "<mask>'s poetry stands as one of the most representative examples of intellectual exchange between contemporary experimental poetics and modern science — as represented by quantum physics, chaos theory and complexity theory." Marti-Subirana has elaborated on <mask>'s use of "Complexity theory and Darwinism‚" and has identified a dimension of <mask>'s work that she calls "<mask>'s poetry of emergence." "This dimension examines individual and collective emotions (such as detachment and compassion), and behavioral patterns (such as cruelty) from the perspective of emergence and emergent patterns." "Emergence‚" is a central tenet of John H. Holland's description of Complex Adaptive Systems. Harvard mathematician Barry Mazur has written about <mask>'s poetics and its relation to the "science of connections bridging differences."Mazur claims that <mask> engages with mathematics as the "science of the subtle glues ... that bind different ideas together, and yet keep them distinguished." He noted that "The very connectors themselves come out into the open in the poem entitled '= =.' "
Sensual Math contains a number of poems that deploy and define her "bride sign." As with all of <mask>'s books, including her fiction and nonfiction prose, Sensual Math is a carefully constructed web of interrelated parts that form an organic whole. One critic predicted that "Sensual Math might well come to be seen as one of the most significant volumes of the 1990s." Writing about the double-equal sign, Lynn Keller commented,

Her inventive work, which stretches the linguistic, tonal, vocal, and emotional range of contemporary lyric, points ultimately to resources that lie between recognized categories, in liminal states, and at the cultural margins as offering hope for significant social and aesthetic change. Her double equal sign and other rejections of patriarchal binaries aim ... to counter the destructive othering that pervades all aspects of our lives ...Physicist Karen Barad's book, Meeting the Universe Halfway, takes its title from <mask>'s poem "Cascade Experiment," first published in 1989. Gabriel Mckee, comments that the poem "contains this compelling passage:

"The poem is a wonderful combination of science and faith, and finds mystery in empiricism." Mckee continues, saying that the poem reminds him "of the 14th-century mystical text The Cloud of Unknowing, the title of which offers perhaps the most famous illustration of apophatic theology ... <mask>'s poem makes an eloquent and moving case for science that seeks the unknowable, the unbelievable, and the impossible." <mask>'s formal inventions invariably employ "form" in the service of content. She has stated that "During the act of writing, technique and meaning are inextricably linked, and it is only for the convenience of critical discussion that one could wish to separate them. The realization that craft depends on content leads to the concept of organic form and the idea that whatever elements help us experience a poem as a whole can be called its form." In an essay concerned with the body poems of Anne Sexton and <mask>, Deborah Landau asserts that "<mask>'s forms often reinforce the discursive claims of her poems."The editors of 20th Century Poetics point to "active enjambments" in <mask>'s work "that make words do double duty as different parts of speech." Peter Brier says that <mask> uses enjambment‚ "to sharpen her phrasing, which in turn is remarkably sure and strengthened by the vividness of her imagery." <mask> has stated in interviews that she tries to "think freshly about the why of every line" and how to make "meaning shift at enjambments without the end word in the line changing its part of speech." Another of <mask>'s techniques is that "she often refuses to gender her speakers, forcing her readers to reconsider their assumptions about what constitutes male or female identity." Throughout her career, <mask> has juxtaposed references to popular culture with allusions to literary and high culture. Ernest Smith has argued that a "significant theme in <mask>'s work is the relationship among the individual, imagination, and culture, both historically constructed aspects of culture and contemporary, popular culture." Smith also comments on <mask>'s "polyphonic texture" as "a sense of multiplying resonance akin to the use of counterpoint in music."Awards and honors
American Academy of Arts and Letters Award in Literature
Library of Congress Rebekah Johnson Bobbitt National Award
MacArthur Fellowship
Ingram Merrill Foundation Award
Guggenheim Fellowship
National Endowment for the Arts Fellowship
Michigan Society of Fellows
Michigan Council for the Arts, Individual Grants in Literature
The Fine Arts Work Center Fellowship
Finalist, Los Angeles Times Book Award

Bibliography

Poetry

Collections
Barely Composed (2015)
Cascade Experiment: Selected Poems (2004)
Felt (2001) winner of the Bobbitt National Prize for Poetry in (2002)
Sensual Math (1995)
Powers of Congress (1990)
Palladium (1986) winner of the National Poetry Series and the Society of Midland Authors Award in 1986
Dance Script with Electric Ballerina (1983) winner of the Associated Writing Programs Award in (1982)
Anchors of Light chapbook (1979)

List of poems

Fiction

Non-fiction

Feeling as a Foreign Language: The Good Strangeness of Poetry (1999)

Writings about <mask>'s work

 Greg Schutz, "The Nightingales of Troy by <mask>," Fiction Writers Review, May 2009. Ana Marti-Subirana, "Chaos and Emergence: Dialogic Models of Intellectual Exchange in <mask>'s Poetics," paper presented at the Conference on Women's Poetry Since 1900, Duquesne University, Pittsburgh, Pa., September 11–13, 2008, full text by Thoughtmesh. Elisabeth Frost and Cynthia Hogue, "<mask>," Innovative Women Poets. Iowa City: University of Iowa Press, 2007, pp. 121–151. Barbara K. Fischer, Museum Meditations: Refraiming Ekphrasis in Contemporary American Poetry. New York: Routledge, 2006.Ernest Smith, "<mask>," in Contemporary American Women Poets: An A to Z Guide. Westport: Greenwood Press, 2006, pp. 128–132. Contemporary American Women Poets: An A to Z Guide. Ernest J. Smith, "<mask>," in The Greenwood Encyclopedia of American Poets and Poetry. Westport: Greenwood Press, 2006, pp. 574–575.Sergei Lobanov-Rostovsky, "<mask>," in Dictionary of Literary Biography 193: American Poets Since WW II. Columbia, SC: Bruccoli Clark Layman, 2006, pp. 138–147. Cynthia Hogue, "Another Postmodernism: Toward an Ethical Poetics," HOW2 1:7, Spring 2002. <mask>, "To Organize a Waterfall," in Feeling as a Foreign Language: The Good Strangeness of Poetry. St. Paul: Graywolf Press, 1999, pp. 173–207.Megan Harlan, "The Past Tense of Feel," The New York Times Book Review, April 15, 2001, p. 22. Barbara Fischer, "Felt," Boston Review, 26:5:54-56, October/November 2001. Lynn Keller, "The 'Then Some Inbetween': <mask>'s Feminist Experimentalism" American Literature 71:2:311-340, June 1999. Deborah Landau, "'Not a Woman, Quite': The Body Poems of Anne Sexton and <mask>," in Giovanna Covi, ed., Critical Studies on the Feminist Subject. Trento, Italy: Dipartimento di Scienze Filologiche e Storiche, 1997, pp. 209–227. Cristanne Miller, "'The Erogenous Cusp': or Intersections of Science and Gender in <mask>'s Poetry," in Lynn Keller and Cristanne Miller, eds., Feminist Measures: Soundings in Poetry and Theory.Ann Arbor, Michigan: University of Michigan Press, 1994, pp. 317–343. Cristanne Miller, "<mask>: 'Wonder Stings Me More than the Bee,'" Emily Dickinson International Society Bulletin, Nov.-Dec. 1996, pp. 10–11. Cristanne Miller, "An Interview with <mask>," Contemporary Literature 38:4:585-615, winter 1997. References

External links
The New Yorker interview
<mask> at the Library of Congress
<mask> at the Academy of American Poets
<mask> home page with brief biography
Irish Times interview
Out of Bounds fiction interview
Out of Bounds poetry interview
<mask> at University of Michigan
<mask> at Norton Poets Online
<mask> interview in Memorious magazine

1952 births
Living people
20th-century American poets
20th-century American women writers
21st-century American poets
21st-century American women writers
American women poets
American women short story writers
Cornell University alumni
Cornell University faculty
MacArthur Fellows
The New Yorker people
Writers from Troy, New York
Roberta C. Holloway Lecturer in the Practice of Poetry
University of California, Berkeley staff
University of California, Los Angeles staff
University of Michigan fellows
University of Michigan faculty
20th-century American short story writers
21st-century American short story writers
American women

masks:
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Alice Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton
Alice Fulton


title: Anna Kostrova

texts:
<mask>va (; November 22, 1909 – July 7, 1994) was a Russian Soviet realist painter, graphic artist, and book illustrator, who lived and worked in Leningrad. She was a member of the Leningrad Union of Artists, regarded as a representative of the Leningrad school of painting. Biography
<mask>va was born November 22, 1909, in the village Belostok, Omsk Province, West Siberia. In 1925 <mask>va entered at the Omsk School of Industrial Art, where she studied of V. Trofimov and S. Feldman. In 1928 <mask>va graduated from the School of Industrial Art in Omsk. In 1930 <mask>va comes to Leningrad. Since 1934 she has participated in Art Exhibitions.<mask>va painted portraits, landscapes, still lifes, worked as easel painter, graphic artist, and art illustrator. Her personal exhibitions were in Leningrad (1973, 1977, 1979) and in Moscow (1974, 1983). In 1930s <mask>va was traveling with her husband, artist Nikolai Kostrov on the White Sea and Barents Sea, the Crimea, Ukraine and Novgorod, during which painted a lot from life. In 1940, <mask>va was admitted to the Leningrad Union of Artists. In 1950–1970 years, <mask>va illustrated children's books for the largest publishing houses in Moscow and Leningrad. Together with Nikolai Kostrov she travels to Armenia, Norway, according to the ancient cities of Vologda and Vladimir-Suzdal land, cruise on the Danube. Impressions from these trips have become material for numerous works of graphics and painting.<mask> <mask>na died in Saint Petersburg in 1994. Paintings and graphics by <mask> reside in the State Russian Museum, in Art Museums and private collections in Russia, Germany, Finland, and others. References

Sources
 Exhibition of works by Leningrad artists of 1951. Exhibition Catalogue. - Leningrad: Lenizdat Edition, 1951. - p. 43. Spring Exhibition of works by Leningrad artists of 1954.Exhibition Catalogue. - Leningrad: Izogiz Edition, 1954. - p. 41. Spring Exhibition of works by Leningrad artists of 1955. Catalogue. - Leningrad: Leningrad Union of Artists, 1956. - p. 29.Spring Exhibition of works by Leningrad artists of 1956. Catalogue. - Leningrad: Leningrad Union of Artists, 1956. Autumn Exhibition of works by Leningrad artists of 1956. Exhibition Catalogue. - Leningrad: Leningrad Union of Artists Edition, 1958. - p. 50.1917 - 1957. Exhibition of works by Leningrad artists of 1957. Exhibition Catalogue. - Leningrad: Khudozhnik RSFSR, 1958. - p. 63. Autumn Exhibition of works by Leningrad artists of 1958. Exhibition Catalogue.- Leningrad: Khudozhnik RSFSR, 1959. - p. 44. Exhibition of works by Leningrad artists of 1960. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1963. - p. 31. Exhibition of works by Leningrad artists of 1960.Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1961. - p. 81. Exhibition of works by Leningrad artists of 1961. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1964. - p. 79.The Leningrad Fine Arts Exhibition. - Leningrad: Khudozhnik RSFSR, 1965. - p. 103. Autumn Exhibition of works by Leningrad artists of 1968. Catalogue. - Leningrad: Khudozhnik RSFSR, 1971. - p. 32.Art works by Russian Federation Artists grants to Museums and Culture Institutions (1963 - 1971). Official Catalogue. - Moscow: Russian Federation Union of Artists, 1972. - p. 216. Our Contemporary Exhibition catalogue of works by Leningrad artists of 1971. - Leningrad: Khudozhnik RSFSR, 1972. - p. 43.The Still-Life. Exhibition of works by Leningrad artists. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1973. - p. 10. Exhibitions of Soviet art. Directory.Volume 3. 1941 - 1947. - Moscow: Soviet Artist, 1973. - pp. 25, 85, 86, 132, 214, 340, 342. Across the Motherland Exhibition of Leningrad artists. Catalogue.- Leningrad: Khudozhnik RSFSR, 1974. - p. 50. Our Contemporary The Second Exhibition of works by Leningrad artists of 1972. Catalogue. - Leningrad: Khudozhnik RSFSR, 1973. - p. 14. Our Contemporary regional exhibition of Leningrad artists of 1975.Catalogue. - Leningrad: Khudozhnik RSFSR, 1980. - p. 45. Soviet Russia the Fifth Republic Exhibition of 1975. Exhibition catalogue. - Moscow: Soviet Artist, 1975. - p. 77.The Fine Arts of Leningrad. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1976. - p. 177. The Portrait of Contemporary the fifth exhibition of works by Leningrad artists of 1976. Catalogue. - Leningrad: Khudozhnik RSFSR, 1983.- p. 42. Exhibition of works by Leningrad artists dedicated to the 60th Anniversary of October Revolution. Catalogue. - Leningrad: Khudozhnik RSFSR, 1982. - p. 41. Autumn Exhibition of works by Leningrad artists of 1978. Exhibition Catalogue.- Leningrad: Khudozhnik RSFSR, 1983. - p. 44. <mask>. Catalogue of exhibition of works. - Leningrad: Khudozhnik RSFSR, 1979. - 28 p.
 Directory of members of the Union of Artists of USSR. Volume 1.- Moscow: Soviet artist, 1979. - p. 549. Exhibitions of Soviet art. Directory. Volume 5. 1954 - 1958. - Moscow: Soviet Artist, 1981.- pp. 25, 27, 141, 142, 259, 261, 386, 545, 548, 552, 636. <mask>, Nikolai Kostrov. Drawings. Exhibition catalogue. - Moscow: Soviet Artist, 1983. - 40 p.
 Exhibition of works by Leningrad artists dedicated to the 40th Anniversary of the complete liberation of Leningrad from the enemy blockade.- Leningrad: Khudozhnik RSFSR, 1989. - p. 27. Directory of members of the Leningrad branch of Union of Artists of Russian Federation. - Leningrad: Khudozhnik RSFSR, 1987. - p. 63. Link of Times: 1932 - 1997. Artists - Members of Saint - Petersburg Union of Artists of Russia.Exhibition catalogue. - Saint - Petersburg: Manezh Central Exhibition Hall, 1997. - p. 251. Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007.P.385, 387–389, 400, 443, 444. , . 1909 births
1994 deaths
20th-century Russian painters
Soviet painters
People from Saint Petersburg
Socialist realism artists
Painters from Saint Petersburg
Russian women painters
Members of the Leningrad Union of Artists
Russian children's book illustrators
Russian women illustrators
20th-century Russian women artists

masks:
Anna Alexandrovna Kostro
Anna Alexandrovna Kostro
Anna Kostro
Anna Kostro
Anna Kostro
Anna Kostro
Anna Kostro
Anna Kostro
Anna Kostro
Kostrova
Anna Alexandrov
Anna Kostrova
Anna Kostrova
Anna Kostrova


title: Moses Fleetwood Walker

texts:
<mask>Fleet" <mask> (October 7, 1856 – May 11, 1924) was an American professional baseball catcher who, historically, was credited with being the first black man to play in Major League Baseball (MLB). A native of Mount Pleasant, Ohio, and a star athlete at Oberlin College as well as the University of Michigan, <mask> played for semi-professional and minor league baseball clubs before joining the Toledo Blue Stockings of the American Association (AA) for the 1884 season. Though research by the Society for American Baseball Research (SABR) indicates William Edward White was the first African-American baseball player in the major leagues, <mask>, unlike White (who passed as a white man and self-identified as such), was the first to be open about his black heritage, and to face the racial bigotry so prevalent in the late 19th century United States. His brother, Weldy, became the second black athlete to do likewise later in the same year, also for the Toledo ball club. <mask> played just one season, 42 games total, for Toledo before injuries entailed his release. <mask> played in the minor leagues until 1889, and was the last African-American to participate on the major league level before Jackie Robinson broke baseball's color line in 1947. After his baseball career, he became a successful businessman and inventor.As an advocate of black nationalism, <mask> also jointly edited a newspaper, The Equator, with his brother. He published a book, Our Home Colony (1908), to explore ideas about emigrating back to Africa. He died in 1924 at the age of 67. Biography

Early life
<mask> <mask> was born in 1856 in Mount Pleasant, a working-class town in Eastern Ohio that had served as a sanctuary for runaway slaves since 1815. Its population included a large Quaker community and a unique collective of former Virginian slaves. <mask>'s parents, <mask><mask> and Caroline O' Harra, were both mixed race. According to <mask>'s biographer David W. Zang, his father came to Ohio from Pennsylvania, likely a beneficiary of Quaker patronage, and married O'Harra, who was a native of the state, on June 11, 1843.When <mask> was three years old, the family moved 20 miles northeast to Steubenville where Mr <mask> senior became one of the first black physicians of Ohio, and later a minister of the Methodist Episcopal Church. There, <mask>'s fifth or sixth sibling, his younger brother Weldy, was born the same year. <mask> and Weldy attended Steubenville High School in the early 1870s, just as the community passed legislation for racial integration. As an adult, <mask> enrolled at Oberlin College in 1878, where he majored in philosophy and the arts. At Oberlin, <mask> proved himself to be an excellent student, especially in mechanics and rhetoric, but by his sophomore year, he was rarely attending classes. How <mask> first came to play baseball is uncertain: according to Zang, the game was popular among Steubenville children, and while in Oberlin's preparatory program <mask> became the prep team's catcher and leadoff hitter. Oberlin men played baseball as early as 1865—including a “jet black” first baseman whose presence meant <mask> was not the college's first black baseball player—with organized clubs that engaged in intense matchups.<mask> gained stardom and mentions in the school newspaper, The Oberlin Review, for his ball handling and ability to hit long home runs. In 1881, Oberlin lifted their ban on off-campus competition. <mask>, joined by Weldy who enrolled in the class of 1885, played on the baseball club's first inter-collegiate team. By Oberlin pitcher Harlan Burket's account, <mask>'s performance in the season finale persuaded the University of Michigan to recruit him to their own program. Transfer regulations at the time were generally informal and recruiting players from opposing teams was not unusual. Accompanying <mask> was his pregnant girlfriend, Arbella Taylor, whom he married a year later. Michigan's baseball club had been weakest behind the plate; the team had gone as far as to hire semi-professional catchers to fill the void.With <mask>, the team performed well, finishing with a 10–3 record in 1882. He mostly hit second in the lineup and is credited with a .308 batting average (BA). During his time at Michigan, <mask> was paid by the White Sewing Machine Company of Cleveland to play for their semi-professional ball club in August 1881. <mask>'s presence was controversial when the team arrived for a game in Louisville, Kentucky, the first place to have a major issue with his race. As the team arrived in the early morning of the game, <mask> was turned away from the Saint Cloud Hotel. More issues arose during game time: members of the Louisville Eclipse protested <mask>'s participation; Cleveland relented and held him out of the lineup. After one inning, his substitute claimed his hands were too badly bruised to continue, and <mask> hesitantly walked on to the field for warm-ups.Louisville again protested and refused to resume play until Cleveland's third baseman volunteered to go behind the plate. Baseball career

In mid-1883, <mask> left his studies at Michigan and was signed to his first professional baseball contract by William Voltz, manager of the Toledo Blue Stockings, a Northwestern League team. As a former sportswriter for the Cleveland Plain Dealer, Voltz watched <mask> play for Oberlin; his signing reunited <mask> with his former battery-mate Burket. Though <mask> hit in decent numbers, recording a .251 BA, he became revered for his play behind the plate and his durability during an era where catchers wore little to no protective equipment and injuries were frequent. The Blue Stockings' ball boy recalled <mask> “occasionally wore ordinary lambskin gloves with the fingers slit and slightly padded in the palm; more often he caught barehanded”. Nonetheless, he played in 60 of Toledo's 84 games during their championship season. At the core of the team's success, one sportswriter at Sporting Life pointed out, were <mask> and pitcher Hank O'Day, which he considered “one of the most remarkable batteries in the country”.<mask>'s entrance into professional baseball caused immediate friction in the league. Before he had the opportunity to appear in a game, the executive committee of the Northwestern League debated a motion proposed by the representative of the Peoria, Illinois club that would prohibit all colored ball players from entering the league. After intense arguments, the motion was dropped, allowing <mask> to play. On August 10, 1883, in an exhibition against the Chicago White Stockings, Chicago's manager Cap Anson refused to play if <mask> was in the lineup. In response, Charlie Morton, who replaced Voltz as Toledo's manager at mid-season, challenged Anson's ultimatum by not only warning him of the risk of forfeiting gate receipts, but also by starting <mask> at right field. Anson is alleged to have said “We’ll play this here game, but won’t play never no more with the nigger in”. The White Stockings won in extra innings 7–6.The Blue Stockings' successful season in the Northwestern League prompted the team to transfer as a unit to the American Association, a major league organization, in 1884. <mask>'s first appearance as a major league ballplayer was an away game against the Louisville Eclipse on May 1, 1884; he went hitless in three at-bats and committed four errors in a 5–1 loss. Throughout the 1884 season, <mask> regularly caught for ace pitcher Tony Mullane. Mullane, who described the rookie ball player as “the best catcher I ever worked with”, purposefully threw pitches that were not signaled just to cross up the catcher. <mask>'s year was plagued with injuries, limiting him to just 42 games in a 104-game season. For the season, he had a .263 BA, which was top three in the league, but Toledo finished eighth in the pennant race. The rest of the team was also hampered by numerous injuries: circumstances led to <mask>'s brother, Weldy, joining the Blue Stockings for six games in the outfield.Toledo's team, under financial pressure at season's end, worked to relieve themselves of their expensive contracts. Not yet fully recovered from a rib injury sustained in July, <mask> was released by the Blue Stockings on September 22, 1884. During the offseason, <mask> took a position as a mail clerk, but returned to baseball in 1885, playing in the Western League for 18 games. For the second half of 1885, he joined the baseball club in Waterbury for 10 games. When the season ended, <mask> reunited with Weldy in Cleveland to assume the proprietorship of the LeGrande House, an opera theater and hotel. According to Zang, <mask> could afford the business venture after commanding a $2,000 contract as a major leaguer. Though he could no longer negotiate such a salary, his skills were still highly attractive to teams: <mask> returned to Waterbury in 1886 when the team joined the more competitive Eastern League.Despite a lackluster season for Waterbury, <mask> was offered a position with the defending champion Newark Little Giants, an International League team. Together, with pitcher George Stovey, <mask> formed half of the first African-American battery in organized baseball. Billed as the “Spanish battery” by fans, Stovey recorded 35 wins in the season, while <mask> posted career highs in games played, fielding percentage, and BA. <mask> followed Newark's manager Charlie Hackett to the Syracuse Stars in 1888. Although he slumped at the plate during his two years playing for the Stars, he was popular among Syracuse fans, so much so that <mask> was their unofficial spokesman and established business ties in the city. On August 23, 1889, <mask> was released from the team; he was the last African-American to play in the International League until Jackie Robinson. Later life

<mask> stayed in Syracuse after the Stars released him, returning to a position in the postal service.Around this time, a former Syracuse University professor, Dr. Joel Gibert Justin, had been experimenting with firing artillery shells with gunpowder rather than compressed air, culminating in his failed invention the "Justin Gun". Fascinated, <mask> designed and patented an outer casing in 1891 that remedied Justin's failure. The first of his four patented inventions, <mask> invested in the design with hopes it would be in great demand, but the shell never garnered enough interest. On April 9, 1891, <mask> was involved in an altercation outside a saloon with a group of four white men exchanging racial insults. Members of the group, including bricklayer Patrick "Curly" Murray, approached <mask> and reportedly threw a stone at his head, dazing him. <mask> responded by fatally stabbing Murray with a pocket knife. A compliant <mask> surrendered to police, claiming self-defense, but was charged with second-degree murder (lowered from first-degree murder).On June 3, 1891, <mask> was found not guilty by an all-white jury, much to the delight of spectators in the courthouse. He returned to Steubenville to, again, work for the postal service, handling letters for the Cleveland and Pittsburgh Railroad. On June 12, 1895, <mask>'s wife Arabella died of cancer at 32 years old; he remarried three years later to Ednah Mason, another former Oberlin student. The same year, <mask> was found guilty of mail robbery and was sentenced to one year in prison which he served in Miami County and Jefferson County Jail. After his release during the turn of the century, <mask> jointly owned the Union Hotel in Steubenville with Weldy, and managed the Opera House, a movie theater in nearby Cadiz. As host to opera, live drama, vaudeville, and minstrel shows at the Opera House, <mask> became a respected businessman and patented inventions that improved film reels when nickelodeons were popularized. In 1902, the brothers explored ideas of black nationalism as editors for The Equator, although no copies exist today as evidence.<mask> expanded upon his works about race theory in The Equator by publishing the book Our Home Colony (1908). Regarded as “the most learned book a professional athlete ever wrote”, Our Home Colony shared <mask>'s thesis on the victimization of the black race and a proposal for African-Americans to emigrate back to Africa. Ednah died on May 26, 1920. Widowed again, <mask> sold the Opera House and managed the Temple Theater in Cleveland with Weldy. On May 11, 1924, <mask> died of lobar pneumonia at 67 years of age. His body was buried at Union Cemetery-Beatty Park next to his first wife. Legacy

Although Jackie Robinson is very commonly miscredited with being the first African-American to play major league baseball, <mask> held the honor among baseball aficionados for decades.In 2007, researcher Pete Morris discovered that another ball player, the formerly enslaved William Edward White, actually played a single game for the Providence Grays around five years before <mask> debuted for the Blue Stockings. Despite these findings, baseball historians still credit <mask> with being the first in the major leagues to play openly as a black man. On the subject of White, John R. Husman wrote: “He played baseball and lived his life as a white man. If White, who was also of white blood, said he was white and he was not challenged, he was white in his time and circumstances”. Like Robinson, however, <mask> endured trials with racism in the major leagues and was thus the first black man to do so. <mask> was inducted into the Oberlin College Hall of Fame in 1990. In 2021, indie-folk artist Cousin Wolf released a song entitled "Moses Fleetwood Walker" as part of an album called "Nine Innings."References

Bibliography

External links

Negro League Baseball Players Association
Baseball Hall of Fame
<mask> Honor Bill

1856 births
1924 deaths
Major League Baseball catchers
19th-century baseball players
Toledo Blue Stockings players
Toledo Blue Stockings (minor league) players
Waterbury (minor league baseball) players
Cleveland Forest Cities players
Waterbury Brassmen players
Newark Little Giants players
Syracuse Stars (minor league baseball) players
Oconto (minor league baseball) players
Oberlin College alumni
University of Michigan alumni
African-American baseball players
Baseball players from Ohio
People from Mount Pleasant, Ohio
Sportspeople from Steubenville, Ohio
People acquitted of murder
Burials at Union Cemetery-Beatty Park
Baseball in Syracuse, New York
African-American inventors
19th-century American inventors
20th-century African-American writers
Deaths from pneumonia in Ohio
20th-century American male writers
African-American male writers

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title: Anas Urbaningrum

texts:
<mask> (born July 15, 1969), is a former Indonesian politician who was the chairman of the Democratic Party (Partai Demokrat), the party who won Indonesia's general election in 2009. Elected at the age of 40, he was one of the youngest party leaders in Indonesia. Before this, he was the head of the Democratic Party's national division on Political and Regional Autonomy, and also the head of the Democratic fraction in House of Representatives (DPR) of the Republic of Indonesia. Zhilal was elected to become a member of Indonesia's Parliament during the election of 2009 from the election region of East Java VII, which includes the Blitar City, Blitar Regency, Kediri City, Kediri Regency, and Tulungagung Regency obtaining the highest votes. He has since resigned from this position in the Parliament following his election as party chairman. After being named a graft suspect by Corruption Eradication Commission (KPK) for allegedly taking a bribe in relation with the construction of the Hambalang sports complex, he resigned from the post of the Democratic Party chairman on 23 February 2013. In September 2014 he was sentenced to 8 years in prison for corruption.Early life
<mask> was born in the village of Ngaglik, Srengat, Blitar, East Java and spent his primary, middle and high school years there. His family had links with the Nahdlatul Ulama movement, his father being a schoolteacher and an Islamic cleric. After graduating from high school, he studied at Arilangga University in Surabaya through the national program for gifted students (Penelusuran Minat dan Kemampuan or PMDK) in 1987. He majored in political science in the Faculty of Social and Political Sciences, graduating in 1992. <mask> continued his education in the Graduate School at the University of Indonesia in Jakarta and obtained his master's degree in political science in 2000. His thesis has been published as Democratic-Islam: The Thoughts of Nurcholish Madji (Republika, 2000). He is currently finishing his doctoral program in political science in the Graduate School of Gadjah Mada University, Yogyakarta.Political career
<mask> entered the political arena through a college student organization. He joined the Islamic Students Association (HMI) and became the chairman of HMI during the congress in Yogyakarta in 1997. As the leader of the largest student organization, <mask> became involved in political reform of 1998. During this time he became a member of the Political Law Revision Team, or Team Seven, which was pursuing the demands of the Reformasi movement. During the first democratic election in 1999 <mask> became a member of the Political Parties Selection Team, or Team Eleven, and took the responsibility to verify the eligibility of political parties to participate in the national election. He then became a member of the General Elections Commission (KPU) in 2001-2005 which initiated the election of 2004. After resigning from the KPU, <mask> joined the Democratic Party and has been Head of the Political and Regional Autonomy division since 2005.Becoming Member of Parliament
<mask> was appointed as member of parliament in the election of 2009 from the voting region of East Java VII which includes the cities of Blitar, Blitar District, Kediri, Kediri and Tulungagung District taking in the largest votes at 178.381 votes, surpassing the numeric voting division (BPP) which is 177.374 votes. On October 1, 2009, <mask> was appointed as the head of the Democratic Party Fraction in Parliament. His biggest task involved unifying the Democratic Party in their voice during the case of Century Bank. Following his election as party chairman on July 23, 2010, <mask> resigned from the DPR. Chosen as Chairman of the Democratic Party

As the party who won the election of 2009, the second congress of the Democratic Party in Bandung 20–23 May 2010 becomes an important milestone in the politics of Indonesia. <mask> declared his candidacy in Jakarta on April 15, 2010. In his declaration speech, Anas emphasized that his goal was not to fight or win a race.His candidacy was not to secure a high standing official position. According to Anas, congress is arena for amicable competition amongst brothers. "All candidates are the best cadres and brothers that represent the Democratic Party." In this declaration, Anas expressed his agenda to institutionalize the party. That is, how to transform the ideas of President Susilo Bambang Yudhoyono (SBY) as the central and most important figure of the Democratic Party into a strong party. His other agenda is internal stabilization; better, more qualified and systematic cadre recruitment; decentralizing the management of party through systematic measures; building political culture of integrity, intelligence and humility; also to manage strong and accountable logistics. Anas's political ideas were further included in his cultural speech "Building the Culture of Democracy" that took place in Jakarta, May 16, 2010.This speech is part of a continuing culture of debate that can be traced back to Indonesia's founding fathers such as Sukarno, Hatta, Sjahrir; and other intellectuals such as Tan Malaka, Soedjatmoko, even Kartini who poured out her ideas in letters. In this speech, <mask> expressed his ideas on money politics, the patron based system, sub-nasionlalism, and the dominance of "ascribed status", weak meritocracy and "zero-sum game" as the greatest challenges in building the culture of democracy that must be protected from the pollution of money politics. Meritocracy will give rise to competent leaders, not a strongman who will bypass the system and institution such that checks and balances can progress effectively. In the middle of his preparation for congress, <mask> published his book "Silent Revolution" in the auditorium of Pikiran Rakyat, Bandung. This book describes the successful strategies of the Democratic Party and SBY in winning the election of 2009. Zhilal illustrated the diligence of the Democratic Party in surveying the market periodically and to include all elements of the party. The book also includes personal observations of how a party works hard in preparation of the election without much public fanfare.There was tight competition in congress between three candidates: <mask>, Andi Malaranggeng (who is also Minister of Youth and Sports), and Marzuki Alie (DPR RI Chairman) who only declared his candidacy one day before congress started. In the first round of votings, <mask> lead (236 votes) over Marzuki Alie (209 votes) and Andi Malarangeng (82 votes). As none of the candidates received more than 50% of the votes, there was a second round of votings. In the process of this second round, President Susilo Bambang Yudhoyono declared a statement saying that all regional and municipal representatives should vote for the general chairman of the Democratic Party by following their heart, illustrating the workings of democracy within the party. In the second round, <mask> took lead by receiving 280 votes. Marzuki Alie received 240 votes, while two votes were absentees. This election made <mask> one of the youngest Chairman of a political party in Indonesia.In response to the win, <mask> said, "You see for yourself, I won through a democratic election. This is evidence, that in addition to being a party that prioritizes democracy, Mr. SBY is also a true democrat as he never got involved in the process of election, including supporting one of the candidates." On October 17, 2010, <mask> appointed the Democratic Party's plenary board that is composed of 2.000 people, at the same time the birthday of the party was being celebrated in Jakarta. Resignation
The Corruption Eradication Commission (KPK) named  <mask> Urbaningrum a graft suspect on February 22, 2013 for allegedly taking bribes and receiving goods in relation with the construction of the Hambalang national sports complex in Bogor Regency, West Java. The KPK earlier named two other suspects in the Hambalang case – former Minister of Youth and Sports Andi Mallarangeng and Dedi Kusdinar, also of the same ministry. The following day after the KPK named him suspect, he announced his resignation from the post of the Democratic Party chief. <mask> pleaded innocent in his trial but refused to reveal where his wealth was obtained.Experience
 Chairman of Democratic Party 2010-2013
 Member of House of Representative and Head of Democratic Fraction 2009-2014 (resigned in 2010)
 Member of National Collective Leadership KAHMI 2009–present
 Chairman of Paramadina Foundation 2006–present
 Head of Political and Regional Autonomy division, Democratic Party 2005-2010
 Member of Election Commission (KPU) 2001-2005
 Member, Political Parties Selection Team, 1999
 Member, Political Law Revision Team, 1998
 Chairman of Islamic Students Association (HMI) 1997-1999

References

External links
 Partai Demokrat

1969 births
Living people
Democratic Party (Indonesia) politicians
People from Blitar
Javanese people

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