title: Bernadette Vigil

texts:
<mask> (born 1955) is an American artist and illustrator whose work has been exhibited in museums and galleries nationally and abroad. She has produced permanent public artworks in the form of fresco murals for the cities of Santa Fe and Albuquerque, New Mexico. She has been commissioned to create religious frescoes in churches in New Mexico, and has been called a "master of the art of buon fresco" in the Santos Tradition. She has authored a book on Toltec spirituality, Mastery of Awareness: Living the Agreements. In 2002 it was published in Spanish as El Dominio de la Conciencia, and in 2005 it was published in German as Das Geheimnis der vier Versprechen. Education
Vigil attended the College of Santa Fe, New Mexico where she studied buon fresco and received her BA in 1980. Collections
 City of Albuquerque Public Art Program, Sueño Entre Sueño, (Fresco), 1994.Albuquerque Public Art/South Broadway Cultural Center, Oneness of Dance, 1995. Millicent Rogers Museum, Taos, NM, Los Musicos #6, 1989
 Museum of New Mexico, Santa Fe, NM. La Transcion, oil on canvas, 1992
 An archive of her papers is held in the Smithsonian Museum and the Archives of American Art. Artwork

Oneness of Dance
Vigil's mural Oneness of Dance (1994) is a permanent public artwork commissioned by the City of Albuquerque 1% for Art Program. The cultural references of the work include representing women, history, spirituality, mythology, and dream symbolism. Oneness of Dance is considered a fresco mural depicting dance as a form of universal language understandable by all nations. Sueño Entre Sueño
Sueño Entre Sueño commissioned by the City of Albuquerque Public Art Program, depicts farmworkers in the field of corn below the phases of the moon.In the center of the mural is a figure painted in negative space that appears to be an elder man holding a cane with a dove and a flaming red heart within the figure. The farming symbolism also includes a female and male farmer, the latter is holding a stalk of corn, an essential food crop of the American Southwest. Spiritual Warrior Within
Spiritual Warrior Within (1995) was a mural, commissioned by the city of Santa Fe Arts Commission for the exterior of City Hall. According to a publication of the City of Santa Fe, the fresco depicts "symbols of friendship, the struggle for good and evil...and the healing power of humans." Although this mural was painted as a permanent artwork for the city of Santa Fe, it no longer exists, having been destroyed by a contractor who was overseeing renovations of City Hall. The destruction occurred without the approval or knowledge of the artist, the Santa Fe Arts Commission, nor of the Historic Districts Review Board. The latter agency has authoritative oversight of all exterior alterations of buildings earmarked within the Santa Fe downtown historic district.There is debate whether or not the destruction of the mural was a political action against the mayor who had commissioned it, Debbie Jaramillo, Santa Fe's first female mayor, whose administration was marked by controversy. Funeral with Shadow of Clouds
In Funeral with Shadow of Clouds, Vigil depicts a religious event occurring, more specifically, a funeral. In the painting, three figures in mourning standing over a burial pit; their shadows cast over the person who has died. Nacimiento del Ángel (Birth of the Angel)
In the painting Birth of the Angel (1993), Vigil drew circular, planetary shapes that appear to recede in space, representing stages of birth for an angel. In the foreground stands an angel in white clothing that transforms into wings. Her fingers are spread to appear as if preparing to ascend to Heaven through the dark background filled with stars. Did I Ever Tell You I Love You?The angelic theme recurs in Did I Ever Tell You I Love You?, oil on canvas (1992). Below the moon and stars in the sky, two figures are depicted: an older man and a woman, both of which are rendered as angels. The older man is on his knees, mourning over the death of his wife. An angel hovers over him in the air, its hands reaching towards the man. The background is painted with a scene of a cemetery with six tombstones in a field. Angélico Sonido
Inspired and similar to Renaissance painter Fra Angelico, Vigil's Angélico Sonido use of color differs from her other angelic themes in her artwork. Two men are depicted in this painting.They both wear black boater hats with their heads down, covering their eyes. The man on the left has his mouth open, revealing his top teeth. The man in the middle has his head lowered, covering his eyes even more than the man on the left, holding what appears to be a guitar. On the far right is a woman with wings (angel), who also holds and plays what appears to be a mandolin. The angel, as in most of her work, acts as a protecting force that motivates the two men. Nunca
In Nunca, the piece is simple compared to her other works. All the audience sees is a person, a fire, and an angel.<mask> <mask>'s depiction of angels emphasizes the role an heavenly being plays, to protect, guide, and look over people even though they are not with them physically. The angel in Nunca hovers over the human from above and acts as a guide and protective force. Both the angel and the human are in the same position, knees bent with their hands up. El Jardin
This wet-fresco mural of a Northern New Mexico scene, framed by two ears of blue corn depicts the local landscape, sun, moon, seeds blowing in the sky, and freshly picked vegetables laid before the viewer. According to the City of Santa Fe Arts Commission the mural took three months to complete. Publications
Vigil created the cover art for Bless Me, Ultima, a coming-of-age novel written by Rudolfo Anaya, originally published in 1972. Vigil authored the book, Mastery of Awareness: Living the Agreements, published in 2001 by Simon & Schuster/Bear & Company.The Roswell Museum published an exhibition catalog, Bernadette Vigil: The Spirit's Inner Journey, in conjunction with her one-person show in 1997. Exhibitions

Solo
All one-person shows cited in the chapter on the artist in Latin American Women Artists of the United States: The Works of 33 Twentieth-Century Women unless otherwise noted. 1982 – Mayor's Gallery, Santa Fe, New Mexico
 1986 – Southwest Spanish Craftsman Gallery, Santa Fe, New Mexico
 1987 – The New Hacienda Museum, Cieneguilla, New Mexico
 1989 – Owings-Dewey Fine Art, Santa Fe, New Mexico
 1990 – Millicent Rogers Museum, Taos, New Mexico
 1990 – Jan Cicero Gallery, Chicago, Illinois
 1993 – Milagros Contemporary Art Gallery, San Antonio, Texas
 1997 – Roswell Museum and Art Center, Roswell, NM

Two-person shows
 1992 – Albuquerque Museum, Albuquerque, NM. Bernadette <mask> & Luis Tapia: Paintings & Woodcarvings

Group
All selected group shows cited in the chapter on the artist in Latin American Women Artists of the United States: The Works of 33 Twentieth-Century Women unless otherwise noted. Latin American Women Artists of the United States The Works of 33 Twentieth-Century Women, 1999. "Mastery of Awareness". Book by Doña Bernadette <mask>, Arlene Broska | Official Publisher Page | Simon & Schuster, Bear & Company."One of My Lives and Loves: Retablos". Rudyjmiera. "Sueño Entre Sueño: Bernadette Vigil and City of Albuquerque Public Art Program". CultureNOW. http://www.askart.com/artist_pubs/Bernadette_Vigil/102464/Bernadette_Vigil.aspx
 Dunbier, Lonnie Pierson (Editor), The Artists Bluebook: 34,000 North American Artists, page 479. AskART.com Inc. (2005)
 Watkins, T.H. and Joan P. Watkins, Western Art Masterpieces, page 119 (color image), (1996)
 Ellis, Simone, Santa Fe Art, page 112 (color image), (1993)
 Eiteljorg Museum, New Art of the West (Exhibition Catalog), page 58 (color image), (1992)
 Santa Fe New Mexican, Muralist Bernadette Vigil, August 1, 1994, Pg.21
 Santa Fe New Mexican, Interview in Pasatiempo Arts and Culture magazine, July 26, 1990, Pg. 70
 Santa Fe New Mexican, An eye-in-th-sky perspective wins praise for Bernadette Vigil, April 5, 1991
 Taos News, January 30, 1997
 Santa Fe New Mexican, Stalking Your Own Reflection: The Path of the Spiritual Warrior, August 1, 1994
 The Santa Fe New Mexican, Muralist Seeks Project for Gang Members, August 1, 1994

References

External links
 http://www.rudyjmiera.com/index.php/project/one-of-my-lives-and-loves-retablos/
 http://www.waymarking.com/waymarks/WMTH6V_Spiritual_Warrior_Within_Santa_Fe_NM

Living people
1955 births
Artists from New Mexico
20th-century American artists
American muralists
Fresco painters
21st-century American artists
20th-century American women artists
21st-century American women artists
Women muralists

masks:
Berntte Vigil
Bernadette
Vigil
Vigil
Vigil


title: Deborah Markowitz

type: original

texts:
<mask> "Deb<mask> is the state director for The Nature Conservancy in Massachusetts. Prior to this, she served from 2011-2017 as the Secretary of the Vermont Agency of Natural Resources. She was appointed by Vermont Governor Peter Shumlin. She has also been a Visiting Professor of Environmental Policy and Leadership at the University of Vermont Rubenstein School of Environment and Natural Resources. <mask> was elected six times to serve as the Secretary of State of Vermont. Although she is a member of the Democratic Party, she won the nomination of both the Republican and Democratic Parties in two of her races. Early life, education and career
<mask> was born in Tarrytown, New York, on September 14, 1961.She attended Edgemont High School in Scarsdale, New York and graduated with honors from the University of Vermont, with a degree in philosophy and political science in 1983, and earned her Juris Doctor degree from Georgetown University Law Center in 1987, magna cum laude. As a law student at Georgetown, Markowitz did an oral history of then DC Circuit Court Judge, Ruth Bader Ginsburg. Based on this work, she published In Pursuit of Equality, One Women's Work to Change the Law, which is considered a seminal work by legal scholars analyzing the development of women's rights in America and the important role of Justice Ginsburg. After law school <mask> returned to Vermont to clerk with Justice Louis Peck of the Vermont Supreme Court. Following this clerkship she joined the law firm Langrock, Sperry & Wool. In 1990, the Vermont League of Cities and Towns (VLCT) established its Municipal Law Center, for which <mask> was hired as its first director. She has been a member of the adjunct faculty at the Vermont Law School and Woodbury College.Vermont Secretary of State
<mask> was first elected Vermont's Secretary of State in 1998, defeating a two-term incumbent and becoming the first woman elected Secretary of State in the Vermont. As Secretary of State, Markowitz advocated for, and implemented, election reforms that increased early voting opportunities and made it easier to register to vote. She built a statewide voter registration database, and  upgraded Vermont's voting equipment. Markowitz also established the Safe at Home program; an address confidentiality program to protect victims of rape, abuse and stalking from being tracked down through the state's public records. She consolidated the state Archives with the state records department, and oversaw the construction of a new State Archive and Record Center facility. <mask> was perhaps best known for her efforts to advance civic engagement of Vermonters. She developed civic educational materials and programs for Vermont's school children, and she published a monthly Newsletter and a dozen handbooks for Vermont's local officials, answering their questions about municipal law and practice.Markowitz also established the Vermont Public Service Award program to recognize local officials who served for 20 years or more. Markowitz served as president of the National Association of Secretaries of State. She served on the Board of Advisors of the Federal Election Assistance Commission and she served on the boards of the Central Vermont Community Action Agency, the Vermont Girl Scout Council, the Vermont Housing and Conservation Board and the Vermont Council on Rural Development. Vermont gubernatorial election

<mask> was a candidate in the 2010 Democratic primary for Vermont Governor. She placed third with 17,503 votes, behind the winner, Peter Shumlin, with 18,276 votes, and second-place Doug Racine, with 18,079 votes. <mask> was appointed by Governor Shumlin to serve as his Secretary of the Agency of Natural Resources. Agency of Natural Resources
Markowitz served as  Secretary of the Vermont Agency of Natural Resources, from 2011 - 2017.As Secretary, <mask> was responsible for protecting Vermont's environment, natural resources and wildlife and for maintaining Vermont's forests and state parks. In this role she  shaped the environmental agenda of the state, focusing on the challenges of climate change, habitat fragmentation and the need to make Vermont more resilient to flooding. Secretary <mask> served as the Chair of Vermont's Climate Cabinet and represented Vermont on the White House Task Force on Climate Preparedness and Resilience. She represented Vermont in State and Regional Leadership events at the Paris Climate Summit and in Marrakech. She served on the Board of the Regional Greenhouse Gas Initiative and on the Executive Board of the Environmental Council of the States. <mask> received a 2017 Lifetime Achievement Award from EPA Region 1, where they noted "Deb became secretary of the Agency for Natural Resources in 2011, introducing one of the most productive and innovative eras in the agency's history. She focused on challenges from climate change and water quality to forest health and recycling rates.When Deb arrived, the organization was shell-shocked from years of budget cutting and rotating secretaries. Within a year, it had entered a sustained period of innovative environmental policy improvement. Over the next six years, Deb and her commissioners and staff secured protection for shorelines; universal recycling requirements; a Lake Champlain cleanup plan, and greater attention to forest fragmentation." Markowitz serves on the Boards of Advisors for the Georgetown Climate Center, Antioch's Center for Climate Preparedness and Community Resilience, for the University of Vermont's Rubenstein School of Environment and Natural Resources, and as a Trustee of the Vermont Chapter of the Nature Conservancy. <mask> is the founder of the Vermont Women's Leadership Initiative and Vermont Parks Forever – the Foundation for Vermont's State Parks. She has been recognized nationally for her leadership by being awarded an Aspen Institute Rodel fellowship and the Kennedy School of Governments’ Cahn Fellowship. Personal life
<mask> resides in Montpelier, Vermont, with her husband and three children.References

External links
Vermont Secretary of State official state government site

Secretaries of State of Vermont
Living people
1961 births
Georgetown University Law Center alumni
Jewish American people in Vermont politics
Jewish women politicians
University of Vermont alumni
Vermont Democrats
Women in Vermont politics
American women lawyers
Edgemont Junior – Senior High School alumni
21st-century American Jews
21st-century American women

masks:
Deborah
" Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz
Markowitz


title: Olaf Koch (conductor)

texts:
<mask> (14 January 1932 – 22 August 2001) was a German conductor and Hochschullehrer. In 1964, he was appointed General Music Director at the Meiningen Court Theatre. At the end of the 1960s, he turned to concert conducting, and for over twenty years he was the principal conductor of the Staatliches Sinfonieorchester and the Philharmonisches Staatsorchester Halle, which he led to national recognition. <mask> championed Neue Musik works by East German (<mask> among others) and Soviet composers. In 1979 he received the National Prize of the GDR. Initially appointed Conducting Professor at Hochschule für Musik Franz Liszt, Weimar, he served as Rector of the Hochschule für Musik "Hanns Eisler" from 1982 to 1986. Life

Thuringian origin and socialisation
Born in Bebra near Sondershausen, <mask> came from a working-class family.He was born in 1932 as the son of a -Kumpel and grew up in Halle. He was also influenced by an antifascist milieu. <mask>, who was himself a member of the Antifa youth, lost his brother <mask> during the Nazi era, who was executed in  in 1941 for high and national treason. After attending elementary school, he studied violoncello, piano, composition and conducting at the Max Reger Conservatory in Sondershausen from 1945 to 1950. His livelihood He earned his living during this time as a forestry worker and dance musician. "Out of deep conviction", as Wolfgang Herbrand put it, he turned to the state party in the GDR. Although he had already applied for membership at the age of twenty-one, he did not become a member of the Socialist Unity Party of Germany until 1955.In terms of cultural policy, he identified with the idea that art no longer belonged only to the elite, but to ordinary people. Changing Kapellmeister posts

In 1950 <mask> became Repetitor for ballet, opera and operetta and 2nd Kapellmeister in Meiningen, where he was from then on promoted by the theatre director Fritz Diez. The main focus of his activity was that of an operetta conductor. From 1955 to 1958 he was 1st Kapellmeister at the Opernhaus Halle. There, in 1958, he produced the ballet "Kreuzbauer Ulrike" by Carl-Heinz Dieckmann, choreographed by Henn Haas and set during the German Campaign of 1813 to the first performance. In 1958, he went to the Stralsund Theatre as musical director. From Halle, he brought his assistant director Harry Kupfer, who was now the only music theatre director to stage the following operas for him in Stralsund: Der Freischütz by Carl Maria von Weber, Enoch Arden by Ottmar Gerster and The Merry Wives of Windsor by Otto Nicolai.In 1960/61, he moved as music director to the  in Stendal. In 1961, he realised with the Hungarian refugee Béla Hollai in the West German Göttingen, a joint project between the Göttinger Symphonie Orchester and Stendal with works by Josef Suk, Aram Khachaturian, Carl Maria von Weber and Robert Schumann. General Music Director at the Meiningen Theatre
At the instigation of the GDR authorities and also at his own request, he returned to the Meiningen Theatre from November 1961 to 1967. This time he was engaged as musical director, in 1964 he was appointed General Music Director. For Alfred Erck, <mask> was "endowed with absolute ear, loving the great tone, savouring dramatic moments very well, he duly declared war on inaccuracies, even sloppiness, and was feared by orchestra musicians and singers alike." The soloist ensemble at the time included, among others Günther Hofmann, Ines Kurz-Markgraf and Volker Schunke. A novelty was that he brought Eastern European bel canto soloists like Sandor Arizs and Virginia Keranowa to Meiningen from 1964.Accordingly, he initially had mainly Italian operas by Giuseppe Verdi and Giacomo Puccini performed. In 1962, <mask> also took over the direction of the Rüdiger Flohr production of Handel's Ezio in the musical version by Max Schneider. His authoritarian style of leadership and dominance with regard to the soloists clashed in Meiningen with the innovations of director Hans Günter Nebel, who was influenced by Walter Felsenstein's musical theatre. The two came together in Russian musical drama, for example in Mussorgsky's Boris Godunov. In addition, Wagner and Strauss productions were also created. <mask>'s preference, however, was for symphonies, whereby he particularly appreciated Ludwig van Beethoven. Later, he also included the concert music of Slavic composers such as Modest Mussorgsky and Dmitri Shostakovich in his repertoire.In 1967, he realised the German premiere of the 1st Symphony by Nina Makarova, the wife of Aram Khachaturyan. Furthermore, on the occasion of the 1966 Thuringian Music Days, he premiered the Symphonic Poem for Two Pianos and Orchestra by Wolfgang Hohensee with the Berlin pianists Eberhard Rebling and Siegfried Stöckigt. According to Gert Richter, he led the Meiningen Court Orchestra "to a higher musical level". <mask> himself regarded the time in Meiningen as the most formative of his career. Chief Conductor of the Halle Philharmonic Orchestra
<mask> turned increasingly to concert conducting from 1967 and was succeeded by Karl-Ernst Sasse Head and chief conductor of the Philharmonisches Staatsorchester Halle. <mask> "wanted to form an orchestra that should correspond to his high ideas", as journalist Gisela Heine put it. In Halle, he arranges the Handel Festival Halle and the Musiktage with.Thus, on the occasion of the 1970 Handel Festival, he conducted Beethoven's Tripelkonzert, which was interpreted by the Soviet guest musicians, violin virtuoso Oleg Kagan, pianist Elisabeth Leonskaja and cellist Natalia Gutman. At the Wittenberg "Weeks of Contemporary Music" in 1971, he participated with a performance of Leoš Janáček'sSinfonietta. Moreover, he premiered several contemporary musical works by GDR composers, among others in 1969 Heinz Röttgers Violin Concerto (with Gustav Schmahl) and in 1970 Hans Jürgen Wenzel's "Trassensinfonie". Wenzel's work, however, which had not been awarded by the  (VKM), led to conflict with <mask>, whereupon from the 1970s onwards he initially deferred contemporary music and thus in effect sound creations from the region in the programme planning and from 1979 also in Wenzel's progressive Series "Confrontation" of the Halle Philharmonic. In 1972 <mask> took over the direction of the Hallesche Philharmonie, which emerged from the former State Symphony Orchestra, the Robert Franz Singing Academy and the ; furthermore, a separate chamber orchestra, which he conducted from 1973 to 1984, and two wind groups were pronounced. According to the musicologist Konstanze Musketa, this resulted in "a versatile and powerful ensemble", from which "essential impulses for the musical life of the region" took their starting point. In 1976, he conducted the festive concert on the occasion of the inauguration of the , which was to replace the  as the main venue.<mask> advocated a "democratisation of concert life", which was expressed in introductions to works and talks as well as concert planning. Thus, according to Richter, his Werkhalle and student concerts were an effort to "introduce those circles to classical music." The concerts were considered to be largely sold out. The ensemble's repertoire included symphonic music from the classical period to the modern. The choral-orchestral connection allowed repeated performances of oratorios by George Frideric Handel. For the 450th anniversary of the German Peasants' War, it premiered the oratorio "Die Antwort" by Wolfgang Hohensee with a text by Paul Wiens in the St. Mary's Church, Mühlhausen under <mask>'s direction. The merit of the symphony orchestra, the chamber orchestra and the chamber music ensembles for contemporary music should also be expressed in further premieres.However, composers from the Halle-Magdeburg area were hardly considered by the Philharmonic. Due to his inactivity, <mask> was also not re-elected as chairman of the performers' section (1972-1976) in the corresponding district association of the VKM. On the other hand, <mask> "never chose according to affiliation to trends and fashions, but always with regard to their musical quality", as Richter elaborated. Moreover, the "effect of the sonic result" was important to <mask>. Among the works presented were Alan Bushs 1972 symphonic movement for piano and orchestra "Africa" (with Alan Bush), 1974 Fritz Geißler's Symphony No. 8, 1975 Günter <mask>ans Viola Concerto (with Alfred Lipka), 1981 Wolfgang Stendel's Cello Concerto (with Hans-Joachim Scheitzbach) and in 1989 Kurt Schwaens 2nd Piano Concerto (with Ton Nu Nguyet Minh) and Dietrich Boekles new version of the Concerto for large orchestra. Regularly the orchestra was invited to the major alternating In 1989, he performed at the .Clearly visible under <mask>'s conducting was also an international recognition, as Musketa pointed out. Numerous guest performances took the orchestra to the so-called Eastern Bloc. <mask>'s "authority and negotiating skills", as stated in an obituary in the Mitteldeutsche Zeitung from Halle, also enabled the Philharmonie to make concert tours to the Non-Socialist Economic Area from 1975. According to the musicologist Achim Heidenreich, in addition to these regular events in the Federal Republic of

masks:
Olaf Koch
Koch
Günter Kochan
Koch
Koch
Heinz Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch


title: Olaf Koch (conductor)

texts:
 Germany, which were quite positively noted, German Communist Party organised workers' concerts were also served, which, on the other hand, were not very well received. The dramaturge Gerd Richter perceived <mask> in Halle "as an imaginative, outstanding artist and clever manager". He found impressive "his high musicality and his elegant, yet also precise, percussion technique, his ability to accurately assess the effect of a piece of music when reading the score, but also to be able to convey this to the performers as well as ultimately to the audience". <mask> had a "tendency towards a certain theatricality", according to Richter, and possessed a "strong, at times egocentric, personality".Despite not having studied at a conservatoire, he was "open to all artistic and intellectual stimuli, indeed he had a pronounced thirst for knowledge" and was also concerned, for example, with the maxims of historical performance practice. During his time in Halle, <mask> helped GDR compositions to receive Soviet first performances in Moscow, such as the 1965 "Little Music for Orchestra" and the Violin Concerto (with  by Ruth Zechlin and in 1971 the 2nd Symphony by Günter <mask>an. In addition, he premiered Dumitru Bughici's symphonic Suite Pictures from the History of Romania with the Romanian Radio Symphony Orchestra in Bucharest in 1973. In 1984 he became a member of the "Kuratorium Schauspielhaus", chaired by Peter Schreier, and in 1985 of the GDR Committee on the . According to Hans-Martin Uhle, the choirmaster from Halle, <mask> "led the orchestra into the Oberliega". He was "an excellent conductor and good orchestra educator". His obsession with power was to be regarded as not unproblematic, under which the then choirmaster of the Robert Franz Singing Academy "Hartmut Haenchen had to suffer increasingly".<mask> had used his party membership to thwart Haenchen's artistic activities with the orchestra. As a consequence, Haenchen left Halle in 1972. Similarly, he did not maintain a good relationship with Haenchen's successor Wolfgang Unger. <mask>'s tendential closeness to the state, which had been assessed as a "political vicious circle", led to his resignation in Halle at the end of 1989 after an uncomfortable voting result. In accordance with the request of the orchestra's board, he nevertheless continued his work until the end of the 1989/90 season, so that he could give his last concert in the Saale city with the final concert of the 39th Handel Festival. According to Gilbert Stöck, <mask> "outwardly affirmed the cultural-political line of the state party with often pithy words". For the musicologist and Masur biographer Johannes Forner, he was considered a "political hardliner and problematic in human dealings".Nevertheless, Richter emphasised: His socio-political ideas did not exclude criticism of political realities Shortly before his death, he reported to Richter that he also saw himself cheated of his ideals by the rulers of the GDR. End of career in Suhl
In 1990, <mask> returned to his native Thuringia and became chief conductor and director of the Thüringen Philharmonie Gotha-Eisenach. With the new orchestra he gave guest performances at home and abroad. In 1993, he tried unsuccessfully to return to the Meiningen Theatre. In 1994/95, together with Jean-Paul Penin Principal Conductor and in 1995/96 Guest Conductor in Suhl. <mask> was also involved in orchestra building in Thessaloniki and Tokyo. Thus he received guest conductorships in Greece (1996) and China/Taiwan (1997).Teaching commitments

Another focus of his work was orchestral education. In 1972 he began teaching at the University of Music and Theatre Leipzig, where he became chairman of the orchestra council in 1979. He was available to the University Symphony Orchestra as a guest conductor. In September In 1975, he received a professorship with a lectureship in conducting at the Hochschule für Musik Franz Liszt, Weimar, which he held again from 1987 to 1993. From 1982 to September In 1986, he succeeded Dieter Zechlin Rector of the Hochschule für Musik "Hanns Eisler" Berlin. During this period in Halle, the personal union between the artistic and the state management of the orchestra had been abolished; Wolfgang Pfeiffer held the office of director of the Philharmonie. <mask> was often represented by his deputy Karl-Heinz Zettel.He was also a visiting professor in Tokyo, Havana and Pyongyang. In Halle, <mask> led a conducting seminar from the 1970s onwards that fell under the jurisdiction of the Ministry of Culture, which turned the orchestra into a kind of "practice orchestra", as well as seminars with composition students to study works. <mask> was also a member of the Permanent Jury Conducting of the GDR, which was headed by Kurt Masur. In 1992, he led the course of the resulting  of the Deutscher Musikrat in Suhl. Among his students were Peter Aderhold, Christfried Göckeritz, Christian Rudolf Riedel and István Ella, but also female conductors like Dobrin Panajotow, Helga Sippel, Dorothea Köhler and Johanna Martens as well as Johanna Weitkamp. In Thessaloniki war Cosima Sophia Osthoff Assistantin <mask>s. Personal life
<mask> was married five times.From his marriage in 1954 to the actress and director Sieglinde Wiegand (1929-2018), he married director <mask> (born 1955). His third marriage was to the actress Monika Reh. For a time he was married to the violinist Kathinka Rebling (born 1941). <mask> had a firearms licence and was considered a passionate hunter. <mask> died in 2001 in Halle at the age of 69. In 2006, a commemorative plaque was unveiled at his birthplace in Sondershausen-Bebra on the initiative of the Bebra Male Choir. Anlässlich des 100-jährigen Bestehens des Chores widmete man <mask> das Lied Geboren aus der Kraft zum Leben.Awards
 1964: Max Reger Prize des Bezirks Suhl
 1973: Handel Prize
 1974: Vaterländischer Verdienstorden in Gold
 1975:  in Gold
 1976: Handel Prize des Bezirks Halle (für die Hallesche Philharmonie)
 1976: Kunstpreis der DDR
 1979: Nationalpreis der DDR III. Klasse für Kunst und Literatur ("für seine Verdienste als Dirigent und Orchestererzieher")

<mask> also won the Bela Bartok Medal, and an honorary award of the Soviet Union of Composers for the interpretation of commissioned works. Recordings
 Günter <mask>an: Violakonzert (NOVA, 1976) – Hallesche Philharmonie, Alfred Lipka (Viola)
 Bert Poulheim: Fagottkonzert (NOVA, 1982) – Hallesche Philharmonie, Bert Poulheim (Fagott)
 Kurt Schwaen: Requiem für Orchester (NOVA, 1988) – Orchester der Hochschule für Musik „Hanns Eisler“ Berlin
 Peter Jona Korn: Beckmesser-Variationen / Symphonie Nr. 3 / Exorzismus eines Liszt-Fragments (Thorofon, 1992) – Thüringen Philharmonie Gotha
 Dietrich Erdmann: Musica multicolore / Concertino für Klavier und kleines Orchester (Thorofon, 1992) – Thüringen-Philharmonie Suhl, Roswitha Lohmer (piano)
 Ulrich Sommerlatte: Sinfonische Unterhaltung etc. (<mask>nn, 1993) – Thüringen-Philharmonie Suhl
 Joseph Suder: II. Symphonische Musik (CALIG, 1993) – Thüringen-Philharmonie Suhl
 Wolfgang Stendel: Inventionen für Orchester (Thorofon, 1994) – Thüringen-Philharmonie Suhl
 Nina Makarova: Symphony in D Minor (Russian Disc, 1994) – State Academic Symphony Orchestra of the Russian Federation
 Gerhard Rosenfeld: Flötenkonzert (Hastedt, 1997) – Kammerorchester der Halleschen Philharmonie, Otto Rühlemann (flute)
 Alexandre Guilmant, Léon Boëllmann, François-Joseph Fétis: Masterworks for Organ & Orchestra (Guild, 2001) – Ingolstadt Philharmonie, Franz Hauk (organ)

Further reading
 Günther Buch: Namen und Daten wichtiger Personen der DDR. 4th, revised and expanded edition.Dietz, Berlin among others 1987, , . Herbert A. Frenzel, Hans Joachim Moser (ed. ): Kürschners biographisches Theater-Handbuch. Schauspiel, Oper, Film, Rundfunk. Deutschland, Österreich, Schweiz. de Gruyter, Berlin 1956, . Gisela Heine: Das Philharmonische Staatsorchester Halle.G. Heine, Halle (Saale) 1997, pp. 37 ff. Wolfgang Herbrand: Was macht eigentlich <mask>. In Monika Zimmermann (ed. ): Was macht eigentlich…? 100 DDR-Prominente heute. Links, Berlin 1994, ,  (zuvor erschienen als: Was macht eigentlich?<mask>. In Neue Zeit, 26 September 1992, Jg. 48, Ausgabe 226, ). Andreas Herbst, Winfried Ranke, Jürgen Winkler: So funktionierte die DDR. Vol. 3: Lexikon der Funktionäre (rororo Handbuch, 6350). Rowohlt, Reinbek bei Hamburg 1994, , .Rosemarie Preuß: <mask>, <mask>. In Gabriele Baumgartner, Dieter Hebig (ed. ): Biographisches Handbuch der SBZ/DDR. 1945–1990. Volume 1: Abendroth – Lyr. Saur, Munich 1996, , . Gert Richter: Meine Gedanken zum Tod von <mask>.In Händel-Hausmitteilungen 3/2001, . Gilbert Stöck: Neue Musik in den Bezirken Halle und Magdeburg zur Zeit der DDR. Kompositionen, Politik, Institutionen. Schröder, Leipzig 2008, , pp. 247 ff. References

External links

 <mask>, <mask> on Kalliope. <mask> on Allmusic.20th-century German conductors (music)
University of Music and Theatre Leipzig faculty
Hochschule für Musik Franz Liszt, Weimar faculty
Recipients of the National Prize of East Germany
Recipients of the Patriotic Order of Merit in gold
People from Suhl
Socialist Unity Party of Germany members
1932 births
2001 deaths
People from

masks:
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Koch
Stephanie Koch
Koch
Koch
Koch
Olaf Koch
Koch
Koch Schwa
Olaf Koch
Olaf Koch
Koch
Olaf
Olaf Koch
Koch
Olaf
Olaf Koch


title: Marie Bashkirtseff

texts:
<mask>f (born Maria Konstantinovna Bashkirtseva, ; 1858–1884) was a Russian artist. She lived and worked in Paris, and died aged 25. Life and painting career

Bashkirtseff was born Maria Konstantinovna Bashkirtseva in Gavrontsi near Poltava (now Ukraine) to a wealthy noble family, but her parents separated when she was 12. As a result, she grew up mostly abroad, traveling with her mother throughout most of Europe, with longer spells in Germany and on the Riviera, until the family settled in Paris. Educated privately and with early musical talent, she lost her chance at a career as a singer when illness destroyed her voice. She then determined to become an artist, and she studied painting in France at the Robert-Fleury studio and at the Académie Julian. The Académie, as one of the few establishments that accepted female students, attracted young women from all over Europe and the United States.Fellow students at the Académie included Anna Bilińska-Bohdanowiczowa and especially Louise Breslau, whom Bashkirtseff viewed as her only real rival. Bashkirtseff would go on to produce a remarkable, if fairly conventional, body of work in her short lifetime, exhibiting at the Paris Salon as early as 1880 and every year thereafter until her death (except 1883). In 1884, she exhibited a portrait of Paris slum children entitled The Meeting and a pastel portrait of her cousin, for which she received an honorable mention. Bashkirtseff's best-known works are The Meeting (now in the Musée d'Orsay, Paris) and her 1881 In the Studio, a portrait of her fellow artists at work. Although a large number of Bashkirtseff's works were destroyed by the Nazis during World War II, at least 60 survive. In 2000, a U.S. touring exhibition entitled "Overcoming All the Obstacles: The Women of Academy Julian" featured works by Bashkirtseff and her schoolmates. As a painter, Bashkirtseff took her cue from her friend Jules Bastien-Lepage's admiration for realism and naturalism.Where Bastien-Lepage had found his inspiration in nature, Bashkirtseff turned to the urban scene, writing, "I say nothing of the fields because Bastien-Lepage reigns over them as a sovereign; but the streets, however, have not yet had their... Bastien." By unlucky chance, both artists succumbed prematurely to chronic illness in the same year, and the later pages of Bashkirtseff's journal record her visits to the dying painter. Dying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to emerge as an intellectual in Paris in the 1880s. She wrote several articles for Hubertine Auclert's feminist newspaper La Citoyenne in 1881 under the nom de plume "Pauline Orrel." One of her most-quoted sayings is "Let us love dogs, let us love only dogs! Men and cats are unworthy creatures."Bashkirtseff died in Paris in 1884, and she is buried in Cimetière de Passy, Paris. Her great friend Prince Bojidar Karageorgevitch was present at her deathbed. Her monument is a full-sized artist's studio that has been declared a historic monument by the government of France. <mask>f was included in the 2018 exhibit Women in Paris 1850-1900

The diary
From approximately the age of 13, Bashkirtseff kept a journal, and it is probably for this that she is most famous today. It has been called "a strikingly modern psychological self-portrait of a young, gifted mind," and her urgent prose, which occasionally breaks out into dialogue, remains extremely readable. She was multilingual and despite her self-involvement, was a keen observer with an acute ear for hypocrisy, so that her journal also offers a near-novelistic account of the late nineteenth century European bourgeoisie. A consistent theme throughout her journal is her deep desire to achieve fame, inflected by her increasing fear that her intermittent illnesses might turn out to be tuberculosis.In a prefatory section written toward the end of her life, in which she recounts her family history, she writes, "If I do not die young I hope to live as great artist; but if I die young, I intend to have my journal, which cannot fail to be interesting, published." Similarly: "When I am dead, my life, which appears to me a remarkable one, will be read. (The only thing wanting is that it should have been different)." In effect, the first half of Bashkirtseff's journal is a coming-of-age story while the second is an account of heroic suffering. Bashkirtseff's journal was first published in 1887, and was only the second diary by a woman published in France to that date. It was an immediate success, not least because its cosmopolitan confessional style was a marked departure from the contemplative, mystical diaries of the writer Eugénie de Guérin that had been published in 1862. An English translation appeared two years later under the title <mask>eff: The Journal of a Young Artist 1860–1884.Translated by Mary J. Serrano, it was heavily abridged and bowdlerized, her relatives seeing to it that a good deal of material they considered unflattering to the family was removed. British Prime Minister William Gladstone referred to her journal as "a book without a parallel", and another early admirer was George Bernard Shaw. The late nineteenth century English novelist George Gissing read the original French version over eight days in June 1890. It remained popular, eventually spinning off both plays and movies based on her life story, including The Affairs of Maupassant, directed by Henry Koster and released in the United States in 1938. Her diary was cited as an inspiration by the American writer Mary MacLane, whose own shockingly confessional diary was written a bare generation later, and it was mentioned as a model by later writers who became known for their diaries, including Pierre Louÿs, Katherine Mansfield, and Anais Nin. Her letters, consisting of her correspondence with the writer Guy de Maupassant (which she had begun under an assumed name) were first published in 1891. Until recently the accepted date of Bashkirtseff's birth was 11 November [23 November New Style], 1860.After the discovery of the original manuscript of Bashkirtseff's journal in the Bibliothèque nationale de France, however, it was found that her journal had been abridged and censored by her family in its first editions. Her date of birth (1858 not 1860) was falsified by her mother to make Bashkirtseff appear even more precocious. An unabridged edition of the complete journal, based on the original manuscript, has been published in French in 16 volumes, and excerpts from the years 1873–1876 have been translated into English under the title I Am the Most Interesting Book of All (see editions listed below). Editions of the diary
 The Journal of Marie Bashkirtseff: I Am the Most Interesting Book of All (Volume I) and Lust for Glory (Volume II). English Translation by Katherine Kernberger. E-book version: , Publisher: Fonthill Press, 2013. Mon journal.Texte intégral. Volumes I-XVI (complete text of the journal, transcribed by Ginette Apostolescu). Paris: Montesson (5 rue Jean-Claude-Bézanier, 78360 ). Cercle des amis de Marie Bashkirtseff, 2005. . I Am the Most Interesting Book of All: The Diary of <mask>eff Vol 1. English translation by Phyllis Howard Kernberger and Katherine Kernberger. , , Publisher: Chronicle Books, 1997.Journal of Marie Bashkirtseff. Translated by A.D. Hall and G.B. Heckel. New York: Rand, McNally, 1890. (Title page state: "The only complete English edition"). The Journal of Marie Bashkirtseff. Translated, with an introduction, by Mathilde Blind.2 volumes. London, 1890. <mask>f: The Journal of a Young Artist 1860–1884. English translation by Mary J. Serrano. New York: Cassell, 1889. Journal de Marie Bashkirtseff, avec un portrait. 2 volumes, 1887.References

Further reading

 Schiff, Joel. Portrait of Young Genius – The Mind and Art of <mask>f. Wilmington: Vernon Press, 2016. Creston, Dormer, and Dorothy Julia Baynes. Fountains of Youth: The Life of <mask>f. Taylor & Francis, 1936. Cronin, Vincent.Four Women in Pursuit of an Ideal. London: Collins, 1965; also published as The Romantic Way. Boston: Houghton Mifflin, 1966. Maupassant, Guy de, and <mask>f. 'I Kiss Your Hands': The Letters of Guy de Maupassant and <mask>eff. Rodale Press, 1954. Fisher, T.  A Study of <mask>f.Unwin, 1892. Garb, Tamar. "'Unpicking the Seams of Her Disguise': Self-Representation in the Case of <mask>f." George Robertson et al. The Block Reader in Visual Culture. New York: Routledge (1996). Hartman, Kabi."Ideology, Identification and the Construction of the Feminine: Le Journal de Marie Bashkirtseff." The Translator 5.1 (1999): 61–82. Hubbard, Tom, <mask>.: A Biographical Novel, Kirkcaldy: Ravenscraig Press, 2008. "S". "The Journal of Marie Bashkirtseff: an Exposure and a Defence." Black and White, 6 Feb and 11 April 1891, pp. 17 and 304.Wilson, Sonia. Personal Effects: Reading the Journal of <mask>eff. London: LEGENDA (Modern Humanities Research Association)/Maney|, 2010. Aldiss, Brian, Friendships: <mask>eff

External links

 Unpublished diary leaves, held at the Getty Research Institute

1858 births
1884 deaths
19th-century deaths from tuberculosis
19th-century Russian painters
19th-century Russian women artists
19th-century Russian women writers
Alumni of the Académie Julian
Burials at Passy Cemetery
Feminist artists
Tuberculosis deaths in France
Monuments historiques of Paris
Russian nobility
Emigrants from the Russian Empire to France
Russian women painters
Russian feminists
Women diarists
19th-century diarists

masks:
Marie Bashkirtsef
Marie Bashkirtsef
Marie Bashkirts
Marie Bashkirts
Marie Bashkirtsef
Marie Bashkirtsef
Marie Bashkirtsef
Marie Bashkirtsef
Marie Bashkirts
Marie Bashkirtsef
Marie Bashkirtsef
Marie B
Marie Bashkirts
Marie Bashkirts


title: Lekha Washington

texts:
<mask> is an Indian actress, artist, and product designer who has predominantly appeared in Tamil and Telugu language films. She was first recognised for her work as a sculptor in 2002 and then as a theatre actress in Chennai based stage plays. After appearing as a video jockey with SS Music, <mask>'s breakthrough film role was as an independent estranged sister in Jayamkondaan (2008), whilst she has gone on to portray roles in the multi-starrer Vedam and the comedy Va. Early life
<mask> was born in Chennai, Tamil Nadu, India to a father of mixed Burmese, Italian and Punjabi ancestry, and a Maharashtrian mother. Despite the mixed heritage, <mask> has stated that she prefers herself as Tamilian due to her upbringing in Chennai and speaks English, Tamil and Marathi at home. She is a huge fan & supporter of Chennai Super Kings in IPL. <mask> did her schooling in Good Shepherd Convent, Chennai and later pursued a degree in Fine Arts at Stella Maris College, Chennai and went on to attend the National Institute of Design taking courses, first in Lifestyle Product Design, and then re-applying to enrol in the Film and Video Communication course.During her time studying film-making, she opted for a career in "front of the camera, rather than from behind". During her time on the course, she made three short films called Spoonerism, Catch 22 and Sunn with locations ranging from Myanmar to Mauritius. Career
While pursuing her education, she decided to appear in Chetan Shah's experimental English film, Framed, and subsequently received offers to be a music video jockey from SS Music. In early 2007, <mask> was signed on to play the lead role of an orthodox Tamil Brahmin girl alongside Silambarasan in his project Kettavan, after the actor and the film's director Nanthu had spotted her at a cinema hall. She replaced the team's original choice Sana Khan in the lead role, but despite completing a schedule, the film was shelved and later cancelled after the lead actor and director had creative differences. She had earlier made an uncredited appearance in a song from the 1999 romance film Kadhalar Dhinam and also made a guest appearance in director Jeeva's 2007 film Unnale Unnale as a bride at a wedding. In November 2007, <mask> signed on to play a supporting role in R. Kannan's directorial debut Jayamkondaan alongside Vinay Rai and Bhavana (actress).Appearing as Vinay Rai's estranged stepsister, Brindha, in the film, <mask> won critical acclaim for her role with a reviewer citing that she "sparkles as the half sister in a well etched role" and is "the surprise packet and has the credentials to make it big". Another critics cited that <mask> "pulls off with élan" and "her costume spells class and character as does her performance", and subsequently the film went on to become a critical and commercial success. In 2010, <mask> appeared in three films in three regional languages. Her first release was in the multi-starrer Vedam, where she played a role as a part of the troupe of a lead character, Manoj Manchu. The film won positive reviews, and <mask>'s small role was labelled as "adequate support" by critics, as the film enjoyed a successful run commercially. She then appeared in Pushkar-Gayathri's comedy film, Va, playing a suicidal schoolgirl who meets the characters of Shiva and Charan on an election night in Chennai. The film received average reviews, whilst <mask>'s portrayal also received mixed acclaim with a reviewer citing that she "carries off her role of a dimwit quite well", whilst another cites that she "does not impress and needs to brush up her acting skills and lip sync".Her final release of the year was the romantic Kannada film, Huduga Hudugi opposite Sameer Dattani, which became a commercial and critical failure, with <mask> receiving mixed reviews for her role. <mask> was signed on to appear in her debut Hindi film, John Owen's Peter Gaya Kaam Se beating hundred other actresses in an audition, after the producers felt that "she looked like a super model, could play football and was an Anglo-Indian". The film opposite Rajeev Khandelwal features <mask> as Mira, an undercover agent, but is yet to release, after disputes between the producers and the director. She has also shot for another Hindi project, Power by Rajkumar Santoshi, featuring her as Sneha alongside Amitabh Bachchan, Anil Kapoor, Sanjay Dutt and Ajay Devgan, though the film has been delayed. In 2013, <mask> was seen in Matru Ki Bijlee Ka Mandola as Imran Khan's friend. She won acclaim for her portrayal of a Tamil Brahmin bride in the romantic comedy Kalyana Samayal Saadham (2013), before portraying a guest role in the action thriller Arima Nambi (2014). Other work
<mask> currently owns and runs a product design company called Ajji and has recently launched her first range of products in the Pallate store in Mumbai.She currently holds two patents to her name with respect to the products she has created. <mask> has also enjoyed success as a sculptor, being featured by The Hindu newspaper in January 2002 for her maiden exhibition, Exhibition A, for which she won critical appraisal. In January 2011, she showcased her work in an exhibition in New Delhi. <mask> has also been involved in English stage plays held in Chennai, featuring in Madras Player's production of Twelfth Night in 2002 as Viola. She has also been active in directing the theatre troupe, Khel. During the maiden season of the Indian Premier League, <mask> was signed on to anchor an analysis and interview show which provided coverage of the cricket played. To prepare for the role, <mask> did research through cricketing journals and enlisted help from Ajay Jadeja, hoping for her reporting to reach a widespread audience.Notably during her time as a reporter, she was briefly criticised for asking umpire Asad Rauf which franchise he had rooted for, as a part of a joke. However, her stint was considered successful and helped her gain more offers from film producers. Filmography

As lyricist
 Rangoon (2017)

Notes

References

External links

 Official website

1986 births
Indian film actresses
Living people
Actresses from Chennai
Punjabi women
Indian people of Italian descent
Indian people of Burmese descent
National Institute of Design alumni
Actresses in Tamil cinema
Actresses in Hindi cinema
Actresses in Telugu cinema
Actresses in Kannada cinema

masks:
Lekha Washington
Washington
Lekha Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington
Washington


title: Ari Behn

texts:
<mask> (; ,  or ; 30 September 1972 – 25 December 2019) was a Norwegian author, playwright, and visual artist. Known as Mikael Bjørshol until 1996, <mask> achieved early literary success with his 1999 short story collection Trist som faen ("Sad as hell"), which sold about 100,000 copies. Following his marriage, he wrote four novels, two short story collections, one play and a book about his wedding, and took part in other creative and artistic endeavours such as the design of a china set named "Peacock". In the 2000s and 2010s his public activity and art were met with mixed reactions in Norway, and <mask> acknowledged that many people regarded him as a "fool". From 2013 until his death he was active as a visual artist, painting in a neo-expressionist tradition inspired by Jean-Michel Basquiat. <mask>'s artwork, described as "highly narrative", was widely exhibited internationally in 2017–18. From 2002 to 2017 he was married to Princess Märtha Louise, the elder child of King Harald V. <mask> held no title or special status during the marriage, and remained a private citizen.Background and early life
<mask> was born as <mask> Bjørshol in 1972 in Aarhus, Denmark, to Olav Bjørshol (b. 1952) and Marianne Rafaela Solberg (b. 1953), Norwegians who were both Waldorf teachers and who married in 1973. The family lived in Aarhus, then in Plymouth, England, where his father trained as a photographer, and then in Tennevoll in Northern Norway where his mother worked as a teacher at the local school from 1977 to 1978. In 1978 the family settled in Moss in South Norway. Bjørshol was baptized and confirmed in The Christian Community and attended the Waldorf School in Moss from 1979. In 1983, his parents divorced and married a couple who had been among their friends, Jan Pahle and Tone Bjerke, who had previously been married to each other.Tone Bjerke had family connections to several prominent cultural figures; she was the daughter of the well-known poet André Bjerke, and her extended family included people like writer Jens Bjørneboe (father's cousin), actress Henny Moan (stepmother) and singer Ole Paus (stepmother's new partner). In the 2000s his parents divorced Pahle and Bjerke, and they married each other for the second time in 2007. In the 1990s, he studied history and religion at the University of Oslo, from which he received a bachelor's degree. <mask>'s original surname was Bjørshol and he was known by family and during his childhood and youth under the given name Mikael. In 1996, he changed his name to <mask> when he took his maternal grandmother's maiden name. The name <mask> has German origin. He had two younger siblings, Anja Sabrina and Espen, neither of whom use the name <mask>.In 2009, it was made public that <mask>'s de jure paternal grandfather, the Tromsø lawyer Bjarne Nikolai Bjørshol, was not his biological grandfather. <mask>'s father met his biological father, Terje Erling Ingebrigtsen (1933–2009), a retired car mechanic from Tromsø, for the first time, but Ingebrigtsen died before Behn had a chance to meet him. <mask> was a founding member of Den Nye Vinen ("The New Wine"), an anarchist artist collective announced in Oslo in 1993 that included Bertrand Bisigye, Henning Braathen, and Per Heimly. <mask> achieved literary success in Norway with his first collection of short stories, titled Trist som faen ("Sad as hell"), in 1999. His work received several good reviews and sold more than 100,000 copies. As an author he is best known for his first book; he subsequently published four other novels to more mixed reviews. Together with his wife, Princess Märtha, <mask> wrote a book about their wedding in 2002.He also participated in various creative projects, for example, the design of a china set named "Peacock" for Magnor Glassverk, and he was a model for a clothing chain. He also made TV documentaries, including a critical documentary on the Afghanistan War in 2002, titled Øst for krigen – invitert av Taliban. <mask> appeared in the comedy films Team Antonsen in 2004 and Long Flat Balls in 2006. He was a freelance writer for several newspapers and magazines. In 2011 he co-hosted the award-winning TV series Ari og Per on NRK with his friend Per Heimly. The appeal of one episode of the show was attributed, in part, to the willingness of <mask> and Heimly to be authentic and vulnerable participants on camera at an Ängsbacka festival. <mask> and Heimly appeared together on a later TV program, "Ari and Per Solve World Problems" on TVNorge in 2013.<mask> was also a playwright; His first play, Treningstimen ("The Training Hour") debuted in 2011. Although the play was reported to have received a standing ovation from the audience on opening night, reviews overall were mixed. From 2013, until his death, <mask> was active as a painter in a neo-expressionist tradition; he cited Jean-Michel Basquiat as his most important inspiration. As a painter he achieved commercial success by Norwegian standards, and sold paintings for 5.7 million NOK in 2018. <mask> exhibited his work internationally, including at Gabba Gallery's exhibit Borderless: Scandinavia in Los Angeles in 2018. <mask> was paired with the Scandinavian painters Mikael Persbrandt and Espen Eiborg and artwork from the trio has been shown in over 60 international galleries since 2017. Behn published Inferno in 2018 which detailed the aftermath of his divorce and included some of his struggles with mental health.Marriage and family

On 24 May 2002, <mask> married Princess Märtha Louise, the eldest child of King Harald V of Norway. Märtha Louise is a self-described clairvoyant who led her own alternative therapy center named Astarte Education/Soulspring, commonly known in Norway as the "angel school" (), which provided training in communication with angels and communication with the dead. At the time of their wedding his wife was second in the line of succession to the Norwegian throne after her younger brother; from her birth in 1971 to 1990 she was not in the line of succession at all due to Norway's agnatic primogeniture succession. She was however 26th in the line of succession to the British throne at the time of her birth. Behn remained a private citizen and held no title, royal status or special privileges during the marriage; since 1814 Norway has no nobility and no concept of commoners, only citizens. They had three daughters, all of whom are also private citizens: Maud Angelica <mask> (born 2003), Leah Isadora <mask> (born 2005), and Emma Tallulah <mask> (born 2008). The family lived for a time in Islington, north London, in New York, and then in the Lommedalen valley outside Oslo.On 5 August 2016, the Royal Court announced that Princess Märtha Louise and <mask> had started divorce proceedings and intended to share custody of their three daughters. They were divorced in 2017. At the time of his death <mask> was in a relationship with lawyer Ebba Rysst Heilman. Reception and press coverage
Around the turn of the century <mask> and some of his friends, among them photographer Per Heimly, declared themselves to be "The New Wine." During the early 2000s <mask> was often portrayed in Norwegian media as a pretentious poseur. He was known for "harsh public feuds" with critics and artists and was often the subject of ridicule in the media. In 2001 he famously challenged critic Kjetil Rolness to a duel with pistol or sword.Even his relative Ole Paus called him "Prins Kvaps von und zu Quasi" [roughly: Prince Fool von und zu Fake] in 2002. In later years <mask> was reconciled with many of his critics from this period, and public reception became less critical in the late 2010s after he became active as a visual artist. In his final novel Inferno <mask> commented on how he was viewed in Norway: "I also design tableware and wine glasses, I joke with my own position as a public figure in the media. I am a clown, in worst case. In best case, I am a debater and public figure. To many people I am a fool." Art historian Øivind Lorentz Storm Bjerke said that <mask> "is sometimes portrayed as a merry amateur who suddenly decided to try his hand at art, but this is not correct [...] he is part of a group of visual artists who lack formal training, but who are active in different art forms."<mask> made headlines in Norwegian newspapers in the autumn of 2006, when he revealed that he voted for the Norwegian Labour Party. His friendship with the former Minister of Culture and Labour leader Trond Giske attracted criticism from newspapers and politicians. In January 2009, <mask> received massive media coverage in the Norwegian press after going on a "personal vendetta" against former palace official Carl-Erik Grimstad, accusing him of spreading tabloid nonsense regarding <mask> and his family. Following his death <mask> was widely praised for his personal qualities, and described as a caring, colourful personality. In December 2017, <mask> said that the actor Kevin Spacey had groped his genitals in 2007, at a nightclub during the afterparty for the Nobel Peace Prize concert; however he said he didn't feel violated by the incident and that he "had a wonderful time" at the party; Behn said on the talkshow Skavlan: "I didn't experience it as sexual harassment [...] for me it was a compliment." Following his death American media portrayed him as a "Spacey accuser", although he had not accused Spacey of wrongdoing or been involved in any legal cases against Spacey, and conspiracy theories focusing on the incident circulated on the Internet; Norwegian commentators pointed out that Behn had regarded the incident as a minor, entertaining anecdote, and accused American media of fostering conspiracy theories by blowing the incident out of proportion. Media studies scholar Gunn Enli described American coverage of <mask>'s death and its focus on the Spacey incident "taken out of context" as a "distorted version of reality."<mask> was the subject of a documentary series that followed him during a difficult period around the time of his divorce. The three-episode series, titled <mask> Behn og halve kongeriket ("<mask> and the Half Kingdom"), was produced for TV3. Prior to the release of the series, <mask> and members of his family made clear that they did not support the final content and withheld their approval. TV3 aired the docuseries in 2018 despite the objections of <mask>, his family, and his legal representatives. After <mask>'s death, TV3 withdrew web access to the series on the day preceding his funeral. Death
<mask> died at his home in Lommedalen on 25 December 2019. A statement from his family said Behn had died by suicide.He had struggled with alcoholism and mental health problems. In a 2009 interview he said he was chronically depressed and lonely. The swift public announcement by the Norwegian royal family following his death was noted as unusually open and forthright; King Harald V, Queen Sonja, and other members of his former wife's family as well as his own family expressed their sorrow at his death in statements released to the public. His funeral was held at Oslo Cathedral on 3 January 2020. <mask>'s publisher said that <mask> left behind a completed manuscript for a children's book which he had written with his eldest daughter Maud Angelica. It is uncertain whether the book will be published. His resting place is the Cemetery of Our Saviour.Honours

National honours
 : Recipient of the Medal of the 100th Anniversary of the Birth of King Olav V
 : Recipient of the Royal House Centenary Medal
 : Recipient of the King Harald V Silver Jubilee Medal

Foreign honours
 : Knight Grand Officer of the Order of the Crown
 : Recipient of the 70th Birthday Medal of King Carl XVI Gustaf

Bibliography
Trist som faen ("Sad as Hell"), 1999, collection of short stories, 93 pages, . Fra hjerte til hjerte ("From Heart to Heart"), 2002 in collaboration with wife Märtha Louise, is a book about their wedding, . Bakgård ("Backyard"), 2003, . Entusiasme og raseri ("Enthusiasm and Rage"), a roman à clef published in October 2006, . Vivian Seving etc., 2009, . Talent for lykke ("Talent for Happiness"), 2011, collection of short stories, 96 pages, . Tiger i Hagen ("Tiger in the Garden"), 2015, collection of short stories, 96 pages, .Inferno, 2018, novel with paintings, 118 pages, . References

External links
Official Website
Memorialpage for <mask>

1972 births
2019 deaths
20th-century Norwegian male writers
Norwegian male short story writers
People from Aarhus
People from Moss, Norway
Recipients of the Order of the Crown (Netherlands)
Suicides in Norway
Waldorf school alumni
21st-century Norwegian male writers
University of Oslo alumni
Norwegian painters
20th-century Norwegian short story writers
21st-century Norwegian short story writers
2019 suicides
Painters who committed suicide

masks:
Ari Mikael Behn
Behn
Behn
Behn
Behn
Behn
Ari Mikael
Behn
Ari Behn
Behn
Behn
Behn
Behn
Work Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Behn
Ari
Ari
Behn
Behn
Behn
Behn
Ari Behn
Behn
Ari Behn


title: Alojz Gradnik

texts:
<mask> (August 3, 1882 – July 14, 1967) was a Slovenian poet and translator. <mask> was born in the village of Medana in the Gorizia Hills region, in what was then the Austro-Hungarian Empire and is today in the Municipality of Brda of Slovenia. His father was a Slovene from Trieste who came from a poor working-class background, but created considerable wealth by winemaking. His mother was an ethnic Friulian from the County of Gorizia and Gradisca. His younger brother Jožef later served as mayor of the village. Gradnik attended the multilingual State Gymnasium in Gorizia. He lived in a student home run by the Catholic Church.Among his friends from this period were Avgust Žigon, who later became a renowned literary scholar, the Slovene writer Ivan Pregelj and the Friulian prelate Luigi Fogar, who later served as bishop of Trieste. After finishing high school, he went to study law in Vienna. After graduation in 1907, he served as a district judge in the Istrian city of Pula, in Gorizia and in other smaller towns throughout the Austrian Littoral. During this period, he was active in Slovene and Croat cultural and political associations. Between 1913 and 1915, he frequented the intellectual circles of young Slovene national-liberals in Gorizia. Among his friends from the period were Andrej Gabršček, the leader of the National Progressive Party in Gorizia and Gradisca, the young historian and jurist Bogumil Vošnjak and the lawyers Dinko Puc and Drago Marušič, who all later became prominent liberal politicians in the Kingdom of Yugoslavia. In 1924, he married Mira Potokar, with whom he had a son, Sergij.In 1920, after the Italian annexation of the Julian March, he emigrated to the Kingdom of Yugoslavia, where he continued his career as a judge. In the late 1920s, he worked as an expert consultant at the Ministry of Justice in Belgrade. He was later appointed member of the High Court for the Security of the State, in which political trials were conducted. From 1936 and 1941 he served as a member of the "Bank of the Seven" (Stol sedmorice), the court of cassation which had jurisdiction on all former Austro-Hungarian parts of Yugoslavia. The court was located in Zagreb and during his stay in the Croatian capital, Gradnik enjoyed the company of Croat intellectuals like the writer Vladimir Nazor, historian Antun Barac, and poet Ivan Goran Kovačić. After the Axis invasion of Yugoslavia in April 1941, he was expelled by the new Fascist authorities of the Independent State of Croatia. He moved back to Ljubljana.Between 1942 and 1943, he was internated in the Gonars concentration camp by the Italian Fascist occupation authorities. The concentration camp experience would strongly influence his later poetry. After the end of World War II, he returned to Ljubljana, where he spent the rest of his life as a pensioner. After September 1947, when the Slovenian Littoral was annexed to Yugoslavia, he regularly visited his native village, spending most of the summer season writing poetry. Gradnik was a polyglot: besides Slovene, he was fluent in Italian, Friulian, German, Serbo-Croatian, English, and French. He also spoke Russian, Hungarian, and Spanish, and knew Latin and Ancient Greek. He studied several oriental languages, such as Sanskrit, Persian, Bengali and Mandarin.He died in Ljubljana. Work

Gradnik was a prolific author. During his lifetime, between 1916 and 1944, he published nine collections of poems and left a large number of unpublished works. Together with Izidor Cankar and Ivan Pregelj, Gradnik belonged to the second generation of modernist authors in Slovenian literature (the first was composed by Ivan Cankar, Oton Župančič, Dragotin Kette, and others). Gradnik was most influenced by the work of the poet Josip Murn Aleksandrov, and was probably among the first to acknowledge Murn's poetic genius. Like Murn, Gradnik incorporated impressionist visions of the countryside and peasant life into his poetry. Gradnik's style and vocabulary were simple, but his motifs and contents complex.Gradnik's early poetry was strongly inspired by both the older generations of Slovenian poets (the modernists, but also Simon Gregorčič and France Prešeren) and the European decadent movement. One of the specific traits of Gradnik's early period was his intense focus on the relationship between Eros and Thanatos: that is, between erotic passion and the motive of death. He later moved away from decadentism, rediscovering his Roman Catholic faith and turning to more mystical themes, maintaining a simple and plain language. He also wrote patriotic songs, in which he conveyed intimate sentiments of pain, hope and frustration for the tragedies in the contemporary Slovenian history. Gradnik was also very influenced by the visual arts, especially painting and sculpture. He wrote a book on the Slovene impressionist painter Rihard Jakopič and maintained a close friendship with the painter Ivan Grohar, the illustrators Riko Debenjak and  Miha Maleš, and the sculptor Jakob Savinšek. Several painters strongly influenced his work, especially Eugène Carrière, Božidar Jakac, and the Brueghels.Gradnik was also an important translator. Among other works, he translated the first two parts of Dante's Divine Comedy into Slovene. He also translated works of other important authors, including Francesco Petrarca, Giacomo Leopardi, Rabindranath Tagore, Giosuè Carducci, Romain Rolland, Omar Khayyam, Jovan Jovanović Zmaj, Vuk Karadžić, Ivan Mažuranić, Petar Petrović Njegoš, Ugo Foscolo, Anton Chekhov, Juan Ramón Jiménez, John Erskine, Federico García Lorca, Sándor Petőfi, Endre Ady. He also wrote children's literature. Influence and legacy

Today, <mask> is considered the most important Slovenian poet in the interwar period, next to Oton Župančič, and one of the most important Slovene poets of the 20th century. In his lifetime, however, he was mostly disregarded by critics. With his traditional style and conservative worldview, he remained outside the contemporary literary mainstream.However, he influenced the work of some highly talented non-conventional authors such as Lili Novy and France Balantič. After the establishment of the Communist regime in Yugoslavia after 1945, his position deteriorated. <mask> was an anti-Fascist, he sympathised with the Liberation Front of the Slovenian People, and even wrote several poems about the Yugoslav People's Liberation War in Slovenia. Nevertheless, his deep Christian religious sentiment and his magical realistic style were seen as reactionary by the Communists. His membership in the High Tribunal for the Security of the State, which condemned several Communist activists, was a further reason for his fall into disgrace during Josip Broz Tito's regime. He did not suffer any persecution, but he was pushed away from public life. Between 1945 and 1967, he published mostly translations and none of his new poetry was published.There was no public commemoration upon his death and he was not included in the canon taught in schools. In Yugoslavia, no street or institution was named after him until 1990. Nevertheless, many of his poems gained much popularity in his home region and a local school in the Italian commune of San Floriano del Collio was named after him in the late 1970s. <mask> was rediscovered in the late 1980s, when he was elevated to a truly national poet for the first time. He became a major source of influence for the younger generations of postmodern authors, such as Brane Senegačnik, Nevin Birsa, Aleš Šteger, and others. Since mid-1996, an annual festival has been held in August in his home village of Medana, called Days of Poetry and Wine (Dnevi poezije in vina), to which young international poets are invited. Bibliography
Padajoče zvezde - (Falling Stars, 1916)
Pot bolesti - (The Path of Sorrow, 1922)
De Profundis - (1926)
Svetle samote - (Bright Solitudes, 1932)
Večni studenci - (Eternal Wells, 1938)
Zlate lestve - (Golden Ladders, 1940)
Bog in umetnik - (God and the Artist, 1943)
Pojoča kri - (Singing Blood, 1944)
Pesmi o Maji - (Poems about Maja, 1944)
Grozdja Girlande - (Garlands of Grapes)
Tolmin - (Tolmin)

Sources

Taras Kermauner, <mask>a pot k Bogu (Nova Gorica: Zveza kulturnih organizacij, 1997).Fedora Ferluga Petronio, "Alojz Gradnik - Pesnik goriških Brd: mednarodni simpozij ob 125. obletnici pesnikovega rojstva", Primorski dnevnik, yr. 69, n. 113 (May 13, 2007). Danila Zuljan Kumar, "Z referati osvetlili njegovo poezijo: Gradnikov simpozij na Univerzi v Vidmu, Briški časnik, y. 11, n. 47 (2007). 1882 births
1967 deaths
Slovenian poets
Slovenian translators
Italian–Slovene translators
Serbian–Slovene translators
Croatian–Slovene translators
Hungarian–Slovene translators
Slovenian lawyers
University of Vienna alumni
Members of the Slovenian Academy of Sciences and Arts
Slovenian people of Friulian descent
Slovenian Roman Catholics
Slovenian Catholic poets
Presidents of the Slovene Writers' Association
20th-century poets
20th-century translators
People from the Municipality of Brda
20th-century lawyers

masks:
Alojz Gradnik
Life Gradnik
Gradnik
Gradnik
Gradnik
Gradnikov


title: Lawrence Barrett

texts:
<mask> (April 4, 1838 – March 20, 1891) was an American stage actor. Biography

A native of Paterson, New Jersey, <mask> was born in 1838 to Mary Agnes (née Read) <mask> and tailor <mask>, Irish immigrants who had settled in Paterson. He was raised in Detroit, and made his first stage appearance there in 1853 as Murad in The French Spy. In December 1856 he made his first New York appearance at the Chambers Street theatre as Sir Thomas Clifford in The Hunchback. In 1858 he was in the repertory company at the Boston Museum. In 1862 enlisted for the American Civil War, and was appointed a captain in Company B of the 28th Regiment Massachusetts Volunteer Infantry Regiment; he served until resigning in 1863. From 1868 to 1870, with John McCullough, he managed the California theatre, San Francisco, where he frequently toured the interior towns with McCullough and casts from the theater.Among his many and varied parts may be mentioned Hamlet, King Lear, Macbeth, Shylock, Richard III, Wolsey, Benedick in Much Ado About Nothing, Richelieu, David Garrick, Hernani, Alfred Evelyn, Lanciotto in George Henry Boker's (1823–1890) Francesca da Rimini, and Janies Harebell in The Man o' Airlie. <mask> acted in London in 1867, 1882, 1883 and 1884, his "Cardinal Richelieu" portrayal in Edward Bulwer-Lytton's drama being considered his best part. In 1889, he produced the first performance of The Duchess of Padua, retitling it Guido Ferranti and taking on the title role. In 1869 <mask> partnered with actor John McCullough in the creation of San Francisco's California Theater, leaving his management position within two years, although he became a frequent actor on tour of the West throughout the 1870s and 80s. He was particularly successful in Kansas City, Missouri, where he performed for a week in December 1870 in the inaugural season of the Coates Opera House; he returned 11 times. In 1889, he produced William Young's play Ganelon, with himself in the title role. The expensive production set in the Middle Ages had a successful run.William S. Hart, who was initially hired to play one of the roles, recalled," The performances were given, and they were highly creditable too!" He was managed for many years by Robert E. Stevens, the father of actress Emily Stevens and theater director Robert Stevens. In addition to his acting, <mask> also wrote a life of Edwin Forrest in the American Actors Series (Boston, 1881). Of the actor, <mask> said his personality was too strong to allow his characters to show through: "He was in all things marked and distinctive. His obtrusive personality often destroyed the harmony of the portrait he was painting." <mask> frequently worked with fellow stage actor Edwin Booth; he played Othello to Booth's Iago and Cassius to his Brutus in Julius Caeasar. He wrote a sketch of his colleague for Edwin Booth and his Contemporaries (Boston, 1886).Shortly after, <mask> contacted Booth and suggested that the two tour together beginning in 1887 season. They worked together for the next several years and were immensely successful, both in popularity and in financial returns. As Booth reflected on <mask>'s leadership and management, he wrote: "Well, why should I not do good work, after all <mask> has done for me... Good work, eh? Well, I'll give him the best that's in me, he deserves it." On April 3, 1889, the two were performing in Othello but Booth's voice did not work when he attempted to deliver Iago's first lines. <mask> asked the curtain to be lowered and called for doctors before telling the audience there would be no performance that night. He was reported as saying, "We fear that this is the beginning of the end.The world may have heard for the last time the voice of the greatest actor who speaks the English language." Newspapers reported that Booth was dying, though he survived the incident. <mask> began showing serious health problems in 1890. That year, after organizing performances starring Booth and Polish actress Helena Modjeska, he traveled to a spa in Germany before rejoining them in the fall. Due to a glandular problem, however, his face was swollen and his voice was weak. Finally, in March 1891, during a performance of Richelieu at the Broadway Theatre, <mask> whispered to Booth that he could not go on. He finished the scene before being replaced by his understudy.He died three days later. A few years after his death, author Eugene Field criticized the condition of his grave in Massachusetts, writing: "The neglect with which <mask>'s memory has been treated... is one of the most shameful blots upon the theatrical profession." Personal life
<mask> married Mary F. Mayer in Boston on September 4, 1859. <ref>Famous Actors and Actresses on the American Stage, p.51 vol. 1 A-J c.1975 by William C. Young .. </ref>
He was the grandfather of stage and screen actress <mask>, the first wife of Vincent Price. <mask> was a longtime friend of Miss Matoaca Gay; he encouraged her studies of Shakespeare, and even gave readings at Miss Gay's study groups. Acting style
One critic noted <mask> had "a well knit form and face capable of expressing sorrow, by the merest movement of a muscle; joy by the kindling of the eye; or rage, by the transport of the entire body".Another critic disagreed, however, writing: "Mr. <mask> is generally looked upon as being a brainy man, an earnest man, an ambitious man, and a studious man. He writes well, talks well, and manages well, but in the judgment of the metropolitan connoisseurs he does not play well. His culture and cleverness appear, they say, in everything he does except in his stage personations." Quotation

References

Sources

Auden, W.H. ; Kronenberger, Louis (1966), The Viking Book of Aphorisms'', New York: Viking Press. External links

Guide to <mask> correspondence at Houghton Library, Harvard University

1838 births
1891 deaths
19th-century American male actors
American male stage actors
American people of Irish descent
Actors from Paterson, New Jersey
People of Massachusetts in the American Civil War

masks:
Lawrence Barrett
Barrett
Barrett
Thomas Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Edith Barrett
Barrett
Barrett
Barrett
Lawrence Barrett


title: Princess Marianne of the Netherlands

texts:
Princess <mask> of the Netherlands, Princess of Orange-Nassau (Wilhelmina Frederika Louise <mask>; 9 May 1810 – 29 May 1883) was the youngest child of King William I of the Netherlands and Princess Wilhelmine of Prussia. Princess <mask> was a woman who thought and lived very unconventionally for her time because she had left her unfaithful husband Prince Albert of Prussia and had an illegitimate son (with she openly recognized) with her partner Johannes van Rossum, with whom she also lived in a common-law marriage. She was banished from the Kingdom of Prussia. An avid art collector and patron, she made her new residence, Schloss Reinhartshausen in Erbach, a cultural attraction on the Rhine. Through her remarkable social commitment to the needy, especially in the Rheingau and Silesia, she gained great sympathy among the population. The Johanneskirche in Erbach, which was founded by the deeply religious <mask> after the tragic death of her 12-year-old illegitimate son, is closely linked to her fate. This church is an exceptional cultural monument and was the first Protestant church in the Rheingau.Early life

Born in Berlin, <mask> was the youngest child and second daughter of Prince William Frederick of Orange-Nassau by his wife Wilhelmine of Prussia. Her elder sister Pauline had died long before her birth, so <mask> became the only daughter of her parents to survive to adulthood. Her two older brothers were Prince William Frederick George Louis (future King William II of the Netherlands) and Prince William Frederik Charles. Two other brothers were stillborn on 18 August 1795 and 30 August 1806, respectively. After France had conquered the Netherlands in 1795, Prince William and his family fled first to Great Britain and later to his father-in-law's court in Berlin. <mask> was born there on 9 May 1810 as the Nesthäkchen (Baby of the Family) in the Niederländisches Palais; named after her maternal aunt-by-marriage Princess William of Prussia. Her baptism took place twenty-two days later, on 31 May, with her older brother William Frederick as one of her godparents.When their homeland was liberated from Napoleonic rule in 1813, the exile finally came to an end. <mask>'s father had landed on the beach of Scheveningen on 30 November 1813 and some time later <mask> came to The Hague with her mother and her nanny Bonninck. The family temporarily lived in the Huis Huguetan at 34 Lange Voorhout, and after the Noordeinde Palace and the Huis ten Bosch were refurnished, they moved there. The summer months were spent at the Het Loo Palace in Apeldoorn. On 30 March 1814, her father was inaugurated as Sovereign of the Netherlands in the Nieuwe Kerk in Amsterdam. By the Congress of Vienna, Belgium was annexed to the Netherlands and on 21 September 1815, William I was inaugurated as King in Brussels. As the new King and Queen of the Netherlands and Belgium, her parents had little time for their daughter; this distant and non-authoritarian upbringing was decisive in <mask>'s character.They appointed a governess from a noble circle, Countess Jacoba Bentinck, married to the Lord of Middachten. She was strict with <mask> and arranged her princely education, including lessons from the home teacher Catharina van Ulft. Although she received lessons in foreign languages, her mastering of them are poor, and she spoke a mixture of German and French, and hardly any Dutch. In 1828 she was betrothed to Gustav, former Crown Prince of Sweden, and the bride and groom evidently had true feelings for each other. But the son of a dethroned king was not considered befitting, and the engagement was broken off in 1829. Marriage with Prince Albert of Prussia
In Noordeinde Palace at The Hague on 14 September 1830, <mask> married her first cousin Prince Albert, the fourth son of her mother's brother, King Frederick William III of Prussia. The couple lived in Berlin, initially in Schönhausen Palace in Pankow, and from 1832 in the Prinz-Albrecht-Palais in Friedrichstadt, built by Karl Friedrich Schinkel; <mask> also bought the Schloss Kamenz in 1838 for her family in the village of Kamieniec Ząbkowicki, Lower Silesia, in southwestern Poland.However, soon the marriage became unhappy: the sensitive, deeply religious, artistically and socially interested <mask> and the militarily educated, Prussian drill-loving Albert did not match each other's characters; he was also prone to extramarital adventures. <mask> did not want to accept this without complaint and, as was expected at the time, to keep quiet for the sake of form. In 1845, after she found that Albert began a love affair with her own lady-in-waiting Rosalie von Rauch (the daughter of the Prussian Minister of War Gustav von Rauch), <mask> finally left him and moved to the town of Voorburg, located in the west part of the province of South Holland, Netherlands. She asked for a divorce, but neither the Prussian nor the Dutch court gave their approval. Thereupon she traveled through Europe or stayed on her estates in Italy, Silesia and the Netherlands; despite this, at least until 1848 <mask> tried to reach a reconciliation with her husband, without success. Union with Johannes van Rossum

On 7 March 1848 <mask> bought the Rusthof estate Buitenplaats Rusthof in Voorburg and settled there with her lover, the already married Johannes van Rossum, who was her personal coachman; he also became her travel companion and later cabinet secretary. In doing so, she violated the principles of her class and provoked a scandal.When was found that she was expecting a child from van Rossum, in order to prevent an even bigger scandal, both courts of The Hague and Berlin finally gave their permission for the divorce that <mask> and Albert had longed for. On 28 March 1849, the divorce was officially pronounced, and on 30 October <mask> gave birth to a son, Johannes Wilhelm von Reinhartshausen in Cefalù, during one of her trips to Sicily. The courts of The Hague and Berlin then broke off all contact with <mask>: in the Kingdom of Prussia, there was even an official exile decree that allowed her to stay on Prussian soil for only 24 hours at a time. The upbringing of her children from her marriage to Albert was also withdrawn from her; the guardianship passed to Queen Elisabeth of Prussia. Soon after the birth of their son, she traveled with Johannes van Rossum through Europe and the Orient (Egypt, Palestine, Syria) before finally settling in Rome in 1851 at the Villa Celimontana, whom she had bought and where she brought her son to live with her and van Rossum. With her decision to raise her illegitimate child herself and not, as is customary in the aristocracy, to silently give it into the hands of someone else as a "misstep", she once again attracted the disapproval of the royal families. <mask> and van Rossum never married but simply lived together, although a morganatic marriage would have been possible after the death of van Rossum's wife Catharina Wilhelmina Keijzer in 1861.Mother and entrepreneur
For <mask>, the banishment decree meant that she could only meet her children (and later grandchildren), with whom she remained closely connected throughout her life, outside of Prussia or during a 24-hour stay. The encounters therefore took place on <mask>'s estates in the Netherlands and Italy or in the Weißwasser Castle near Jauernig, which she acquired in 1853, right behind the Prussian border. From here she was quickly in Prussia, and could also reach her goods in Silesia, and continue to take care of their management and administration. <mask> was a clever entrepreneur who increased her possessions in the course of her life and made her descendants the richest branch of the Hohenzollern dynasty. In 1843, she bought the Villa Sommariva in Tremezzo on Lake Como in Northern Italy for 780,000 lira to her former owner Emilia Sommariva, and in 1850 she gave it as a present to her eldest daughter Charlotte on occasion to her wedding to the Hereditary Duke of Saxe-Meiningen, being renamed Villa Carlotta; Charlotte enjoyed the villa for only a few years before dying in 1855 at the age of 23 of complications from childbirth. The Schloss Kamenz in Silesiawas the wedding present for her son Albert. At her children's weddings, as at all family celebrations, she was not tolerated throughout her life.Despite the family and social ostracism, <mask> never hid her love partner and their illegitimate child. She also appeared with them at public events. A new home in the Rheingau
In search of permanent residence near the Prussian border, which would make it easier for her to visit her children, <mask> moved back from Italy to her homeland in 1855. She acquired Schloss Reinhartshausen in Erbach in the Duchy of Nassau, near the Westerwald headquarters of her Orange-Nassau dynasty (Laurenberg, Nassau, Dillenburg, Diez). Here she settled with Johannes van Rossum and their son. It was to remain her residence until her death. Patronage
An unusually progressive woman and cultural visionary, <mask> made the Schloss Reinhartshausen a cultural center of the Rhine.<mask> reconstructed part of the Schloss as a museum to house her art collection, probably consisting of more than 600 paintings, graphics and numerous marble statues, most of which she had brought with her from Rome. The museum is known today as the Festsäle. The Schloss was always vibrant with many guests and <mask> encouraged young artists providing them accommodation and patronage. Of her art collection, only 180 paintings, 110 drawings including watercolors and gouaches, as well as various sculptures can be found in the Schloss Reinhartshausen today: some statues in the castle garden and in the garden of the rectory of the Johanneskirche in Erbach, most of which was distributed in her family and probably sold. In 1932 there was also an auction in Berlin. In 1872 in the name of her father King William I, she donated almost two thirds of the constructions costs to Dillenburg to help finance the creation of a new lookout tower, the Wilhelmsturm, to commemorate her ancestor <mask> Silent who received the envoys from the Low Countries at his home on this spot asking him to take the lead in their rebellion against the Spanish Netherlands. Foundation of the Johanneskirche in Erbach

<mask> and van Rossum had their son raised in a civil society, he was supposed to become a theologian or lawyer.From October 1861 onward, Johannes Wilhelm von Reinhartshausen was no longer taught by private tutors, but attended a boarding school in nearby Dauborn. But during the holidays he fell ill with scarlet fever at home and died surprisingly on Christmas Day of 1861. The deeply religious Protestant <mask> gave the community of Erbach a piece of land and 60,000 guilders for the construction of the first Protestant church in the Rheingau on the evening of the day he died, including the clergy house. In doing so, she fulfilled her son's wish for his own place of worship for Protestant Christians in the Rheingau, which he had expressed a few weeks before his death. The builder of the church was Eduard Zais, son of the famous Nassau master builder Christian Zais. <mask>'s son was finally buried in the crypt behind the altar of this church, which was solemnly inaugurated in 1865. A small angel figure by the Dutch sculptor Johann Heinrich Stöver commissioned by her adorns his sarcophagus.Stöver also created three Carrara marble statues based on motifs by the Danish sculptor Bertel Thorvaldsen, which were placed in the chancel and symbolize faith, love and hope. In honor of the apostle Johannes and in memory of Johannes Wilhelm, the church was named Johanneskirche. Social engagement
<mask> supported social and church institutions into old age. She was extremely popular not only in the Rheingau because of her great social commitment. She financed the pastoral office of the Johanneskirche, she founded and improved the pastor's salary, supported the needy in the parishes of both denominations ("everyone is equal before God") as well as the school in Erbach and the Wiesbaden institution for the blind. In Silesia she supported widows' funds, orphanages, hospitals and also here the construction of a Protestant church with a rectory. Later years and death

On 10 May 1873 Johannes van Rossum, <mask>'s partner for 25 years and the love of her life, died from comsumpition aged 63 at Schloss Reinhartshausen.Although <mask> had reserved space for two more graves next to her son in the deed of foundation of the Johanneskirche, for herself and van Rossum, at the end van Rossum was buried on 14 April in the public cemetery of Erbach, as was noted in the church book of the Johanneskirche; there had been arguments with the pastor, as recorded in the pastor's wife's memoir. It may be assumed that he was annoyed by the unconventional life of the couple and therefore denied the burial of van Rossum in the church crypt. <mask> then ordered in 1876 to be buried there as well, in a simple oak coffin side by side with her partner. She appointed her son Prince Albert of Prussia as executor of her last will. <mask> survived van Rossum by ten years and died in the Schloss Reinhartshausen in Erbach on 29 May 1883, 20 days after her 73rd birthday; as was previously determined by her, she was buried next to her partner in the public cemetery of Erbach. Just as previously commissioned for her son's grave, a work made by the Dutch sculptor Johann Heinrich Stöver was made for van Rossum's grave, a blessing statue of Christ made of Carrara marble, again based on a figure by the Danish sculptor Bertel Thorvaldsen. To this day it adorns the joint grave of <mask> and van Rossum in the Erbach cemetery.The base of the Christ statue with the inscriptions from the Gospel of John, the decorated grave border made of Lahn marble and the grave slab with inscription were made by Josef Leonhard (1833–1901), offspring of the renowned Nassau sculptor dynasty Leonhard from the marble metropolis of Villmar on the Lahn. He was apprenticed to the famous Wiesbaden sculptor Emil Hopfgarten and in 1856 he opened a studio in Eltville am Rhein, which still exists today. Johannes van Rossum is not mentioned on the grave slab of the joint grave with <mask>. It is not known whether he was buried anonymously or whether his grave slab had to give way to <mask>'s 10 years later. However, reference is made to <mask>'s marriage to Prince Albert of Prussia, from whom she had been divorced since 1849 and who was morganatically married to Rosalie von Rauch from 1853 until his death in 1872. The inscription on <mask>'s grave slab reads:

Hier ruht in Gott
in der Erwartung einer fröhlichen Auferstehung
Wilhelmine Friederike
Luise <mask>
von Nassau Oranien, Prinzessin der Niederlande
geb. zu Berlin am 9.Mai 1810
vermählt im Haag am 14. Septbr. 1830 mit
Friedrich Heinrich
Albrecht
Prinz von Preussen
gest. zu Reinhartshausen bei Erbach

Whose roughly translation in English is: Here in God rests in the expectation of a happy resurrection Wilhelmine Friederike Luise <mask> of Nassau Orange, Princess of the Netherlands, born in Berlin on May 9, 1810, married in The Hague on September 14. 1830 with Friedrich Heinrich Albrecht Prince of Prussia died at Reinhartshausen near Erbach. A second grave slab on the base of the Christ statue mentions Elisabeth Mees, born Princess of Prussia and great-granddaughter of <mask>, who died in 1961 at the age of 42 and was buried there. Honors
In 1896 the river island in front of Schloss Reinhartshausen was renamed Mariannenaue in her honor on the initiative of the then owner of the island, <mask>'s son Prince Albert of Prussia (1837–1906).It is the largest Rhine island on the Middle Rhine between Erbach and Hattenheim. <mask>'s 200th birthday in 2010 was used by Schloss Reinhartshausen and the local evangelical parish Triangelis (Eltville, Erbach, Kiedrich) as an opportunity for festive events in which her life and work were honored. On the Reformation Day weekend in 2015, the Johanneskirche was reopened after 10 months of renovation work with a glamorous festival program of church services and concerts. At the same time, their 150th anniversary was celebrated and the founder was remembered. Adrian Diel, German doctor and founder of pomology, put a pear named Prinzessin <mask> after the young princess in 1818, probably on the wave of enthusiasm after the creation of the United Kingdom of the Netherlands in 1815 under the rule of the House of Orange-Nassau. Ancestry

References

Bibliography

  2nd edition; N° 3404. External links

 Royal House of the Netherlands

1810 births
1883 deaths
People from Berlin
House of Orange-Nassau
Princesses of Orange-Nassau
Prussian princesses
House of Hohenzollern
William I of the Netherlands
People from the Rheingau

masks:
Marianne
Charlotte Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
William the
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Marianne
Charlotte Marianne
Charlotte Marianne
Marianne
Marianne
Marianne
Marianne