title: Mark Rothko

texts:
 paintings in this period contrast barbaric scenes of violence with civilized passivity, using imagery drawn primarily from Aeschylus's Oresteia trilogy. A list of <mask>'s paintings from this period illustrates his use of myth: Antigone, Oedipus, The Sacrifice of Iphigenia, Leda, The Furies, Altar of Orpheus. <mask> evokes Judeo-Christian imagery in Gethsemane, The Last Supper, and Rites of Lilith. He also invokes  Egyptian (Room in Karnak) and Syrian (The Syrian Bull) myth. Soon after World War II, <mask> believed his titles limited the larger, transcendent aims of his paintings. To allow maximum interpretation by the viewer, he stopped naming and framing his paintings, referring to them only by numbers. "Mythomorphic" abstractionism
At the root of <mask> and Gottlieb's presentation of archaic forms and symbols, illuminating modern existence, had been the influence of Surrealism, Cubism, and abstract art.In 1936, <mask> attended two exhibitions at the Museum of Modern Art, "Cubism and Abstract Art", and "Fantastic Art, Dada and Surrealism". In 1942, following the success of shows by Ernst, Miró, Wolfgang Paalen, Tanguy, and Salvador Dalí, artists who had immigrated to the United States because of the war, Surrealism took New York by storm. <mask> and his peers, Gottlieb and Newman, met and discussed the art and ideas of these European pioneers, as well as those of Mondrian. New paintings were unveiled at a 1942 show at Macy's department store in New York City. In response to a negative review by The New York Times, <mask> and Gottlieb issued a manifesto, written mainly by <mask>. Addressing the Times critic's self-professed "befuddlement" over the new work, they stated "We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal.We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth." On a more strident note, they criticised those who wanted to live surrounded by less challenging art, noting that their work necessarily "must insult anyone who is spiritually attuned to interior decoration". <mask>'s viewed myth as a replenishing resource for an era of spiritual void. This belief had begun decades earlier, through his reading of Carl Jung, T. S. Eliot, James Joyce and Thomas Mann, among other authors. Break with Surrealism
On June 13, 1943, <mask> and Sachar separated again. <mask> suffered a depression following their divorce.Thinking that a change of scenery might help, <mask> returned to Portland. From there, he traveled to Berkeley, where he met artist Clyfford Still, and the two began a close friendship. Still's deeply abstract paintings would be of considerable influence on <mask>'s later works. In the autumn of 1943, <mask> returned to New York. He met with noted collector and art dealer Peggy Guggenheim, but she was initially reluctant to take on his artworks. <mask>'s one-person show at Guggenheim's The Art of This Century Gallery, in late 1945, resulted in few sales, with prices ranging from $150 to $750. The exhibit also attracted less-than-favorable reviews from critics.During this period, <mask> had been stimulated by Still's abstract landscapes of color, and his style shifted away from surrealism. <mask>'s experiments in interpreting the unconscious symbolism of everyday forms had run their course. His future lay with abstraction:

<mask>'s masterpiece Slow Swirl at the Edge of the Sea (1945) illustrates his newfound propensity towards abstraction. It has been interpreted as a meditation on <mask>'s courtship of his second wife, Mary Alice "Mell" Beistle, whom he met in 1944 and married in early 1945. Other readings have noted echoes of Botticelli's The Birth of Venus, which <mask> saw at an "Italian Masters" loan exhibition, at the Museum of Modern Art, in 1940. The painting presents, in subtle grays and browns, two human-like forms embraced in a swirling, floating atmosphere of shapes and colors. The rigid rectangular background foreshadows <mask>'s later experiments in pure color.The painting was completed, not coincidentally, in the year the Second World War ended. Despite the abandonment of his "Mythomorphic Abstractionism", <mask> would still be recognized by the public primarily for his surrealist works, for the remainder of the 1940s. The Whitney Museum included them in their annual exhibit of contemporary art from 1943 to 1950. "Multiforms"
In 1946, <mask> created what art critics have since termed his transitional "multiform" paintings. Although <mask> never used the term multiform himself, it is nonetheless an accurate description of these paintings. Several of them, including No. 18 and Untitled (both 1948), are less transitional than fully realized.<mask> himself described these paintings as possessing a more organic structure, and as self-contained units of human expression. For him, these blurred blocks of various colors, devoid of landscape or the human figure, let alone myth and symbol, possessed their own life force. They contained a "breath of life" he found lacking in most figurative painting of the era. They were filled with possibility, whereas his experimentation with mythological symbolism had become a tired formula. The "multiforms" brought <mask> to a realization of his signature style of rectangular regions of color, which he continued to produce for the rest of his life. In the middle of this crucial period of transition, <mask> had been impressed by Clyfford Still's abstract fields of color, which were influenced in part by the landscapes of Still's native North Dakota. In 1947, during a summer semester teaching at the California School of Fine Art, Rothko and Still flirted with the idea of founding their own curriculum.In 1948, <mask>, Robert Motherwell, William Baziotes, Barnett Newman, and David Hare founded the Subjects of the Artist School at 35 East 8th Street. Well attended lectures there were open to the public, with speakers such as Jean Arp, John Cage and Ad Reinhardt, but the school failed financially and closed in the spring of 1949. Though the group separated later in the same year, the school was the center of a flurry of activity in contemporary art. In addition to his teaching experience, <mask> began to contribute articles to two new art publications, Tiger's Eye and Possibilities. Using the forums as an opportunity to assess the current art scene, Rothko also discussed in detail his own work and philosophy of art. These articles reflect the elimination of figurative elements from his painting, and a specific interest in the new contingency debate launched by Wolfgang Paalen's Form and Sense publication of 1945. <mask> described his new method as "unknown adventures in an unknown space", free from "direct association with any particular, and the passion of organism".Breslin described this change of attitude as "both self and painting are now fields of possibilities – an effect conveyed ... by the creation of protean, indeterminate shapes whose multiplicity is let be." In 1947 he had a first solo exhibition at the Betty Parsons Gallery (March 3 to 22). In 1949, <mask> became fascinated by Henri Matisse's Red Studio, acquired by the Museum of Modern Art that year. He later credited it as another key source of inspiration for his later abstract paintings. Late period
Soon, the "multiforms" developed into the signature style; by early 1949 <mask> exhibited these new works at the Betty Parsons Gallery. For critic Harold Rosenberg, the paintings were nothing short of a revelation. After painting his first "multiform", <mask> had secluded himself to his home in East Hampton on Long Island.He invited only a select few, including Rosenberg, to view the new paintings. The discovery of his definitive form came at a period of great distress to the artist; his mother Kate had died in October 1948. <mask> happened upon the use of symmetrical rectangular blocks of two to three opposing or contrasting, yet complementary, colors, in which, for example, "the rectangles sometimes seem barely to coalesce out of the ground, concentrations of its substance. The green bar in Magenta, Black, Green on Orange, on the other hand, appears to vibrate against the orange around it, creating an optical flicker." Additionally, for the next seven years, <mask> painted in oil only on large canvases with vertical formats. Very large-scale designs were used in order to overwhelm the viewer, or, in <mask>'s words, to make the viewer feel "enveloped within" the painting. For some critics, the large size was an attempt to make up for a lack of substance.In retaliation, <mask> stated:

<mask> even went so far as to recommend that viewers position themselves as little as eighteen inches away from the canvas so that they might experience a sense of intimacy, as well as awe, a transcendence of the individual, and a sense of the unknown. As <mask> achieved success, he became increasingly protective of his works, turning down several potentially important sales and exhibition opportunities:

<mask>'s aims, in the estimation of some critics and viewers, exceeded his methods. Many of the abstract expressionists discussed their art as aiming toward a spiritual experience, or at least an experience that exceeded the boundaries of the purely aesthetic. In later years, <mask> emphasized more emphatically the spiritual aspect of his artwork, a sentiment that would culminate in the construction of the Rothko Chapel. Many of the "multiforms" and early signature paintings are composed of bright, vibrant colors, particularly reds and yellows, expressing energy and ecstasy. By the mid-1950s, however, close to a decade after the completion of the first "multiforms," <mask> began to employ dark blues and greens; for many critics of his work this shift in colors was representative of a growing darkness within <mask>'s personal life. <mask>'s method was to apply a thin layer of binder mixed with pigment directly onto uncoated and untreated canvas and to paint significantly thinned oils directly onto this layer, creating a dense mixture of overlapping colors and shapes.His brushstrokes were fast and light, a method he would continue to use until his death. His increasing adeptness at this method is apparent in the paintings completed for the Chapel. With an absence of figurative representation, what drama there is to be found in a late <mask> is in the contrast of colors, radiating against one another. His paintings can then be likened to a sort of fugue-like arrangement: each variation counterpoised against one another, yet all existing within one architectonic structure. <mask> used several original techniques that he tried to keep secret even from his assistants. Electron microscopy and ultraviolet analysis conducted by the MOLAB showed that he employed natural substances such as egg and glue, as well as artificial materials including acrylic resins, phenol formaldehyde, modified alkyd, and others. One of his objectives was to make the various layers of the painting dry quickly, without mixing of colors, so that he could soon create new layers on top of the earlier ones.European travels: increasing fame
<mask> in the monastery of San Marco, Florence, most impressed him. Fra Angelico's spirituality and concentration on light appealed to <mask>'s sensibilities, as did the economic adversities the artist faced, which <mask> saw as similar to his own. <mask> had one-man shows at the Betty Parsons Gallery in 1950 and 1951 and at other galleries across the world, including in Japan, São Paulo and Amsterdam. The 1952 "Fifteen Americans" show curated by Dorothy Canning Miller at the Museum of Modern Art formally heralded the abstract artists and included works by Jackson Pollock and William Baziotes.It also created a dispute between <mask> and Barnett Newman, after Newman accused <mask> of having attempted to exclude him from the show. Growing success as a group was leading to infighting and claims to supremacy and leadership. When Fortune magazine named a Rothko painting in 1955 as a good investment, Newman and Clyfford Still branded him a sell-out with bourgeois aspirations. Still wrote to <mask> to ask that the paintings he had given him over the years be returned. <mask> was deeply depressed by his former friends' jealousy. During the 1950 Europe trip, <mask>'s wife, Mell, became pregnant. On December 30, when they were back in New York, she gave birth to a daughter, Kathy Lynn, called "Kate" in honor of <mask>'s mother, Kate Goldin.Reactions to his own success
Shortly thereafter, due to the Fortune magazine plug and further purchases by clients, <mask>'s financial situation began to improve. In addition to sales of paintings, he also had money from his teaching position at Brooklyn College. In 1954, he exhibited in a solo show at the Art Institute of Chicago, where he met art dealer Sidney Janis, who represented Pollock and Franz Kline. Their relationship proved mutually beneficial. Despite his fame, <mask> felt a growing personal seclusion and a sense of being misunderstood as an artist. He feared that people purchased his paintings simply out of fashion and that the true purpose of his work was not being grasped by collectors, critics, or audiences. He wanted his paintings to move beyond abstraction, as well as beyond classical art.For <mask>, the paintings were objects that possessed their own form and potential, and therefore, must be encountered as such. Sensing the futility of words in describing this decidedly non-verbal aspect of his work, <mask> abandoned all attempts at responding to those who inquired after its meaning and purpose, stating finally that silence is "so accurate": "My paintings' surfaces are expansive and push outward in all directions, or their surfaces contract and rush inward in all directions. Between these two poles, you can find everything I want to say." <mask> began to insist that he was not an abstractionist and that such a description was as inaccurate as labeling him a great colorist. His interest was:

For <mask>, color is "merely an instrument". The multiforms and the signature paintings are, in essence, the same expression of basic human emotions as his surrealistic mythological paintings, albeit in a purer form. What is common among these stylistic innovations is a concern for "tragedy, ecstasy and doom".It was <mask>'s comment on viewers breaking down in tears before his paintings that may have convinced the de Menils to construct the Rothko Chapel. Whatever <mask>'s feeling about interpretations of his work, it is apparent that, by 1958, the spiritual expression he meant to portray on canvas was growing increasingly dark. His bright reds, yellows and oranges were subtly transformed into dark blues, greens, grays and blacks. <mask>'s friend, the art critic Dore Ashton, points to the artist's acquaintance with poet Stanley Kunitz as a significant bond in this period ("conversations between painter and poet fed into <mask>'s enterprise"). Kunitz saw <mask> as "a primitive, a shaman who finds the magic formula and leads people to it". Great poetry and painting, Kunitz

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title: Mark Rothko

type: original

texts:
 believed, both had "roots in magic, incantation, and spell-casting" and were, at their core, ethical and spiritual. Kunitz instinctively understood the purpose of <mask>'s quest.In November 1958, <mask> gave an address to the Pratt Institute. In a tenor unusual for him, he discussed art as a trade and offered the "recipe of a work of art—its ingredients—how to make it—the formula

 There must be a clear preoccupation with death—intimations of mortality ... Tragic art, romantic art, etc., deals with the knowledge of death. Sensuality. Our basis of being concrete about the world. It is a lustful relationship to things that exist. Tension.Either conflict or curbed desire. Irony, This is a modern ingredient—the self-effacement and examination by which a man for an instant can go on to something else. Wit and play ... for the human element. The ephemeral and chance ... for the human element. Hope. 10% to make the tragic concept more endurable. I measure these ingredients very carefully when I paint a picture.It is always the form that follows these elements and the picture results from the proportions of these elements." Seagram Murals–Four Seasons restaurant commission

In 1958, <mask> was awarded the first of two major mural commissions, which proved both rewarding and frustrating. The beverage company Joseph Seagram and Sons had recently completed the new Seagram Building skyscraper on Park Avenue, designed by architects Mies van der Rohe and Philip Johnson. <mask> agreed to provide paintings for the building's new luxury restaurant, the Four Seasons. This was, as art historian Simon Schama put it, "bring[ing] his monumental dramas right into the belly of the beast". For <mask>, this Seagram murals commission presented a new challenge, since it was the first time he was required not only to design a coordinated series of paintings, but to produce an artwork space concept for a large, specific interior. Over the following three months, <mask> completed forty paintings, comprising three full series in dark red and brown.He altered his horizontal format to vertical, to complement the restaurant's vertical features: columns, walls, doors and windows. The following June, <mask> and his family again traveled to Europe. While on the SS Independence he disclosed to journalist John Fischer, who was publisher of Harper's Magazine, that his true intention for the Seagram murals was to paint "something that will ruin the appetite of every son-of-a-bitch who ever eats in that room". He hoped, he told Fischer, that his painting would make the restaurant's patrons "feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall". While in Europe, the Rothkos traveled to Rome, Florence, Venice and Pompeii. In Florence, he visited Michelangelo's Laurentian Library, to see first-hand the library's vestibule, from which he drew further inspiration for the murals. He remarked that "the room had exactly the feeling that I wanted ... it gives the visitor the feeling of being caught in a room with the doors and windows walled-in shut."He was further influenced by the somber colors of the murals in the Pompeiian Villa of the Mysteries. Following the trip to Italy, the Rothkos voyaged to Paris, Brussels, Antwerp and Amsterdam, before going to London where <mask> spent time in the British Museum studying the Turner watercolors. They then traveled to Somerset and stayed with the artist William Scott who was just starting a large mural project and they discussed the respective issues of public and private sponsorship. After the visit the Rothkos continued to St. Ives in the West of England and met up with Patrick Heron and other Cornish painters before returning to London and then the United States. Once back in New York, <mask> and wife Mell visited the nearly-completed Four Seasons restaurant. Upset with the restaurant's dining atmosphere, which he considered pretentious and inappropriate for the display of his works, <mask> refused to continue the project, and returned his cash advance to the Seagram and Sons Company. Seagram had intended to honor <mask>'s emergence to prominence through his selection, and his breach of contract and public expression of outrage were unexpected.<mask> kept the commissioned paintings in storage until 1968. Given that <mask> had known in advance about the luxury decor of the restaurant, and the social class of its future patrons, the motives for his abrupt repudiation remain mysterious, although he did write to his friend William Scott in England, “Since we had discussed our respective murals I thought you might be interested to know that mine are still with me. When I returned, I looked again at my paintings and then visited the premises for which they were destined, it seemed clear to me at once that the two were not for each other.” A temperamental personality, <mask> never fully explained his conflicted emotions over the incident. One reading is offered by his biographer, James E.B. Breslin: the Seagram project could be seen as an acting-out of a familiar, in this case self-created "drama of trust and betrayal, of advancing into the world, then withdrawing, angrily, from it ... He was an Isaac who at the last moment refused to yield to Abraham." The final series of Seagram Murals was dispersed, and now hangs in three locations: London's Tate Britain, Japan's Kawamura Memorial Museum and the National Gallery of Art in Washington, D.C.This episode was the main basis for John Logan's 2009 play Red. In October 2012, Black on Maroon, one of the paintings in the Seagram series, was defaced with writing in black ink, while on display at Tate Modern. Restoration of the painting took eighteen months to complete. The BBC's Arts Editor Will Gompertz explained that the ink from the vandal's marker pen had bled all the way through the canvas, causing "a deep wound, not a superficial graze", and that the vandal had caused "significant damage". Rising American prominence
<mask>'s first completed space was created in the Phillips Collection in Washington, D.C., following the purchase of four paintings by collector Duncan Phillips. <mask>'s fame and wealth had substantially increased; his paintings began to sell to notable collectors, including the Rockefeller family. In January 1961, <mask> sat next to Joseph Kennedy at John F. Kennedy's inaugural ball.Later that year, a retrospective of his work was held at the Museum of Modern Art, to considerable commercial and critical success. In spite of this newfound fame, the art world had already turned its attention from the now passé abstract expressionists to the "next big thing", pop art, particularly the work of Warhol, Lichtenstein, and Rosenquist. <mask> labeled pop-art artists "charlatans and young opportunists", and wondered aloud during a 1962 exhibition of pop art, "Are the young artists plotting to kill us all?" On viewing Jasper Johns's flags, <mask> said, "We worked for years to get rid of all that." It was not that <mask> could not accept being replaced, but that he could not accept what was replacing him: he found pop art vapid. On August 31, 1963, Mell gave birth to a second child, Christopher. That autumn, <mask> signed with the Marlborough Gallery for sales of his work outside the United States.In New York, he continued to sell the artwork directly from his studio. Bernard Reis, <mask>'s financial advisor, was also, unbeknownst to the artist, the gallery's accountant and, together with his co-workers, was later responsible for one of art history's largest scandals. Harvard Murals
<mask> received a second mural commission project, this time for a room of paintings for the penthouse of Harvard University's Holyoke Center. He made twenty-two sketches, from which ten wall-sized paintings on canvas were painted, six were brought to Cambridge, Massachusetts, and only five were hung: a triptych on one wall and opposite two individual panels. His aim was to create an environment for a public place. Harvard President Nathan Pusey, following an explanation of the religious symbology of the Triptych, had the paintings hung in January 1963, and later shown at the Guggenheim. During installation, <mask> found the paintings to be compromised by the room's lighting.Despite the installation of fiberglass shades, the paintings were all removed by 1979 and, due to the fugitive nature of some of the red pigments, in particular lithol red, were placed in dark storage and displayed only periodically. The murals were on display from November 16, 2014, to July 26, 2015, in the newly renovated Harvard Art Museums, for which the fading of the pigments has been compensated by using an innovative color projection system to illuminate the paintings. Rothko Chapel

The Rothko Chapel is located adjacent to the Menil Collection and The University of St. Thomas in Houston, Texas. The building is small and windowless. It is a geometric, "postmodern" structure, located in a turn-of-the-century middle-class Houston neighborhood. The Chapel, the Menil Collection, and the nearby Cy Twombly gallery were funded by Texas oil millionaires John and Dominique de Menil. In 1964, <mask> moved into his last New York studio at 157 East 69th Street, equipping the studio with pulleys carrying large walls of canvas material to regulate light from a central cupola, to simulate lighting he planned for the Rothko Chapel.Despite warnings about the difference in light between New York and Texas, <mask> persisted with the experiment, setting to work on the canvases. <mask> told friends he intended the chapel to be his single most important artistic statement. He became considerably involved in the layout of the building, insisting that it feature a central cupola like that of his studio. Architect Philip Johnson, unable to compromise with <mask>'s vision about the kind of light he wanted in the space, left the project in 1967, and was replaced with Howard Barnstone and Eugene Aubry. The architects frequently flew to New York to consult and on one occasion brought with them a miniature of the building for <mask>'s approval. For <mask>, the chapel was to be a destination, a place of pilgrimage far from the center of art (in this case, New York) where seekers of <mask>'s newly "religious" artwork could journey. Initially, the chapel, now non-denominational, was to be specifically Roman Catholic, and during the first three years of the project (1964–67) <mask> believed it would remain so.Thus, <mask>'s design of the building and the religious implications of the paintings were inspired by Roman Catholic art and architecture. Its octagonal shape is based on a Byzantine church of St. Maria Assunta, and the format of the triptychs is based on paintings of the Crucifixion. The de Menils believed the universal "spiritual" aspect of <mask>'s work would complement the elements of Roman Catholicism. <mask>'s painting technique required considerable physical stamina that the ailing artist was no longer able to muster. To create the paintings he envisioned, <mask> was forced to hire two assistants, to apply the chestnut-brown paint in quick strokes of several layers: "brick reds, deep reds, black mauves". On half of the works, Rothko applied none of the paint himself, and was for the most part content to supervise the slow, arduous process. He felt the completion of the paintings to be "torment", and the inevitable result was to create "something you don't want to look at".The chapel is the culmination of six years of <mask>'s life, and represents his gradually growing concern for the transcendent. For some, to witness these paintings is to submit one's self to a spiritual experience, which, through its transcendence of subject matter, approximates that of consciousness itself. It forces one to approach the limits of experience, and awakens one to the awareness of one's own existence. For others, the chapel houses fourteen large paintings whose dark, nearly impenetrable surfaces represent hermeticism and contemplation. The chapel paintings consist of a monochrome triptych in soft brown, on the central wall, comprising three 5-by-15-foot panels, and a pair of triptychs on the left and right, made of opaque black rectangles. Between the triptychs are four individual paintings, measuring 11-by-15 feet each. One additional individual painting faces the central triptych, from the opposite wall.The effect is to surround the viewer with massive, imposing visions of darkness. Despite its basis in religious symbolism (the triptych) and less-than-subtle imagery (the crucifixion), the paintings are difficult to attach specifically to traditional Christian motifs, and may act on the viewers subliminally. Active spiritual or aesthetic inquiry may be elicited from the viewer, in the same way a religious icon with specific symbolism does. In this way, <mask>'s erasure of symbols both removes and creates barriers to the work. As it turned out, these works would be his final artistic statement to the world. They were finally unveiled at the chapel's opening in 1971. <mask> never saw the completed chapel, and never installed the paintings.On February 28, 1971, at the dedication, Dominique de Menil said, "We are cluttered with images and only abstract art can bring us to the threshold of the divine", noting <mask>'s courage in painting what might be called "impenetrable fortresses" of color. The drama for many critics of <mask>'s work is the uneasy position of the paintings between, as Chase notes, "nothingness or vapidity" and "dignified 'mute icons' offering 'the only kind of beauty we find acceptable today'". Suicide and estate lawsuit

In early 1968, <mask> was diagnosed with a mild aortic aneurysm. Ignoring doctor's orders, <mask> continued to drink and smoke heavily, avoided exercise, and maintained an unhealthy diet. "Highly nervous, thin, restless", was his friend Dore Ashton's description of Rothko at this time. However, he did follow the medical advice given not to paint pictures larger than a yard in height, and turned his attention to smaller, less physically strenuous formats, including acrylics on paper. Meanwhile, <mask>'s marriage had become increasingly troubled, and his poor health and impotence resulting from the aneurysm compounded his feeling of estrangement in the relationship.<mask> and his wife Mell (1944–1970) separated on New Year's Day 1969, and he moved into his studio. On February 25, 1970, Oliver Steindecker, <mask>'s assistant, found the artist lying dead on the kitchen floor in front of the sink, covered in blood. He had overdosed on barbiturates and cut an artery in his right arm with a razor blade. There was no suicide note. He was 66. The Seagram Murals arrived in London for display at the Tate Gallery on the day of his suicide. Near the end of his life <mask> painted a series known as the "Black on Grays", uniformly featuring a black rectangle above a gray rectangle.These canvases and <mask>'s later work in general have been associated with his depression and suicide, although the association has been criticized. <mask>'s suicide

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title: Mark Rothko

texts:
 has been studied in the medical literature where his later paintings have been interpreted as "pictorial suicide notes" due to their somber palettes and especially in contrast with the brighter colors <mask> employed more frequently during the 1950s. Although art critic David Anfam acknowledged that the Black and Grays are interpreted as premonitions of suicide or as "moonscapes" (the first Apollo Moon landings were contemporaneous with their execution), he rejected the interpretations as "naive", arguing instead that the paintings were a continuation of his lifelong artistic themes and not symptoms of a depression. Susan Grange also observed that, following his aneurysm, <mask> executed several smaller works on paper using lighter hues, which are less well-known. Throughout his life <mask> consistently intended his works to evoke a serious dramatic content, regardless of the colors used in an individual painting. When a woman visited his studio asking to buy a "happy" painting featuring warm colors, <mask> retorted, "Red, yellow, orange-aren’t those the colors of an inferno?" Shortly before his death, <mask> and his financial advisor, Bernard Reis, had created a foundation, intended to fund "research and education", that would receive the bulk of <mask>'s work following his death.Reis later sold the paintings to the Marlborough Gallery, at substantially reduced values, and then split the profits from sales with Gallery representatives. In 1971, Rothko's children filed a lawsuit against Reis, Morton Levine, and Theodore Stamos, the executors of his estate, over the sham sales. The lawsuit continued for more than 10 years, and became known as the Rothko Case. In 1975, the defendants were found liable for negligence and conflict of interest, were removed as executors of the Rothko estate by court order, and, along with Marlborough Gallery, were required to pay a $9.2 million damages judgment to the estate. This amount represents only a small fraction of the eventual vast financial value, since achieved, by numerous Rothko works produced in his lifetime. Rothko's separated wife Mell, also a heavy drinker, died six months after him at the age of 48. The cause of death was listed as "hypertension due to cardiovascular disease".<mask>'s complete works on canvas, 836 paintings, have been catalogued by art historian David Anfam, in his <mask>: The Works on Canvas: Catalogue Raisonné (1998), published by Yale University Press. A previously unpublished manuscript by <mask>, The Artist's Reality (2004), about his philosophies on art, edited by his son Christopher, was published by Yale University Press. Red, a play by John Logan based on <mask>'s life, opened at the Donmar Warehouse in London, on December 3, 2009. The play, starring Alfred Molina and Eddie Redmayne, centered on the period of the Seagram Murals. This drama received excellent reviews, and usually played to full houses. In 2010 Red opened on Broadway, where it won six Tony Awards, including Best Play. Molina played <mask> in both London and New York.A recording of Red was produced in 2018 for Great Performances with Molina playing <mask> and Alfred Enoch playing his assistant. In <mask>'s birthplace, the Latvian city of Daugavpils, a monument to him, designed by sculptor Romualds Gibovskis, was unveiled on the bank of the Daugava River in 2003. In 2013 the <mask>ko Art Centre opened in Daugavpils, after the <mask> family had donated a small collection of his original works. A number of <mask>'s works are held by the Museo Nacional Centro de Arte Reina Sofía and by the Thyssen-Bornemisza Museum, both in Madrid. The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY includes both <mask>'s late painting, Untitled (1967) and a large mural by Al Held entitled Rothko's Canvas (1969–70). Bill Clinton and Hillary Rodham Clinton's first date was to a Rothko exhibit at the Yale University Art Gallery in 1970. Resale market
Art collector Richard Feigen said that he sold a red Rothko painting to the National Gallery of Berlin for $22,000 in 1967.In November 2005, <mask>'s painting Homage to Matisse (1954) broke the record for any postwar painting at a public auction, selling for $22.5 million. In May 2007, <mask>'s painting White Center (Yellow, Pink and Lavender on Rose) (1950) broke this record again, selling at Sotheby's in New York for $72.8 million. The painting was sold by banker David Rockefeller, who attended the auction. In November 2003, an untitled red and brown Rothko painting from 1963, measuring , sold for US$7,175,000. In May 2011, Christie's sold a previously unknown Rothko painting, accounting for the work as #836. The work was added to the existing Rothko catalog of 835 works after expert authentication. The newly discovered painting, Untitled, #17, created in 1961, came to light when a private collector put it up for sale, claiming he bought it directly from the artist.A seven-foot-tall oil on canvas in red and pink on an ochre background, the painting opened with a house bid of $13 million and sold for $30 million. In May 2012, <mask>'s painting Orange, Red, Yellow (1961; #693 in Anfam's catalogue raisonné) was sold by Christie's in New York for $86,862,500, setting a new nominal value record for a postwar painting at a public auction and putting it on the list of most expensive paintings. In November 2012, his 1954 painting No. 1 (Royal Red and Blue) was sold for $75.1 million at a Sotheby's auction in New York. In 2014, <mask>'s No. 21 (1953) sold for $44,965,000. The painting had been part of the Pierre and São Schlumberger collection.In May 2014, Untitled (Red, Blue, Orange) (1955), which had been owned by Microsoft co-founder Paul Allen, sold for $56.2 million. In November 2014, a smaller Rothko painting in two shades of brown sold for $3.5 million, within its estimated range of $3 million to 4$ million. In May 2015, Untitled (Yellow and Blue) (1954) sold for $46.5 million at a Sotheby's auction in New York. The painting was owned by Rachel Mellon. That month, No. 10 (1958) sold for $81.9 million at a Christies's auction in New York. In May 2016, No.17 (1957) was sold for $32.6 million at Christie's by an Italian collector. In November 2018, Untitled (Rust, Blacks on Plum) (1962) was offered at auction by Christie's with an estimated price of $35 million to $45 million; it sold for $35.7 million. On November 15, 2021, No. 7 (1951) was offered at auction by Sotheby's as part of the Macklowe collection. With an estimated price of $70 million to $90 million, it sold for $82 million to a buyer in Asia. See also
 Rothko Pavilion

References

Sources

Baal-Teshuva, Jacob. <mask>, 1903–1970: Pictures as Drama.New York: Taschen, 2003. Nietzsche, Friedrich. "The Birth of Tragedy." Basic Writings of Nietzsche, translated and edited by Walter Kaufmann, The Modern Library, 2000, pp. 1–144. Schama, Simon. The Power of Art.New York: HarperCollins, 2006. Bibliography
Anfam, David. Abstract Expressionism. New York: Thames & Hudson, 1990. Anfam, David. <mask>: The Works on Canvas, A Catalogue Raisonne. New Haven: Yale University Press, 1998.Cohen-Solal, Annie. <mask>. Actes-Sud, 2013. Collins, Bradford R. (ed.) <mask>: The Decisive Decade, 1940–1950. New York: Skira Rizzoli, 2012.Logan, John. Red. London: Oberon Books, 2009. <mask>, Christopher (ed.). The Artist's Reality. New Haven: Yale University Press, 2006. <mask>, <mask>."The Individual and the Social" (pp. 563–565) in Harrison, Charles & Paul Wood (eds. ), Art in Theory 1900–1990: An Anthology of Changing Ideas (563–565). Malden, MA: Blackwell Publishers, Ltd., 1999. Seldes, Lee. The Legacy of <mask>. New York: DaCapo, 1996.Waldman, Diane. <mask>, 1903–1970: A Retrospective. New York: Harry N. Abrams, 1978. External links

Raduraksti (Latvia for "lineage") and Daugavpils Rabinats Fonds 4359 Apraksts 2 Lieta 8, show his birth and circumcision in 1903 on September 12 and 19 on the Russian calendar (equivalent to September 25 and October 1 in the west) in male record #392 (top-right corner of image #185)
<mask> on Wikiart.org
1958–59 Murals, Pace Gallery

 <mask> at the National Gallery of Art
 The Rothko Chapel in Houston, Texas, is dedicated to Rothko paintings and non-denominational worship
 ArtCyclopedia contains links to galleries and museums with Rothko pieces and articles on <mask>. Guardian slideshow including pictures of works and photograph of <mask>
 "<mask> Talks About Her Father, The Artist <mask>" The Guardian, 14 September 2008. <mask>, The Art Story
 BBC's Power of Art The documentary series Simon Schama's Power of Art featured <mask>. <mask>, an abstract humanist DVD, documentary film by Isy Morgensztern.French/English NTSC. <mask>ko Art Centre, Daugavpils, Latvia
 <mask> Centenary, Latvia 2003 Mark Rothko Centenary celebration in Latvia. Conference and exhibition photo gallery. <mask>ko Broadcast, Utrecht 2015 <mask> radio podcast on ConcertZender Radio, Utrecht, The Netherlands. James E. B. Breslin research archive on <mask>, 1900-1994, Getty Research Institute, Los Angeles. Accession No. 2003.M.23.The archive assembled by Breslin, professor at the University of California, Berkeley, as he researched and wrote <mask>: a biography. Materials include interview recordings and transcripts, correspondence, financial and legal documents, photographs, clippings, assorted printed materials, and extensive notes. Tate Modern exhibition
 <mask>ko exhibition at Tate Modern, London, September 2008 – February 2009 includes curator interview
 Press reviews:
 The Times (includes video)
 The Times, a second Times review
 Welcome to his dark side ..., Laura Cumming, The Observer, guardian.co.uk, 28 September 2008
 You can have too much Rothko – Tom Sutcliffe, The Independent, 3 October 2008. The Telegraph

Whitechapel Gallery exhibition
 Rothko Britain exhibition at Whitechapel Gallery, London, 9 September 2011 – 26 February 2012
 Reviews:
 The Guardian review September 11, 2011
 The Guardian review September 8, 2011
 The Telegraph review 9 September 2011
 Timeout article
 The Independent article 11 September 2011

Smithsonian Archives of American Art
 Interview with Bernard Braddon and Sidney Schectman Conducted by Avis Berman, New York City, New York, 1981 October 9. Smithsonian Institution Archives of American Art (Braddon & Schectman were owners of the Mercury Gallery which exhibited the works of the Ten in the 1930s). Oral history interview with Sonia Allen, 1984 September 15; Rothko's sister

1903 births
1970 suicides
Abstract painters
American abstract artists
Abstract expressionism
Abstract expressionist artists
American contemporary painters
Painters from Oregon
American people of Latvian-Jewish descent
American people of Russian-Jewish descent
American printmakers
Art Students League of New York alumni
Artists from Portland, Oregon
Barbiturates-related deaths
Burials in New York (state)
Drug-related suicides in New York (state)
Emigrants from the Russian Empire to the United States
Jewish American artists
Jewish painters
Jews and Judaism in Portland, Oregon
Latvian Jews
Lincoln High School (Portland, Oregon) alumni
Painters who committed suicide
People from Daugavpils
San Francisco Art Institute faculty
Suicides by sharp instrument in the United States
20th-century American painters
American male painters
Federal Art Project artists
Brooklyn College

masks:
Rothko
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Legacy Rothko
Mark Rothko
Rothko
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Rothko
Mark Roth
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Mark Roth


title: John Picacio

texts:
<mask> (born September 3, 1969) is an American artist specializing in science fiction, fantasy and horror illustration. Biography
<mask> was born on September 3, 1969, in San Antonio, Texas. As of 2007, he still lives and works in San Antonio, together with his wife and daughter. He earned a Bachelor of Architecture degree from the University of Texas at Austin in 1992, and illustrated his first book – Behold the Man: The Thirtieth Anniversary Edition by Michael Moorcock (Mojo Press) – in 1996. In May, 2001 he ended his career in architecture to become a full-time illustrator. Work
He advocates his own method of gaining attention – sending physical samples to art directors of books and magazines – since:
"Even if an artist has a good website, it's a good idea to send out a physical reminder of their art so that art directors can keep it around." His early work featured in many annuals and art compendiums, including Spectrum: The Best in Contemporary Fantastic Art, as well as magazines such as Realms of Fantasy.<mask> has since produced design work and – particularly – cover art for many notable SF, fantasy and horror books printed by many different publishers, from some of the longest-established and largest American SF&F imprints (Random House/Ballantine Books/Del Rey; HarperCollins/Eos; Roc Books; Tor Books), to more recent, independent publishers (Golden Gryphon Press; MonkeyBrain Books; Night Shade Books; Tachyon Publications; Earthling Publication and iBooks). <mask> cites a "mutual respect" between himself and his art directors, who tend to give him "space to create" his artwork, which he sees as part of an interaction with the reader, "communicating with a smart and sophisticated audience". He works particularly well with fellow-Texan Roberson (author and MonkeyBrain publisher), and the editorial director of Prometheus Books' science fiction imprint Pyr Lou Anders. He has provided covers for several of Roberson's solo efforts – from one of his earliest self-published titles, the 2002 Clockwork Storybook title Any Time at All to his 2007 X-Men novel – as well as providing dozens of covers for almost the entire output of MonkeyBrain Books. For Anders, <mask> has provided
covers for several anthologies from multiple companies since Wildside Press's 2001 Outside the Box. Awards and nominations
<mask>'s illustrations have been selected numerous times for Cathy and Arnie Fenner's prestigious Spectrum Annual, the yearly "Best in Contemporary Fantastic Art" showcase for fantasy and science fiction art, which both honours established artists and provides a resource for art directors and illustrators to refer to. In 2001 and 2006, he was awarded the International Horror Guild Award for Best Artist, and was Artist Guest of Honor at the 2003 ArmadilloCon.In 2005, he won both the World Fantasy Award for Best Artist and the Chesley Award for Best Paperback Cover (for James Tiptree Jr.'s Her Smoke Rose Up Forever). In 2006 he won the Chesley Award for Artistic Achievement and in 2007 the Locus Award for Best Artist. He has also received Hugo Award nominations for Best Professional Artist in 2005 though 2010, and won in 2012. He has received 5 World Fantasy Award nominations since 2002. His work has also appeared on innumerous award-winning and nominated titles, including Jess Nevins's Encyclopedia of Fantastic Victoriana and the Chris Roberson-edited anthology Adventure Vol. 1, both from MonkeyBrain. In February 2008, <mask>'s was seen fully illustrating (and covering) Michael Moorcock's Elric The Stealer of Souls, as the first in a new series of trade paperback editions of Moorcock's Elric novels published by Ballantine/Del Rey.<mask>'s work in the first volume will be followed (in Elric To Rescue Tanelorn) by that of notable illustrator M. W. Kaluta, placing him in ever-more illustrious company. In 2014, <mask> was awarded the Inkpot Award. Bibliography

Notable covers
Dangerous Visions: 35th Anniversary Edition, by Harlan Ellison (ed.) (iBooks, 2002)
The Fantasy Writer's Assistant by Jeffrey Ford (Golden Gryphon, 2002) (Wraparound cover & preliminary sketch)
Live Without a Net by Lou Anders (ed.) (Roc, 2004)
Gateway by Frederik Pohl (Ballantine/Del Rey, 2004)
Wizardry & Wild Romance by Michael Moorcock (MonkeyBrain Books, 2004)
The Mammoth Book of New Terror by Stephen Jones (ed.) (Robinson/Carroll & Graf, 2004)
Her Smoke Rose up Forever by James Tiptree, Jr. (Tachyon, 2004)
Star of Gypsies by Robert Silverberg (Pyr, 2005)
Bumper Crop by Joe R. Lansdale (Golden Gryphon, 2005)
Ghosts of Columbia by L. E. Modesitt, Jr. (Tor Books, 2005)
The Cat’s Pajamas & Other Stories by James Morrow (Tachyon, 2005)
Adventure, Vol. 1, by Chris Roberson (ed.)(MonkeyBrain Books, 2005)
Red Planet by Robert A. Heinlein (Ballantine/Del Rey, 2006)
Macrolife by George Zebrowski (Pyr, 2006)
The Empire of Ice Cream by Jeffrey Ford (Golden Gryphon, 2006)
A Canticle for Leibowitz by Walter M. Miller, Jr. (HarperCollins/Eos, 2006)
H.P. Lovecraft's Book of the Supernatural by Stephen Jones (ed.) (Pegasus Books, 2006)
Fast Forward 1, by Lou Anders (ed.) (Pyr, 2007)
X-Men: The Return by Chris Roberson (Pocket Books, 2007)
The Metatemporal Detective by Michael Moorcock (Pyr, 2007)
Elric: The Stealer of Souls by Michael Moorcock (Ballantine/Del Rey, 2008)

Art collections
 Cover Story: The Art of <mask> (Introduction by Michael Moorcock) (MonkeyBrain Books, 2006)

References

External links

"On the Front", <mask>'s blog
MonkeyBrain Books published titles – most with Picacio covers
"Cover Story: The Art of <mask>" MonkeyBrain page
Golden Gryphon Books titles – several with Picacio covers, and sketch artwork
ArmadilloCon Biography

1969 births
American speculative fiction artists
Living people
People from San Antonio
Science fiction artists
Fantasy artists
Artists from Texas
World Fantasy Award-winning artists
Hugo Award-winning artists
Horror artists
American illustrators
Inkpot Award winners

masks:
John Picacio
Picacio
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title: Robert Ward (composer)

texts:
<mask> (September 13, 1917 – April 3, 2013) was an American composer who is best remembered for his opera The Crucible (1961) after the 1953 play of the same name by Arthur Miller. He was awarded the Pulitzer Prize for Music for that opera in 1962. Early work and education
<mask> was born in Cleveland, Ohio, one of five children of the owner of a moving and storage company. He sang in church choirs and local opera theaters when he was a boy. His earliest extant compositions date to 1934, at a time he was attending John Adams High School, from which he graduated in 1935. After that, <mask> attended the Eastman School of Music in Rochester, New York, where his composition teachers were Bernard Rogers, Howard Hanson and Edward Royce. <mask> received a fellowship and attended the Juilliard School of Music in New York from 1939 to 1942, where he studied composition with Frederick Jacobi, orchestration with Bernard Wagenaar, and conducting with Albert Stoessel and Edgar Schenkman.In the summer of 1941 he studied under Aaron Copland at the Berkshire Music Center in Massachusetts. From his student days to the end of World War II, <mask> produced about forty compositions, of which eleven he later withdrew. Most of those early works are small scale, songs and pieces for piano or chamber ensembles. He completed his First Symphony in 1941, which won the Juilliard Publication Award the following year. Around that time, <mask> also wrote a number of reviews and other articles for the magazine Modern Music and served on the faculty of Queens College. In February 1942 <mask> joined the U.S. Army, and attended the Army Music School at Fort Myer, being assigned the military occupational specialty of band director. At Fort Riley, Kansas, he wrote a major part of the score to a musical revue called The Life of Riley.<mask> was assigned to the 7th Infantry and sent to the Pacific. For the 7th Infantry Band he wrote a March, and for its dance band he wrote at least two jazz compositions. During his military service <mask> met Mary Raymond Benedict, a Red Cross recreation worker. They married on June 19, 1944, and had five children; Melinda, Jonathon, Mark, Johanna and Tim. Major works
<mask> earned a Bronze Star for meritorious service in the Aleutian Islands. During his military service <mask> managed to compose two serious orchestral compositions, Adagio and Allegro, first performed in New York in 1944, and Jubilation: An Overture, which was written mostly on Okinawa, Japan, in 1945, and was premiered at Carnegie Hall by the National Orchestral Association the following spring. After being discharged from military service at the end of the war, <mask> returned to Juilliard, earning postgraduate certificate in 1946 and immediately joining the faculty, teaching there until 1956.He served as an Associate in Music at Columbia University from 1946 to 1948. <mask> wrote his Second Symphony, dedicated to his wife, in 1947, while living in Nyack, New York. It was premiered by the National Symphony Orchestra conducted by Hans Kindler. This symphony was quite popular for a few years, in part thanks to Eugene Ormandy playing it with the Philadelphia Orchestra several times and even taking it on tour to Carnegie Hall in New York and Constitution Hall in Washington, D.C.

Andrew Stiller, in his article on <mask> for The New Grove Dictionary of Music and Musicians, describes <mask>'s musical style as deriving "largely from Hindemith, but also shows the considerable influence of Gershwin". <mask> conducted the Doctors Orchestral Society of New York from 1949 to 1955, wrote his Third Symphony and his First Sonata for Violin and Piano in 1950, the Sacred Songs for Pantheists in 1951, and was music director of the Third Street Music School Settlement from 1952 to 1955, and wrote the Euphony for Orchestra in 1954. He left Juilliard in 1956 to become Executive Vice-President of Galaxy Music Corporation and Managing Editor of High Gate Press in New York, positions he maintained until 1967. <mask> wrote his Fourth Symphony in 1958, the Prairie Overture in 1957, the cantata Earth Shall Be Fair and the Divertimento in 1960.<mask> wrote his first opera to a libretto by Bernard Stambler, He Who Gets Slapped, and it was premiered in 1956. His next opera, The Crucible, based on Arthur Miller's play, premiered in 1961, became <mask>'s best known work. For it <mask> received the 1962 Pulitzer Prize for Music. It is frequently produced around the world. After the success of The Crucible, <mask> received several commissions for ceremonial works, such as Hymn and Celebration in 1962, Music for a Celebration in 1963, Festive Ode in 1966, Fiesta Processional in 1966, and Music for a Great Occasion in 1970. During those years he also wrote the cantata, Sweet Freedom's Song, in 1965; the Fifth Symphony in 1976; a Piano Concerto in 1968, which was commissioned by the Powder River Foundation for the soloist Marjorie Mitchell; a Saxophone Concerto in 1984; and the operas The Lady from Colorado in 1964, Claudia Leqare in 1977, Abelard and Heloise in 1981, Minutes till Midnight in 1982, and Roman Fever in 1993 (based on the short story of the same name by Edith Wharton). He also wrote chamber music, such as the First String Quartet of 1966 and the Raleigh Divertimento of 1985.His work has been championed by such conductors as Igor Buketoff, who recorded the 3rd and 6th symphonies. Later work
In 1967, <mask> became Chancellor of the North Carolina School of the Arts in Winston-Salem. He held this post until 1975, when he stepped down to serve as a member of the composition faculty for five more years. In 1978 he came to Duke University as a visiting professor, and there he remained as Mary Duke Biddle Professor of Music from 1979 to 1987. His students included Michael Penny and Michael Ching. In the fall of 1987, he retired from Duke University as Professor Emeritus, and continued to live and compose in Durham, North Carolina. His most recent composition is "In Praise of Science," which premiered at the ribbon-cutting ceremony of Syracuse University's Life Science Complex on November 7, 2008.After a period of failing health, <mask> died in a Durham retirement home on April 3, 2013, at the age of 95. Selected works
<mask>'s music is largely published by Highgate Press, E.C. Schirmer, Associated Music Publishers, Peer International, Merrymount Music Press, C.F. Peters and Vireo Press. 1 (1941–1942) Winner of the Juilliard Publication Award, 1942
 Adagio and Allegro (1944)
 Jubilation, an Overture (1945); also for concert band
 Aria (1946) [withdrawn--reworked into Symphony No. 2]
 Symphony No. 2 (1947)
 Concert Music (1948)
 Serenade for Strings (1948) [withdrawn--reworked into Euphony, Night Music and Symphony No.4]
 Night Music (1949) [withdrawn]
 Symphony No. 3 (1950)
 Euphony for Orchestra (1954)
 Prairie Overture (1957); original version for concert band
 Symphony No. 4 (1958, rev. 1977)
 Divertimento for Orchestra (1960)
 Hymn and Celebration (1962, rev. 1966)
 Music for a Celebration (Trilogy for Orchestra) (1963) [Withdrawn as a 3-movement work. Movements published separately as listed below.] Processional March (1963) [originally movement 3 of Music for a Celebration.Later, also reworked into Symphony No. 5.] Invocation and Toccata (1966) [originally movements 1 & 2 of Music for a Celebration]
 Festive Ode (1966)
 Hymn to the Night (1966) (Tone poem based on Longfellow)
 Concertino for string orchestra (1973)
 The Promised Land (On Jordan's Stormy Banks), chorale prelude for orchestra (or organ), with optional congregational participation (1977)
 Sonic Structure (1980)
 Festival Triptych with opt. narrator (1986)
 By the Way of Memories, Nocturne for orchestra (1987)
 Symphony No. 6 (1988)
 5x5, Four Variations on a Five-Part Theme (1989)
A Western Set (1992) (Suite from Lady Kate)
 The Scarlet Letter Ballet Suite (1994)
 Symphony No. 7 (The Savannah) (2003)
 Beginnings, An Overture (2006)
 City of Oaks for orchestra (2007)

Concert band
 The Rolling Seventh march for band (1943); written during military service [withdrawn]
 Life of Riley, musical revue for swing band, men's chorus and soloists (1942); written during military service [withdrawn]
 Just As You Were for voice and swing band (1943); written during military service [withdrawn--tune reworked into mvt. 2 of the Concerto for Saxophone]
 Jubilation, an overture (1946); original version for orchestra; transcribed for band by <mask>ist
 Prairie Overture (1957); also for orchestra
 Night Fantasy  (1962)
 Fiesta Processional (1966)
 Music for a Great Occasion (1970) [withdrawn]
 Antiphony (1973)
 Four Abstractions (1977)
 Jagged Rhythms in Fast Tempo
 Color Masses and Luminous Lines in Dark Blue
 Curves and Points of Light in Motion
 Interweaving Lines

Concertante
 Concerto for piano and orchestra (1968)
 Concerto for tenor saxophone and orchestra (1984)
 Concerto for violin and orchestra (1993, revised 1994)
 Dialogues, a Triple Concerto for violin, cello, piano and orchestra (1986–2002)

Chamber music
String Quartet (1937) [withdrawn--movement 2 reworked into Andante and Scherzo]
Movement for String Quartet (1941) [withdrawn--reworked into Adagio and Allegro (1943)]
Energetically (1941) [withdrawn--reworked into Jubilation Overture (1945)]
 Sonata No.1 for violin and piano (1950)
 Arioso and Tarantelle for cello (or viola) and piano (1954)
 Fantasia for Brass Choir and Timpani (1956) for orchestral brass (3 trumpets, 4 horns, 3 trombones, tuba) and timpani
 String Quartet No. 1 (1966) [Movements 2 & 3 also reworked into the Concertino for Strings (1973)]
 Dialogues for Violin, Cello and Piano (or orchestra) (1987) (earlier, shorter chamber version of Triple Concerto)
 Raleigh Divertimento, woodwind quintet version (1986); Nonet version (2004)
 Fanfare for Durham, for orchestral brass brass, timpani and percussion (1988)
 Sonata No. 2 for violin and piano (1990)
 Appalachian Ditties and Dances for violin and piano (1991)
 Bath County Rhapsody, piano quintet (1991)
 Serenade for Mallarmé for flute, viola, cello and piano (1991)
 Echoes of America, trio for clarinet, cello and piano (1997)
 Night under the Big Sky, nocturne based on themes from Lady Kate for flute, oboe, clarinet, horn, bassoon, and piano (1998)
 Brass Ablaze for brass band (cornets, flugelhorns, horns, euphoniums and tubas) and percussion
 Quintet for oboe and string quartet (2005)

Keyboard
 Song for piano (1941) [originally one of two movements for piano, later reworked into Sonatine; Adagio and Allegro; Hymn and Celebration and String Quartet No. 1]
 Lamentation (1946) [published with Scherzo]
 Sonatine (1948) [withdrawn--mvt. 3 reworked into Divertimento]
 Scherzo (1950 [published with Lamentation]
 The Promised Land (On Jordan's Stormy Banks), chorale prelude for organ (or orchestra), with optional congregational participation (1977)
 Celebration of God in Nature, suite for organ (1979)

Vocal
 Three Songs for high voice and piano (1934); text by Thomas S. Jones, Jr.:  "I Know a quiet vale", "Daphne", "My soul is like a garden close" [withdrawn]
 Fatal Interview song cycle for soprano and orchestra (1937); text by Edna St. Vincent Millay
 What thing is this
 Not in a casket cool with pearls
 Epithalamion for high voice and piano (1937); text by Percy Blysse Shelley [withdrawn]
 New Hampshire for 6 women's voices and string quartet (1938); text by T.S. Eliot [withdrawn]
 First Harvest [title given to the group of five songs listed below, each originally written and published separately]
 Sorrow of Mydath for high voice and piano (1939); words by John Masefield
 As I Watched the Ploughman Ploughing for high voice and piano (1940); words by Walt Whitman
 Rain has fallen all the day for high voice and piano (1940); text by James Joyce [tune reworked into By the Way of Memories Nocturne]
 Anna Miranda for high voice and piano (1940); text by Stephen Vincent Benét
 Vanished for high voice and piano (1941); text by Emily Dickinson
 Jonathon and the Gingery Snare for narrator and orchestra (1949); words by Bernard Stambler [also reworked into Festival Triptych]
 Sacred Songs for Pantheists for soprano and orchestra (or piano) (1951); words by Gerard Manley Hopkins, James Stephens and Emily Dickinson
 Pied Beauty (Hopkins)
 Little Things (Stephens)
 Intoxication (Dickinson)
 Heaven-Haven (Hopkins)
 God's Grandeur (Hopkins)
 Three Pieces for Narrator and Piano (based on T.S.

masks:
Robert Eugene Ward
Ward
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Robert Le


title: Jake Ellenberger

texts:
Jacob Steven "<mask>" <mask> (born March 28, 1985) is an American retired mixed martial artist and former United States Marine who was known for competing in the Ultimate Fighting Championship (UFC). A professional competitor since 2005, <mask> has formerly competed for the Quad Cities Silverbacks of the IFL,  Bodog Fight, and King of the Cage. Background

<mask> was born in Omaha, Nebraska. <mask>'s father was an iron worker, and <mask> has a twin brother named Joe who is also an MMA fighter. After starting his career with a 10–0 record, Joe was diagnosed with an extremely rare blood disease called Paroxysmal nocturnal hemoglobinuria when he was 24 years old. Some estimates suggest that roughly half of the people diagnosed with PNH die within 10 years of their diagnosis. Joe still cornered his brother's fights and is a huge inspiration for <mask>.Both <mask> and Joe were very athletic growing up; <mask> was on the swimming and diving team at Millard South High School while Joe wrestled and played football. By the time Joe was in his senior year, he had won a Nebraska state title. Joe went on to wrestle at the University of Nebraska-Kearney and became a two-time Division II All-American, finishing third in the country twice and was a three-time academic All-American. <mask> began training for MMA when he saw his friend fight for the welterweight title in the Victory Fighting Championships. He studied psychology at the University of Nebraska-Omaha for three years and was on the school's Division II wrestling team. Following the end of his own wrestling career and acting as assistant coach, <mask> helped his alma mater to win back to back National titles. <mask> is also a former Marine, having served as a heavy equipment mechanic (military occupational specialty 1341).Mixed martial arts career

International Fight League
<mask> suffered the first loss of his career by unanimous decision to Jay Hieron in his IFL debut. In <mask>'s second IFL appearance, he defeated Ben Uker by TKO in the second round at IFL: Championship Final. <mask> filled in on short notice for an injured Rory Markham and represented Pat Miletich's Quad City Silverbacks at the 2007 Team Championship Final. He suffered his only submission loss to Brazilian jiu-jitsu black belt Delson Heleno. In his last fight for the promotion, <mask> dominated his opponent, Pat Healy over three rounds to win a unanimous decision at IFL: Las Vegas. BodogFight
At the event entitled Clash of the Nations, held in St. Petersburg, Russia, <mask> lost a unanimous decision to UFC veteran Derrick Noble. He then traveled to Costa Rica and defeated another UFC veteran, Zach Light, via TKO at Costa Rica Combat.In his last appearance with BodogFight, <mask> knocked out Jose Landi-Jons in just nine seconds. M-1 Challenge
<mask> represented the United States at M-1 Challenges in Japan and South Korea. In his first bout held in Japan, <mask> defeated Frenchman Farouk Lakebir by unanimous decision. In his next fight, held in Korea, <mask> defeated Doo Won Seo via TKO in round two. Bellator
<mask> won his fight against Marcelo Alfaya at Bellator 11 by knockout just 42 seconds into the first round. Ultimate Fighting Championship
<mask> stepped in on short notice for an injured Chris Lytle and lost a split decision in his promotional debut at UFC Fight Night 19 against Carlos Condit. <mask> rebounded by defeating Mike Pyle via second-round TKO on January 2, 2010, at UFC 108.<mask> was set to face Ben Saunders at UFC 111 in Newark, New Jersey as a replacement for the injured Martin Kampmann; however, once Jon Fitch's original opponent, Thiago Alves, was forced out due to a brain irregularity, Saunders requested and was granted a fight against Fitch instead. Due to the last minute switch, <mask> was still paid win and show money. <mask> defeated John Howard via third-round TKO at UFC Live: Jones vs. Matyushenko. <mask> caused Howard's left eye to close after repeatedly landing short elbows and punches from the closed guard. <mask> was expected to face Jon Fitch on February 5, 2011, at UFC 126, but Fitch was pulled from the bout in favor with a matchup with BJ Penn at UFC 127. <mask> instead faced the then-undefeated Carlos Eduardo Rocha at UFC 126 and won the fight via split decision. <mask> faced Sean Pierson on April 30, 2011, at UFC 129, replacing an injured Brian Foster, and won the fight via first-round KO on 17 days notice.<mask> faced <mask> on September 17, 2011, at UFC Fight Night 25. He won the fight via TKO only 53 seconds into the first round. The finish earned him the Knockout of the Night honors. A bout between <mask> and Diego Sanchez was briefly linked to UFC 141. However, a lingering hand injury ended up keeping Sanchez out of action until February 2012. The <mask>/Sanchez bout took place on February 15, 2012, at UFC on Fuel TV 1 <mask> defeated Sanchez via unanimous decision, in a bout that earned both fighters Fight of the Night honors. <mask> lost to Martin Kampmann via second-round KO (knees) on June 1, 2012, at The Ultimate Fighter 15 Finale.<mask> was expected to face Josh Koscheck on September 1, 2012, at UFC 151. However, Koscheck pulled out of the bout citing a back injury and was replaced by returning UFC veteran Jay Hieron. Hieron gave <mask> his first loss six years earlier. After the UFC 151 event was cancelled, <mask>/Hieron took place on October 5, 2012, at UFC on FX 5. <mask> won the fight via unanimous decision (29-28, 29–28, 29–28). <mask> was expected to face Johny Hendricks on March 16, 2013, UFC 158. However, Hendricks was pulled from the Ellenberger bout in favor of a matchup with Carlos Condit at the event after Condit's original opponent Rory MacDonald, pulled out of the bout with an injury.<mask> instead faced returning veteran Nate Marquardt. <mask> defeated Marquardt via spectacular first-round knockout. The win also garnered him his second Knockout of the Night bonus. <mask> faced Rory MacDonald on July 27, 2013, at UFC on Fox 8. MacDonald was able to use his size and reach advantage to repeatedly land his jab, neutralizing the shorter <mask>, resulting in a unanimous decision victory. UFC president Dana White criticized the performance as "lackluster". <mask> was expected to face Tarec Saffiedine on January 4, 2014, at UFC Fight Night 34.However, in late November, <mask> pulled out of the bout citing a hamstring injury and was replaced by Hyun Gyu Lim. On April 9, 2014, <mask> revealed that he had signed an eight-fight contract with UFC with disclosed title clauses should he be a champion in the future. The bout with Saffiedine was rebooked for UFC 172. However, on March 28, 2014, Saffiedine pulled out of the fight with an undisclosed injury. <mask> instead faced Robbie Lawler at UFC 173 on May 24, 2014. He lost the fight via TKO in the third round due to a combination of a knee and punches. <mask> next faced Kelvin Gastelum on November 15, 2014, at UFC 180.He lost the fight via submission in the first round. <mask> faced Josh Koscheck on February 28, 2015, at UFC 184. <mask> won the fight via submission in the second round, his first submission victory in nine years. It also earned <mask> a Performance of the Night bonus. <mask> faced Stephen Thompson on July 12, 2015, at The Ultimate Fighter 21 Finale. He lost the fight via KO due to a spinning hook kick and punches in the first round. <mask> faced Tarec Saffiedine on January 30, 2016, at UFC on Fox 18.He lost the fight by unanimous decision. <mask> faced Matt Brown on July 30, 2016, at UFC 201. He won the fight by TKO in the first round and also picked up a Performance of the Night bonus. <mask> faced Jorge Masvidal on December 3, 2016, at The Ultimate Fighter 24 Finale. He lost the fight by TKO in the first round after his foot became entangled in the fence, rendering him unable to defend himself from Masvidal's strikes. <mask> faced Mike Perry on April 22, 2017, at UFC Fight Night: Swanson vs. Lobov. He lost the fight via KO (elbow) in the second round.<mask> was expected to face Bryan Barberena on June 1, 2018, at UFC Fight Night 131. However, on March 23, 2018, Barberena pulled out due to injury. He will be replaced by Ben Saunders. <mask> lost by TKO after being dropped by knee to the body in the first round. The pairing with Barberena was rescheduled and took place on August 25, 2018, at UFC Fight Night 135. <mask> lost the fight by TKO in the first round and subsequently announced his retirement from Mixed Martial Arts. He was caught lying about having voted for Donald Trump in the presidential primaries at Super Tuesday that morning, yet the election for California was not held until June 7, 2016.However, multiple people who were previously featured on the segment claimed that the answers were taken out of context; others stated that they were playing along, knowing that it was a joke. See also
 List of male mixed martial artists

References

External links

1985 births
Living people
American male mixed martial artists
Mixed martial artists from Nebraska
Sportspeople from Omaha, Nebraska
Welterweight mixed martial artists
Mixed martial artists utilizing collegiate wrestling
Mixed martial artists utilizing Brazilian jiu-jitsu
People from Lake Forest, California
University of Nebraska Omaha alumni
United States Marines
Ultimate Fighting Championship male fighters
American practitioners of Brazilian jiu-jitsu

masks:
Jake
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title: Daniel J. Boorstin

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<mask> (October 1, 1914 – February 28, 2004) was an American historian at the University of Chicago who wrote on many topics in American and world history. He was appointed the twelfth Librarian of the United States Congress in 1975 and served until 1987. He was instrumental in the creation of the Center for the Book at the Library of Congress. Repudiating his youthful membership in the Communist Party while a Harvard undergraduate (1938–39), <mask> became a political conservative and a prominent exponent of consensus history. He argued in The Genius of American Politics (1953) that ideology, propaganda, and political theory are foreign to America. His writings were often linked with such historians as Richard Hofstadter, Louis Hartz and Clinton Rossiter as a proponent of the "consensus school", which emphasized the unity of the American people and downplayed class and social conflict. <mask> especially praised inventors and entrepreneurs as central to the American success story.Biography
<mask> was born in 1914, in Atlanta, Georgia, into a Jewish family. His father, Samuel, was a lawyer who participated in the defense of Leo Frank, a Jewish factory superintendent who was accused and convicted of the rape and murder of a 13-year-old girl. After Frank's 1915 lynching led to a surge of anti-Semitic sentiment in Georgia, the family moved to Tulsa, Oklahoma, where <mask> was raised. He graduated from Tulsa's Central High School in 1930, at the age of 15. Although Samuel wanted his son to go to the University of Oklahoma, become an attorney and join his own law firm, <mask> wanted to go to Harvard Law School. He graduated with highest honors (summa cum laude) from Harvard in 1937, studied at Balliol College, Oxford as a Rhodes Scholar, receiving BA and BCL degrees. The American National Biography Online states that he joined the Communist Party in 1938, then left it in 1939, when Russia and Germany invaded Poland.In 1940, he earned an SJD degree at Yale University. While an undergraduate at Harvard, <mask> became part of the Communist Party; he then moved away from his earlier leftist views. In 1953, after being subpoenaed by the House Un-American Activities Committee, <mask> became a cooperating witness, and gave the committee the names of other Party members in his cell. His lectures were later boycotted by some students due to his testimony to the HUAC. <mask> was hired as an assistant professor at Swarthmore College in 1942, where he stayed for two years. In 1944, he was hired by the University of Chicago, where he was a professor for 25 years. He was the Pitt Professor of American History and Institutions at the University of Cambridge in 1964.He served as director and senior historian of the National Museum of History and Technology of the Smithsonian Institution (now known as the National Museum of American History, Behring Center) from 1973 to 1975. President Gerald Ford nominated <mask> to be Librarian of Congress, in 1975. On April 9, 1941, he married a Wellesley College graduate, Ruth Carolyn Frankel (1917–2013). She quickly became his partner and editor for his first book, The Mysterious Science of the Law, published in the same year. <mask>, with Ruth as his collaborator,  wrote more than 20 books, including two major trilogies, one on the American experience and the other on world intellectual history. The Americans: The Democratic Experience, the final book in the first trilogy, received the 1974 Pulitzer Prize in history. <mask>'s second trilogy, The Discoverers, The Creators and The Seekers, examines the scientific, artistic and philosophic histories of humanity, respectively.In his “Author’s Note” for The Daniel J. Boorstin Reader (Modern Library, 1995), he wrote, “Essential to my life and work as a writer was my marriage in 1941 to Ruth Frankel who has ever since been my companion and editor for all my books.” Her obituary in The Washington Post (December 6, 2013) quotes <mask> as saying, “Without her, I think my works would have been twice as long and half as readable.”

Within the discipline of social theory, <mask>'s 1961 book The Image: A Guide to Pseudo-events in America is an early description of aspects of American life that were later termed hyperreality and postmodernity. In The Image, <mask> describes shifts in American culture – mainly due to advertising – where the reproduction or simulation of an event becomes more important or "real" than the event itself. He goes on to coin the term pseudo-event, which describes events or activities that serve little to no purpose other than to be reproduced through advertisements or other forms of publicity. This book also describes the type of false stories that came to be called "fake news" in the 2010s. The idea of pseudo-events anticipates later work by <mask> and Guy Debord. The work is an often-used text in American sociology courses, and <mask>'s concerns about the social effects of technology remain influential. <mask> has been credited with saying, "Ideas need no passports from their place of origin, nor visas for the countries they enter... We, the librarians of the world, are servants of an indivisible world ... Books and ideas make a boundless world."When President Ford nominated <mask> to be Librarian of Congress in 1975, the nomination was supported by the Authors Guild but opposed by liberals, who objected to his perceived conservatism and his opposition to the social revolution of the late 1960s and early 1970s. He was attacked by the American Library Association because <mask> "was not a library administrator". The Senate confirmed the nomination without debate. <mask> retired in 1987, saying that he wanted to do full-time writing. He died of pneumonia February 28, 2004, in Washington D.C. He was survived by Ruth, his three sons, Paul, <mask> and David, six grandchildren and three great-grandchildren. David Levy, a history professor at the University of Oklahoma, said humorously in one of his lectures after <mask>'s death: "One can only imagine what he might have achieved, if he had only listened to his father’s advice about where to go to college."<mask>'s approach to history

Professor Levy delivered a lecture about <mask> in April 2014 at an Oklahoma University event, the President's Day of Learning. He had several observations about <mask>'s approach to American history that seem to explain why many contemporary historians opposed his appointment to head the Library of Congress. According to Levy:
 <mask> believed that the main points of American history were made by what the people agreed upon, rather than what they fought over. He emphasized continuities in history, rather than radical changes. He distrusted doctrinaire thinking; his writings minimized the role of pure thinkers and emphasized the role of problem solvers. He was conservative in politics and his approach to culture, and was revolted by what he saw as vulgarities in American life and advertising. He observed the transformative power of seemingly mundane cultural advances as air conditioning, telephones, catalog shopping, canned food and typewriters.Impact on the Library of Congress

<mask>. Cole, in the obituary of <mask> he wrote for the American Antiquarian, credited <mask> with bringing new intellectual energy to the Library of Congress (LOC), opening the institution to, "the public, to scholars, and to new constituencies. In 1976, <mask> held a press conference to announce that he had discovered the contents of President Lincoln's pockets when he was assassinated in 1865. They had been in a wall safe in the Librarian's office. Boorstin had these artifacts put on public display, where they have become the most popular attraction for tourists visiting the American Treasures of the Library of Congress exhibition in the Library's Jefferson Building. He was instrumental in creating the American Folklife Center in 1976, and the Center for the Book in the Library of Congress in 1977. In 1979, the LOC and the Kennedy Center opened a Performing Arts Library in the Kennedy Center. In 1980, <mask> set up the Council of Scholars, a new link between the LOC and the world of scholarship.Another major event during <mask>'s tenure at the LOC was the construction and implementation of LOC's James Madison Memorial Building during 1980-1982. He obtained private contributions to open the Mary Pickford Theater in the Madison Building in 1983. The theater was intended to increase public awareness of the LOC's large collection of motion pictures. In 1984, <mask> and Architect of the Capitol George White teamed up to persuade Congress to appropriate $81.5 million for rehabilitating two of the LOC's older structures, the Jefferson (1897) and Adams (1939) Buildings. In 1986, <mask> appeared before Congress to oppose legislation that would have made drastic cuts in the LOC budget. His pleas resulted in substantially restoring the proposed cuts. It also resulted in his being called, "an intellectual Paul Revere."Overall, <mask> proved so persuasive that the Federal appropriation increased from $116 million to more than $250 million during his administration. Honors
His book, The Americans: The Colonial Experience (1958) won the Bancroft Prize for best book on history. The Society of American Historians awarded <mask> the Francis Parkman Prize for The Americans: The National Experience (1965). <mask> was awarded the Order of the Sacred Treasure, First Class, by the Japanese government in 1986. He received the Golden Plate Award of the American Academy of Achievement in 1986. He was awarded a Pulitzer Prize for writing The Americans: The Democratic Experience (1973). He was inducted into the Tulsa Hall of Fame in 1989, and received the Oklahoma Book Award in 1993 for The Creators.He held twenty honorary degrees, including an honorary Doctor of Laws from the University of Tulsa and Doctor of Letters from Oglethorpe University in 1994. American Quarterly (1971): 153–180. in JSTOR
 Morgan, Edmund S. "<mask><mask>, 1 October 1914 · 28 February 2004," Proceedings of the American Philosophical Society (2006) 150#2 pp. 347–351 in JSTOR
 Pole, J. R. "<mask><mask>." in Past-masters: Some Essays on American Historians edited by Marcus, Cunliffe and Robin Winks (Harper & Row, 1969). pp to 10-38
 King, Wayne and Warren Weaver <mask>. "Briefing: <mask> and the Emperor", The New York Times, May 2, 1986.Wilson, Clyde N. Twentieth-Century American Historians (Gale: 1983, Dictionary of Literary Biography, volume 17, ) pp 79–85

External links

 United States Library of Congress official site
 Center for the Book founded in 1977 by Boorstin
 <mask>. <mask> Papers, 1882–1995
 Obituary in The Guardian
 Obituary in The Economist
 Robert D. McFadden, "<mask>, 89, Former Librarian of Congress Who Won Pulitzer in History, Dies", The New York Times, March 1, 2004
 Encyclopedia of Oklahoma History and Culture – <mask>, <mask>. Alumni of Balliol College, Oxford
Academics of the University of Cambridge
American Rhodes Scholars
20th-century American historians
American male non-fiction writers
20th-century American lawyers
Harvard College alumni
Historians of the American Revolution
Historians of the United States
Hyperreality theorists
Jewish American historians
Librarians of Congress
Writers from Atlanta
Writers from Tulsa, Oklahoma
Bancroft Prize winners
Pulitzer Prize for History winners
University of Chicago faculty
Central High School (Tulsa, Oklahoma) alumni
Yale Law School alumni
1914 births
2004 deaths
National Humanities Medal recipients
Deaths from pneumonia in Washington, D.C.
American librarians
20th-century American male writers
Historians from Georgia (U.S. state)

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title: Wilma Reading

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<mask> is a singer from Cairns, Queensland, Australia. <mask> began her singing career in 1959 after singing for friends at a Brisbane jazz club. <mask> performed on The Tonight Show Starring Johnny Carson, had a residency at New York City's Copacabana nightclub and toured with Duke Ellington. Additionally, she made numerous appearances on The Morecambe & Wise Show in 1973 and 1974 and played Julie in a West End production of Show Boat, taking over from Cleo Laine. She has performed with the national orchestras of Belgium, the Netherlands, Iceland and Germany and toured with the Moscow Symphony Orchestra. She appeared alongside Jim Brown in the film Pacific Inferno. She has appeared in variety at The London Palladium and performed on BBC TV's, The Good Old Days.<mask> is of Australian Aboriginal, Torres Strait Islander, English, Irish, Jamaican, Afghan and Scottish ancestry. She is the niece of Heather Pitt (singer) and Georgia Lee. In August 2019, <mask> was inducted into the National Indigenous Music Awards Hall of Fame. On 2 November 2019, Reading opened the Sydney International Women's Jazz Festival. Early life
<mask> was born in Cairns, Queensland, to an English-Irish father and a mother of Kalkatungu and Erub Islander heritage. Her family was involved in musical theatre and jazz, and would often sing together, artists like The Mills Brothers and Nat King Cole. In 1957, <mask> started performing with her sisters, Phronsie and Dulcie as The Reading Sisters.They performed together at family gatherings and birthday parties before entering the radio talent show Australia's Amateur Hour. In 1957, they won the state championship and travelled to Sydney for the finals, where they came in second place. Career
After the early success of The Reading Sisters, <mask> decided to leave music so she could focus more of her time on Softball. In 1959, her team went to Brisbane for a state competition. The group were out one evening when <mask> got up to sing for a teammate’s birthday. "So I went up to the piano and did three songs, and after ten minutes or so, a gentleman came to our table, said he liked my singing and asked would I like a job with his band?" <mask> told him if he wanted her to perform he would need to apply to her parents for permission.Two weeks later a letter arrived from bandleader Lali Hegi, asking Wilma’s parents if the 17 year old could move to Brisbane and front his seventeen piece band at the Ritz Ballroom. Her dad approved, but said she could only try for six months – if she was unable to make a living out of her music by that time she had to come back home. It was with this band that she learned to sing jazz – they performed the music of the Jazz legends of the time, Ella Fitzgerald, Sarah Vaughan and Frank Sinatra. She appeared a few nights a week and filled up the rest of the week performing show tunes at jazz clubs, as well performing with a local coffee shop trio. In 1960, <mask> moved to Sydney to pursue new career opportunities. She recorded ‘In My Little Corner of the World’ and ‘If I Were a Bell’ with Festival Records, and through this got the opportunity to become a regular on Brian Henderson's television variety show, Bandstand. Here she worked with the biggest Australian performers of the time: Col Joye, Dig Richards, the Decru brothers, the Allen Brothers, Noeleen Batley and Judy Stone.During this period, <mask> was offered a job overseas - a month-long residency at the Singapore's prestigious Goodwood Hotel. From a young age, <mask> had been determined to follow in the footsteps of her Aunt, legendary jazz singer Georgia Lee, and become a world-renowned performer. "She went before me. I respect her very much because you consider, for an Indigenous girl from Cairns, Far North Queensland, population of perhaps five or eight thousand people at the time. There were absolutely no government grants at that time. She saved her money, probably by cleaning floors, washing, ironing… she became a singer. She became a star!"<mask> took a huge risk and left Bandstand and Sydney network and moved to Singapore. Her residency was extended twice and developed into a series across Asia, which saw her visit Saigon (now Ho Chi Minh City), Bangkok, Tokyo, Hong Kong and Calcutta (now Kolkata). While in Manila, <mask> met her husband, Ray Lehr who would also become her manager. One evening <mask> was performing at the Tokyo Hilton Hotel when she was spotted by an American talent agent who loved her show and offered her and her dancers the opportunity to tour America. They moved in 1964, and her first job was at The Riviera Hotel in Las Vegas. “Las Vegas was hectic for me because it was nothing like what I had engaged with before… the whole way of life was turned around. We lived by night and slept by day.We had to do that because of the timetable. But it was great because we could meet other people – other artists.”

During this period, legendary pianist, singer and actor Liberace frequently came to see her show, and she met other stars of the day, including Tony Bennett, Louis Bellson, Dean Martin, Frank Sinatra, Dave Brubeck, and her idol Ella Fitzgerald. Off the back of her successful residency at The Riviera Hotel, <mask> was invited to audition for the great American jazz musician and bandleader, Duke Ellington; who composed popular songs ‘It Don’t Mean a Thing if it Ain’t Got That Swing’ and ‘Mood Indigo’. “He sent me to Billy Strayhorn. So I’m at his place, he sits at the piano and I could have chosen one of the easier songs, ‘Satin Doll’, or ‘Don’t get around much anymore’. But I didn’t think of that. I auditioned with ‘Lush Life’.Three minutes passed and then he turned to me and said: “Thank you for singing the song the way I wrote it.”

She was hired immediately, and joined ‘The Duke’ and his orchestra on the road, appearing in Philadelphia and New York. <mask> is the only Australian to have performed on stage with Ellington. After just a few months of touring, however, she made the difficult decision to leave – she wanted to progress her career and felt she wasn't able to while remaining in Ellington's shadow. In 1973, <mask> left America for the United Kingdom. She recorded an LP, 'Wilma Reading' at EMI’s studios at Abbey Road. She also worked with composer John Barry to record the theme for The Tamarind Seed. During this period she also made regular guest appearances on over 30 British variety shoes, including The Harry Secombe Show, The Ken Dodd Show, Stars on Sunday and the BBC sketch-comedy, The Morecambe & Wise Show.<mask>’s popular television appearances made her a star, enabling her to headline her own show across the United Kingdom. At this time, <mask> successfully auditioned to replace Cleo Laine in the role of Julie La Verne in Show Boat at the Adelphi Theatre in London’s West End. “I just decided not to be scared and that’s that. After all, what did I have to lose? I went into the [musical] numbers my own way. I made no attempt to emulate Cleo’s very personal, individual style. Nobody could get away with that.I took it on the full throat without the mike and let the balcony bounce it back. I gave it my full range.”

In 1977, <mask> returned to New York for another season at the Copacabana nightclub. During this period, she took on another acting job, starring with Jim Brown in Pacific Inferno. In 1979, she was seen by Russian diplomats while performing at London nightclub Talk of the Town. They were so impressed they invited her to tour with the Moscow Symphony Orchestra. At that time, Russia was still behind the Iron Curtain. Popular music was suppressed until recordings of The Beatles got through.Russia fell in love with popular music, and wanted to hear more jazz, blues and pop music from the west. Therefore in late 1978, ‘King of the Blues’ B.B. King and Elton John were invited to perform in Russia. <mask> <mask> followed, and in 1979 was the third western artist invited to perform behind The Iron Curtain. She performed 33 shows throughout Russia in Moscow, Leningrad (now St. Petersburg) and Kiev. Despite her internationally successful career performing on the world stage, <mask> remained relatively unknown in Australia. "The only problem is I was gone for so long because I built up my career overseas and would just come home to see my mum and dad and brothers and sisters.For me to get established in Australia I'd be leaving too much behind because it takes a while to get yourself established." In 2003, she returned home to Cairns where she taught singing at the local TAFE, passing on her vocal skills to future generations. During the 2010’s, <mask> returned to the stage in a series of appearances at jazz festivals across the country. In August 2019, <mask> was inducted into the National Indigenous Music Awards Hall of Fame. <mask> is the niece of singer Georgia Lee. Select singles discography
1960: "In My Little Corner Of The World" / "If I Were A Bell" (Rex)
1960: "Nature Boy/Fool Fool Fool" (Rex)
1961: "I Only Came To Say Goodbye" / "That's How I Go For You" (Rex)

References

External links
Official website. "The Wilma Reading Story", ABC TV Message Stick documentary broadcast in May 2011 with video and transcript.Australian women singers
Indigenous Australian musicians
Australian people of Afghan descent
Australian people of English descent
Australian people of Irish descent
Australian people of Jamaican descent
Australian people of Scottish descent
Living people
Year of birth missing (living people)

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