title: Howard Chaykin

texts:
 produced the Fafhrd and the Gray Mouser miniseries for Epic Comics with co-writer John Francis Moore and inker Al Williamson.This was followed with the Ironwolf: Fires of the Revolution graphic novel in 1992. Chaykin then wrote and illustrated Midnight Men for Marvel's Epic imprint in 1993. He co-created/designed Firearm for Malibu Comics that same year, and then with several colleagues formed the creator-owned Bravura imprint for Malibu Comics. Chaykin created the four-issue miniseries Power and Glory in 1994, a superhero-themed public relations satire. In 1996, DC’s Helix imprint published Cyberella, a cyberpunk dystopia written by Chaykin and drawn by Don Cameron. Chaykin began to drift out of comics by the mid-1990s. With the exception of several Elseworlds stories he wrote for DC Comics, including Batman: Dark Allegiances which he wrote and drew in 1996, his comic output became minimal as he became more involved in film and television work.He was executive script consultant for the 1990–1991 The Flash television series on CBS, and later worked on action-adventure programs such as Viper, Earth: Final Conflict and Mutant X. Near the end of the decade, Chaykin returned to comics and co-wrote with David Tischman the three-issue miniseries Pulp Fantastic for the Vertigo imprint of DC, with art by Rick Burchett. 2000s
Chaykin began co-writing American Century with David Tischmann for Vertigo. This story, set in post-war America, would be a pulp-adventure strip inspired by the likes of Terry and the Pirates as well as the EC Comics war stories created by Harvey Kurtzman. That year, Chaykin became part of the creative team on Mutant X, a television series inspired by the Marvel Comics series of mutant titles. His next work was Mighty Love, a 96-page original graphic novel published in 2004 and described as "You’ve Got Mail with super-powers". This was acclaimed as a return to the type of work he did on American Flagg!and contained his first art in a title since the early 1990s. That year, Chaykin and Tischmann revamped Challengers of the Unknown in a six-issue mini-series for DC, as well as writing a mini-series about gangster vampires called Bite Club for Vertigo. The pair wrote Barnum! : In Secret Service to the USA, a graphic novel in which real-life showman P. T. Barnum comes to the aid of the U.S. government. In 2005, Chaykin produced the six-part City of Tomorrow, a DC/Wildstorm production involving a futuristic city populated by gangster robots. Chaykin described the mini-series as "The Untouchables meets West World at Epcot." That same year, he wrote the four-issue mini-series Legend updating the character Hugo Danner for Wildstorm.He illustrated 24 College Ave., a story serialized online in 54 chapters for ESPN.com’s Page 2 section. ESPN.com columnist Jim Caple wrote the text, each episode of which was accompanied by a single-panel Chaykin drawing. In 2006, he began working on his first superhero title for DC Comics, pencilling Hawkgirl, with Walter Simonson writing, starting with issue #50. With issue 56, he stopped drawing the series, mainly to get time to work on Marvel’s Blade with Marc Guggenheim, although he continued to draw Hawkgirl covers for eight more issues. Also in 2006, DC Comics published a two-page Black Canary origin story drawn by Chaykin for the series 52. Later that year, DC released Guy Gardner: Collateral Damage. The two-issue series, written and drawn by Chaykin, revolves around the Green Lantern Corps' role in an interstellar war.After Blade was cancelled with issue 12, he pencilled issue 50 of Punisher, Wolverine (vol. 3) #56–61, Punisher War Journal (vol. 2) (#16–24) and an issue of Immortal Iron Fist. Chaykin illustrated the 2008 Marvel MAX comic War Is Hell: The First Flight of the Phantom Eagle, scripted by Garth Ennis. He wrote Supreme Power vol. 3 #1–12 (Sep. 2008 – July 2009) for Marvel. In 2009, he wrote and penciled Dominic Fortune.2010s
In 2010 he wrote Die Hard: Year One, a comic about John McClane from the Die Hard series for Boom! Studios. Marvel in June 2010 published a Rawhide Kid miniseries drawn by Chaykin and written by Ron Zimmerman. Chaykin wrote and drew the Avengers 1959 five-issue miniseries, a spinoff of a storyline introduced in The New Avengers. The first issue was released in October 2011. Chaykin helmed a reboot of the science-fiction character Buck Rogers beginning in August 2013, again in the capacity of both artist and writer. In 2018, Chaykin began Hey Kids!Comics!, a cynical parody of the historical rise of the comics industry and the many creators it exploited in the process (particularly that of Marvel Comics). As of November 15, 2018, Image Comics has released 4 issues of this series. Personal life
In 1972, Chaykin married Daina Graziunas. The marriage ended in 1977, and the following year he married Leslie Zahler. That marriage ended in 1986, and in 1989, in Los Angeles, Chaykin married Jeni Munn, a union that lasted through 1992. In November 2002, in Ventura, Chaykin married Laurel Beth Rice. As of 2013, Chaykin serves on the Disbursement Committee of the comic-book industry charity The Hero Initiative.Awards
 1977 Inkpot Award
 1978 Eagle Award nomination for Favourite Continued Story for Star Wars #1–6—"Film Adaptation"
 1984 Eagle Award for Favourite Penciler
 1984 Eagle Award for Favourite Inker
 1984 Eagle Award for Favourite Writer
 1984 Eagle Award for Favourite Comic (American Flagg!) 1984 Eagle Award for Favourite Single or Continued Story (American Flagg! #1–2, "Hard Times")
 1984 Eagle Award for Favourite New Comic Title (American Flagg! 1984 Eagle Award nomination for Favourite Character (Reuben Flagg)
 1984 Eagle Award nomination for Favourite Supporting Character (Raul the cat)
 1984 Eagle Award nomination for Favourite Comic Cover (American Flagg! #2, "Back in the U.S.A.")
 1984 Eagle Award nomination for Favourite Comic Cover (American Flagg! 2, (Killraven) #18 (with Neal Adams), 19 (1973)Kull and the Barbarians (Red Sonja) #2–3 (1975)Marvel Spotlight (Nick Fury) #31 (1976)Conan the Barbarian #79–83 (1977–78)Star Wars #1–10 (1977–1978)Marvel Team-Up (Spider-Man) #76–77 (1978)Marvel Premiere #32 (Monark Starstalker) writer/artist (1976) #56 (Dominic Fortune) plot/layouts (1980) Marvel Comics Super Special #9, 19 (1978–81)Hulk! (Dominic Fortune) #21–25 (1980–81)Marvel Preview (Dominic Fortune) #20 (1980)James Bond for Your Eyes Only #2 (1981)Wolverine/Nick Fury: The Scorpio Connection (1989)Fritz Leiber's Fafhrd and the Gray Mouser #1–4 (adaptation and script), Epic, (1990–91)Captain America and Nick Fury: Blood Truce (1995)Fury of S.H.I.E.L.D.(1995)Blade #1–12 (2006–07)The Immortal Iron Fist Annual #1 (among other artists) (2007)New Avengers #21 (2007)Punisher War Journal, vol. 2, #16–25 (2008–09)Captain America Theater of War: America First! (2009)Captain America #600, 616 (among other artists) (2009–11)Dominic Fortune, #1–4 (2009)X-Men vs. Vampires, miniseries, #2 (2010)Magneto #1 (2010)Iron Man, vol. 5, (Tony Stark) #503 (2011)Avengers 1959, miniseries, #1–5 (writer/artist) (2011)New Avengers, vol. 2, #9–on (with Mike Deodato, doing "Avengers 1959" flashbacks) (2011)

Other publishersCreepy #64 (Warren Publishing, 1974)Star*Reach #1, 4–5 (1974–76) (Star*Reach)The Scorpion #1–2 (writer/artist) (Atlas/Seaboard, 1975)Eerie #72 (with Bernie Wrightson) (Warren Publishing, 1976)Cody Starbuck, (writer/artist), (Star Reach, 1978)American Flagg! #1–12, 14–26, Special #1 (writer/artist); #13, 27–29 (writer) (First, 1983–86)Time² (writer/artist) (First, 1986–87)Black Kiss #1–12 (writer/artist) (Vortex, 1988–89)Power & Glory, miniseries, #1–4 of 4 (writer/artist) (Malibu/Bravura, 1994)Black Kiss II #1–6 (writer/artist) (2012–13, Image Comics)Marked Man (2012, Dark Horse Comicsm originally serialized in Dark Horse Presents #1–8)Buck Rogers #1–4 (2013, Hermes Press)Dark Horse Presents Volume 2 #22 George Armstrong Custer (writer/artist) (2013)Eerie #4 (2013, Dark Horse Comics)Satellite Sam #1–15  (2013–15, Image Comics)Black Kiss Christmas Special (writer/artist) (2014, Image Comics)The Shadow: Midnight in Moscow #1–6 (2014, Dynamite Entertainment)Midnight of the Soul #1–5 (2016, Image Comics)The Divided States of Hysteria #1–5 (2017, Image Comics)Hey Kids! Comics!#1–5 (2018, Image Comics)

TelevisionThe Flash Episode 3: "Watching the Detectives" (co-written with John Francis Moore)
 Episode 4: "Honor Among Thieves" (plotted with Moore, teleplay by Danny Bilson and Paul De Meo)
 Episode 7:"Child's Play" (teleplay co-written with Moore, plot by Stephen Hattman and Gail Morgan Hickman)
 Episode 8: "Shroud of Death" (plotted with Moore, teleplay by Michael Reaves)
 Episode 9: "Ghost in the Machine" (co-written with Moore)
 Episode 12: "The Trickster" (co-written with Moore)
 Episode 16: "Deadly Nightshade" (co-written with Moore)
 Episode 19: "Done with Mirrors" (co-written with Moore)
 Episode 22. "The Trail of the Trickster" (co-written with Moore)Mutant X'' Seasons One and Two
 Episodes 1 and 2: "The Shock of the New"
 Episode 8: "In the Presence of Mine Enemies"
 Episode 18: "Ex Marks the Spot" (co-written with Mark Amato and David Newman)
 Episode 22: "A Breed Apart"
 Episode 23: "Past as Prologue"

References

External links

Official Facebook page

"DC Profiles #44: <mask>in" at the Grand Comics Database

<mask> at Mike's Amazing World of Comics
<mask> at the Unofficial Handbook of Marvel Comics Creators

Interviews

1950 births
Album-cover and concert-poster artists
American comics artists
American illustrators
Artists from Newark, New Jersey
Inkpot Award winners
Jamaica High School (New York City) alumni
Living people
Writers from Newark, New Jersey
People from Flatbush, Brooklyn
People from Brownsville, Brooklyn
People from Staten Island
People from Kew Gardens,

masks:
Howard Chayk
Howard Chaykin
Howard Chaykin


title: Alfonso Catá

type: original

texts:
<mask> (3 October 1937 – 15 September 1990) was a Cuban ballet dancer, choreographer, teacher, and company director, active in the United States, Switzerland, Germany, and France. Early life and training
Born in Havana, <mask> was the son of a diplomat in service to the government of Fulgencio Batista, president of Cuba from 1933 to 1959. When <mask> was a boy, his father was posted to Geneva, Switzerland, and he was educated in private schools there, adding French and English to his native Spanish. Details of his early life are obscure, but he may also have begun his ballet training with Swiss teachers. In any case, when his family moved to the United States about 1950 and settled in New York City, his interest in dance was strong enough to cause him to enroll at the School of American Ballet. There, he was trained in the principles of classical ballet technique developed by George Balanchine, to whom he would remain devoted for the rest of his life. Performing career
During his career as a dancer, <mask> performed with several major ballet companies in Europe and America.In 1956, at age 19, he joined Roland Petit's Ballets de Paris, which performed in various cities in France and on tour to neighboring countries. <mask> danced minor roles in many works in the company repertory, appearing on stage with Zizi Jeanmaire in Petit's Carmen and with Violette Verdy in Le Loup. After a time with this company, he left to join the Grand Ballet du Marquis de Cuevas, also based in Paris, where he appeared in the company's famous 1960 production of The Sleeping Beauty, staged by Bronislava Nijinska and Robert Helpmann and starring Nina Vyrubova and Serge Golovine. In, 1961, <mask> left France and moved to Germany, where he joined the Stuttgart Ballet, then being re-formed by South-Africa-born John Cranko. He took with him his Brazilian girlfriend, Marcia Haydée, who would become Cranko's muse, prima ballerina of the company, internationally known star of Cranko's narrative ballets, and his eventual successor as artistic director of the company. Upon returning to New York, <mask> resumed his studies at the School of American Ballet and at the Joffrey School, where he improved his technical mastery. In 1964 he was among the first group of young professionals organized by Robert Joffrey into a company, along with Robert Blankshire, Wilhelm Burmann, Zelma Bustillo, Diana Carter, Luis Fuente, Hilda Morales, and Trinette Singleton.The newly named Joffrey Ballet made its debut at the New York City Center of Music and Drama in 1965, but <mask> did not remain long with the troupe, soon leaving to join the corps of New York City Ballet, then resident at the New York State Theater at Lincoln Center. Although happy to be dancing the Balanchine repertory, he decided, at age 30, to retire from the stage. In 1967, he left New York City Ballet and opened a boutique, called Yasny ("You ain't seen nothin' yet"), on Manhattan's Upper West Side, where he sold dresses he had designed and Latin American pottery and jewelry. Gregarious and charming, he attracted patrons to his shop from a wide surrounding neighborhood, including Balanchine, who would sometimes stop by for a chat. Directorial and choreographic career
In 1969, Balanchine nominated <mask> to become artistic director of the moribund ballet company of the Grand Théâtre de Genève. It was an attractive offer, especially because of his childhood memories of the city, and a welcome opportunity that he was glad to accept. With Balanchine acting as artistic adviser, he took over leadership of the company, made dramatic reforms, and revitalized the repertory.During the four years of his tenure (1969-1973), he introduced many of Balanchine's best works to appreciative Swiss audiences. Among them were Sérénade (music, Tchaikovsky), Symphonie en Ut (Bizet), Apollon Musagète (Stravinsky), Les Quatre Tempéraments (Hindemith), Concerto Barocco (Bach), Divertimento No. 15 (Mozart), Symphonie Ecossaise (Mendelssohn), Square Dance (Corelli and Vivaldi), and Who Cares"? (Gershwin). These masterworks were supplemented by choreographies of his own, including La Nuit de Mai (music, Leoncavallo), Les Saisons (Glazunov), Sonatine pour Violon et Percussion (Pierre Métral), Pierre et le Loup (Prokofiev), Le Carnaval des Animaux (Saint-Saěns), Nuit Transfigurée (Schoenberg), and Concerto pour Percussion, Piano, et Orchestre à Cordes (Tomás Swoboda). He also provided dances for operas and operettas: Un Ballo in Maschere (Verdi, 1970), La Belle Helène (Offenbach, 1971), L'Étoile (Chabrier, 1971), and La Veuve Joyeuse (Léhar, 1972). Balanchine provided not only artistic advice; he sent <mask> some of his most promising students from the School of American Ballet in New York.Among them were Claudia Jescke and Chris Jensen, who, at 19, partnered Violette Verdy in a Balanchine pas de deux from La Source at an international gala that <mask> had organized and who would go on to an illustrious career as a principal dancer with the Basel Ballet and as ballet master of the Zurich Ballet. Other talented members of the company were the French dancer Dominique Bagouet, the English dancer David Allen, his French wife Claudine Kamoun, and the Swiss dancer Heinz Spoerli, who had established a reputation in Germany and Canada. Encouraged by <mask>, Spoerli choreographed his first major ballet, Le Chemin, in 1972. The success of this work, set to a commissioned electronic score by Eric Gaudibert and performed by Ruth Weber and Chris Jensen, launched Spoerli's career as the foremost Swiss choreographer of the twentieth century. Over the next two decades, <mask> worked as artistic director of three major dance companies: the Frankfurt Ballet in Germany (1973-1977), the Baltimore Ballet in the United States (1980-1981), and the Ballet du Nord in France (1983-1990). In the intervals between these jobs, he taught at various schools in New York City and elsewhere. As founder of the Ballet du Nord in Roubaix, France, close to the Belgian border, he remained active in the post of company director, chief choreographer, and teacher until his death in 1990.He built the company repertory on fourteen Balanchine ballets and such works as Concerto, set to music of Keith Emerson by Jean-Pierre Bonnefoux, Les Nuits d'Éte, set to music of Hector Berlioz by Jean-Paul Comelin, and a number of works of his own devising. Among them were ballets to two evocative orchestral compositions: Nuits dans les Jardins d'Espagne by Manuel de Falla and La Mer by Claude Debussy. The company eventually evolved into the Centre Chorégraphique National Roubaix–Nord-Pas-de-Calais (CNN), specializing in experimental contemporary dance. Personal life
<mask>'s long-term companion was Wilhelm Burmann, a German dancer whom he met in Europe in the 1950s. Burmann's career was inextricably linked with <mask>'s own. He danced with the Stuttgart Ballet, the Frankfurt Ballet, the Joffrey Ballet, the New York City Ballet, and the Geneva company, where he also served as ballet master. He later became a popular teacher at Steps on Broadway in New York City.He survived <mask>, who died at age 53 in hospital at Tourcoing, near Roubaix. <mask> was also survived by a younger brother, Ernesto Hernandez-<mask>, a retired economist living in the Washington area with his wife, Ximena. References

1937 births
1990 deaths
People from Havana
Cuban male ballet dancers
Ballet choreographers
LGBT dancers
LGBT people from Cuba
LGBT choreographers
20th-century LGBT people

masks:
Alfonso Catá
Alfonso Catá
Alfonso
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá
Catá


title: Neysa McMein

texts:
<mask> (born <mask>; January 24, 1888 – May 12, 1949) was an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P. Wilcox and Jane Bulley and made posters to support the war effort. She was made an honorary non-commissioned officer in the United States Marine Corps for her contributions to the war effort. McMein was a successful illustrator of magazine covers, advertisements, and magazine articles for national publications, like McClure's, McCall's, The Saturday Evening Post, and Collier's. McMein created the portrait of a fictional housewife "Betty Crocker" for General Mills. She was also a successful portrait painter who painted the portraits of presidents, actors, and writers. Algonquin Round Table members were entertained at her West 57th Street studio, where she was known for her active parties.Life magazine wrote an article about adult party games, which featured stories about McMein's parties. She had an open marriage to John G. Baragwanath, during which she had affairs with Charlie Chaplin and George Abbott. Baragwanath described their marriage as a successful one based upon a deep friendship. She was inducted into the Society of Illustrators' Hall of Fame in 1984, 35 years after her death. <mask> was one of 20 Society of Illustrators' artists to have their work published on a United States Postal Service Collectible Stamp sheet in 2001. Early life and education
Marjorie Frances <mask> was born in Quincy, Illinois on January 24, 1888. She was the daughter of Harry Moran and Isabelle Parker <mask>.<mask> was a reporter before he worked for the McMein Publishing Company, a family business. Due to his alcoholism, his relationship with his wife was strained. McMein had musical, acting, and artistic talent. After graduating with honors in 1907 from the Quincy High School, she attended The School of the Art Institute of Chicago. McMein worked at a large millinery firm, where she became lead designer. In 1911 or 1913, she went to New York City and after a brief stint as an actress  in several of Paul Armstrong's plays, she turned to commercial art. On the advice of a numerologist, she adopted the name Neysa.John Baragwanath, her husband, stated that she chose the name Neysa after meeting one of Homer Davenport's fillies at his stables. Whatever the original impetus for the change, McMein thought that the name Neysa "had a commercial value" above that of her birth name. McMein studied at the Art Students League of New York in 1914. Career

McMein sold her first drawing to the Boston Star in 1914. She created Harry Horowitz's portrait in 1915 before he was executed for Herman Rosenthal's murder. That year, she sold an illustration for the cover of The Saturday Evening Post and her Misinformation illustration appeared on the May 8, 1915, cover of Puck magazine. She became known for her portrayal of "All American Girls."McMein made posters for French and United States governments during World War I, as did Thelma Cudlipp, Helen Hyde and Mary Brewster Hazelton. Posters that she made also were used by the American Red Cross in its fund-raising campaigns. She traveled across France to entertain the troops in 1918. Of her time at the Western Front, McMein said, "Since I have lived through air bombing I never will be frightened by anything on earth. The terror of air raids cannot be imagined. They are heralded by the blowing of sirens and the ringing of church bells, and amid this din the lights are extinguished and then suddenly come the bombs, falling no one knows where. The noise they made is worse than that of the battles."McMein made portraits of some of the soldiers, drew cartoons, and colored the design of the Indian head insignia that was then used by the 93rd Bomb Squadron to denote the number of German planes that a given plane shot down by drawing a German black cross over one of the bear teeth in a necklace worn around the Indian head. She returned to the United States to care for her mother after her father died. While in Quincy, she spoke at two fund-raising drives. "[McMein] was the main attraction. The theater was filled. She was an excellent speaker; very witty and clever," according to Sarah Carney. For her efforts supporting the U.S. war effort, <mask> was appointed an honorary non-commissioned officer in the United States Marine Corps, one of only three women to be so honored.Her illustrations appeared on the covers and within articles for McClure's magazine by 1919. By the 1920s, <mask> and Jessie Willcox Smith were two of the major women magazine illustrators of their time. Together, they created hundreds of covers for McCall's and Good Housekeeping magazines. Joseph Bernt, author of the article "The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media" found that both women and Norman Rockwell generally portrayed women in covers and illustrations as mothers, with scenes centered around children, during the 1920s and 1930s. Within the covers of the magazine were illustrations made by the three artists to sell consumer products, like Orange Crush, Ivory soap, Chesterfield cigarettes, and Holeproof Hosiery. Following World War I, increased emphasis of family life was presented in mass media following a period when woman's suffrage and the New Woman were depicted in publications from the late 1800s according to Bernt. Carolyn Kitch, author of the book The Girl on the Magazine Cover, finds, however, that <mask> created illustrations of confident, modern New Women for her magazine covers, while Jessie Wilcox Smith concentrated more steadily on children.From 1923 through 1937, McMein created all of McCall's covers. She also supplied work to National Geographic, Woman's Home Companion, Collier's, and Photoplay. McMein earned up to $2,500 (estimated ) per cover illustration. She created advertising graphics for Cadillac, Lucky Strike cigarettes and Palmolive soap. Together with artists Howard Chandler Christy and Harrison Fisher, McMein constituted the jury for Motion Picture Classic magazine's "Fame and Fortune" contest of 1921/1922, which discovered the It girl Clara Bow. Other promotional activities including judging Coney Island beauty contests or opening movie houses. McMein designed silk textiles in the mid-1920s, three examples of which are in the collection of the Metropolitan Museum of Art.In December 1929, she consulted with Studebaker's design department, with five other women artists and decorators. General Mills commissioned her to create the image of Betty Crocker, a fictional housewife in 1936. She created an official portrait of Betty Crocker by combining features of the home economists employed by the company, which helped reinforce that Crocker was a real person. The image of the "ageless" 32-year-old was used in advertising and on packaging until 1955 when Hilda Taylor painted an updated Betty, who also wore bright red and white clothing. Like the Betty Crocker image, "Miss McMein was herself a kind of American demigoddess: the most courted of commercial artists, hostess in her New York studio to all of the 'Algonquin wits'—Benchley, Parker, Franklin P. Adams—a wit herself. Sophistication lay rouge-deep upon the personalities of her cover girls; beneath lay reassuring testimonials to health and wholesomeness," wrote James Gray, author of Business Without Boundary: The Story of General Mills. In 1943, McMein collaborated with Alicia Patterson Guggenheim to create a comic strip, called "Deathless Deer."The strip starred a "deathless" Egyptian princess who awakens in modern New York City. <mask>, while talented, was unfamiliar with comic strip drafting and conventions, and Guggenheim's writing suffered with the format. The strip was a commercial and critical failure; it was discontinued in 1943. In April 1938, McCall's Magazine did not renew McMein's contract to produce illustrations for the magazine. By then, magazines could cost-effectively publish color photographs using four-color machines. McMein entered the field of portraiture, at first using pastels to depict Dorothy Parker, Edna St. Vincent Millay, and  Helen Hayes. She painted portraits of presidents Herbert Hoover and Warren G. Harding, author Anne Morrow Lindbergh, and actors Charlie Chaplin and Beatrice Lillie.McMein also painted Katharine Cornell, Kay Francis, Janet Flanner, Dorothy Thompson, Anatole France, Charles Evans Hughes and Count Ferdinand von Zeppelin. She mentored photographer Lee Miller. Personal life

Her father  died in 1918 while McMein was overseas entertaining the troops. She moved her mother Belle from Quincy, Illinois to live with her in New York. She was an "ardent supporter" of women's political, sexual, and economic rights. By 1920, McMein had walked in suffrage parades, traveled overseas extensively, and had ridden in Count Zeppelin's dirigible. She rode across an Arab desert with a woman journalist and friend and was proposed to by an Arab sheik in Algiers.<mask>, who was a talented musician, had written an opera by that time, too. In 1921, McMein was among the first to join the Lucy Stone League, an organization that fought for women to preserve their birth names after marriage in the manner of Lucy Stone. McMein—described as a tall, athletic, grave, and beautiful red-head—became a regular member of the Algonquin Round Table set, formed after the end of the war. Her West 57th Street studio in New York City became an "outpost" to the Algonquin Hotel, which appealed to the "Bohemian" nature of its members, which included Dorothy Parker, Alexander Woollcott, Edna Ferber, Irving Berlin, Robert Sherwood, Franklin Pierce Adams, Robert Benchley, Alice Duer Miller, Harpo Marx, and Jascha Heifetz. She was prone to working in her smock at an easel as her guests enjoyed lively discussions and piano playing. Berlin finished composing What'll I Do at McMein's piano during one of her Round Table parties. McMein provided the cover illustration of Berlin's biography by Alexander Woollcott.Walt Disney, Ethel Barrymore, Cole Porter, George Gershwin, H.G. Wells, and George Bernard Shaw were friends. Dorothy Parker moved in with McMein in 1920 before renting an apartment in the same building. <mask>'s mother died in 1923. The same year, McMein married John G. Baragwanath, a mining engineer and author, whom she met at a party given by Irene Castle. Baragwanth was interested in the striking, fine-featured woman playing the piano while others danced and sang around her. <mask> and Baragwanath had a daughter Joan in 1924.Theirs was an open marriage, and though the proprieties generally were observed, there were exceptions. In his memoirs, the lyricist and publicist Howard Dietz recalled hearing that on one occasion, when Neysa noticed that her model for the day was impatient to leave, she asked: "Have you got a heavy date?" Model: "Yes, with a great guy, Jack Baragwanath." Meanwhile, Neysa was involved for several years with the Broadway director George Abbott, leading Alexander Woollcott to say that "we now call Neysa’s place in Port Washington the 'Abbottoir.'" She also had affairs with Robert Benchley, Charlie Chaplin, who had a house near her cottage in Port Washington, and a platonic relationship with Irving Berlin. This occurred during a period when "[w]omen are for the first time demanding to live the forbidden experience directly and draw conclusions on this basis," according to Beatrice Hinkle in an article for The Nation. McMein lived a varied life in search of fun.She interspersed her life as an artist with riding on the back of an elephant in a parade, taking a swim on a whim, and enjoying parties. She hosted parties with games for adults to entertain artists, writers, actors and other celebrities. Her guests—like Bing Crosby, Anne Shirley, Robert Young, and Bennett Cerf—engaged in games like a quickfire, multiple team version of charades called "The Game", that is sometimes attributed to McMein. The spelling game, where each person on a team wore a sign with one letter and played against another team so see who could arrange themselves the fastest in the proper order to spell a word, was played at her parties. McMein and the games that she employed at her parties were featured in a Life magazine article in 1946. <mask> also entertained at the house she bought with Baragwanath on the North Shore of Long Island in Sands Point. In 1942, she broke her back by falling downstairs during a sleepwalking episode.McMein was then required to have surgery to graft part of her hip to her spine. Death
McMein died of cancer on May 12, 1949, in New York City and was survived by daughter Joan and her husband John Baragwanath. In her will, McMein bequeathed monies to purchase works of arts annually by the Whitney Museum of American Art. The museum bought 72 purchases from 1956, none of which were McMein's works. Like other illustrators' works, her illustrations were not considered fine art. In 1984, <mask> was inducted into the Society of Illustrators' Hall of Fame. The United States Post Office released a 20-stamp collection in February 2001 that are based upon works created by 20 Society of Illustrators' artists, including <mask>, Rockwell Kent, Al Parker, Howard Pyle, Jessie Smith, and Joseph Leyendecker.Collections
 Central School of Speech and Drama - Beatrice Lillie,
 Delaware Art Museum - Possibly a Cover Illustration, pastel on paper, 1919
 Library of Congress - One of the thousand Y.M.C.A. girls in France. Y.M.C.A., poster, 1918
 Alice Marshall's Women History Collection, Penn University, Harrisburg
 McCall's, June 1925
 McCall's, August 1929
 Advertisement for San-Tox Preparations, The American Magazine, 1919
 Metropolitan Museum of Art
 American Print: Birches, silk textile, 1925
 American Print: Hollywood, silk textile, 1925
 Piece, silk textile, 1927
 Museum of the City of New York, Theatre Collection - Miss Katharine Cornell
 Princeton University Poster Collection 1863-1948
 One of the thousand Y.M.C.A. girls in France. Y.M.C.A., poster, 1918
 Woman in cape and robe holding a sword and an oar, Grand Military Naval Meet and Ball, Benefit of Women's Oversea Hospitals, poster, 1917
 Quincy Art Center, Illinois

Published works
Illustrator

Author

In popular culture
McMein was portrayed by actress Rebecca Miller in the film Mrs. Parker and the Vicious Circle (1994). Notes

References

Further reading

External links

1889 births
1949 deaths
American portrait painters
American women illustrators
American illustrators
American women painters
American female comics artists
People from Port Washington, New York
People from Quincy, Illinois
School of the Art Institute of Chicago alumni
20th-century American painters
20th-century American women artists
Algonquin Round Table

masks:
Neysa Moran McMein
Marjorie Frances McMein
McMein
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title: Alek Rapoport

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<mask> (November 24, 1933, Kharkiv, Ukraine SSR – February 4, 1997, San Francisco) was a Russian Nonconformist artist, art theorist and teacher. Early life and education
<mask> spent his childhood in Kiev (Ukraine SSR). During Stalin's "purges" both his parents were arrested. His father was shot and his mother spent ten years in a Siberian labor camp. <mask> lived with his aunt. At the beginning of World War II, he was evacuated to the city of Ufa (the Bashkir Autonomous Soviet Socialist Republic). A time of extreme loneliness, cold, hunger and deprivation, this period also marked the beginning of <mask>'s drawing studies.After the war, <mask> lived in Chernovtsy (Western Ukraine), a city with a certain European flair. At the local House of Folk Arts, he found his first art teacher, E.Sagaidachny (1886–1961), a former member of the nonconformist artist groups Union of the Youth (Soyuz Molodyozhi) and Donkey's Tail, popular during the 1910s–1920s. His other art teacher was I. Beklemisheva (1903–1988). Impressed by <mask>'s talent, she later (1950) organized  his move to Leningrad, where he entered the famous V.Serov School of Art (the former School of the Imperial Society for the Promotion of Arts, OPKh, later the Tavricheskaya Art School). His association with this school lasted eight years, first as a student, and then, from 1965 to 1968, as a teacher. With "Socialist realism" the only official style during this time, most of the art school's faculty had to conceal any prior involvement in non-conformist art movements. Ya.K.Shablovsky, V.M.Sudakov, A.A.Gromov introduced their students to Constructivism only through clandestine means.The school emphasized fundamental drawing skills and an appreciation for Italian Renaissance art. Additionally, <mask> continued to educate himself, spending hours at the Hermitage Museum, copying paintings of the Old Masters, and studying art at public libraries. <mask>'s generation expressed an increasing interest in contemporary art. Expositions of French Impressionists came to Leningrad, followed by other exhibitions of modern art from various European countries. This new freedom proved a powerful source of ideas. His last year in school was interrupted by the military draft. He was stationed in Birobidzhan (the Jewish Autonomous Oblast), where he continued to draw and paint during his free time, making a series of sketches vividly depicting scenes of a soldier's everyday life and creating the oil painting The Taking of a Hill for a Khabarovsk museum.After his military service, <mask> returned to the Serov School of Art. His diploma work Laying the Wreaths on the Field of Mars (1958), was denounced as "formalist," a stigma which followed him from then on. Over the next four years (1959–1963) <mask> studied stage design at the Leningrad Institute of Theater, Music and Cinema under the supervision of the famous artist and stage director N.P.Akimov. Akimov taught a unique course based on theories of Russian Suprematism and Constructivism, while encouraging his graduate students to apply their knowledge to every field of art design. Despite differences in personal artistic taste with Akimov, who was drawn to Vermeer and Dalí, <mask> was influenced by Akimov's personality and liberalism, as well as the logical style of his art. In 1963, <mask> graduated from the institute. His highly acclaimed MFA work involved the stage and costume design for I.Babel's play Sunset.In preparation, he traveled to the southwest regions of the Soviet Union, where he accumulated many objects of Judaic iconography from former ghettos, disappearing synagogues and old cemeteries. He wandered Odessa in search of Babel's characters and the atmosphere of his books. <mask> considered himself a practitioner of Russian Constructivism with roots in ancient Mediterranean and Byzantine art forms. He was strongly influenced by Tartu's school of structural semiotics and by its founder, Juri Lotman. Concurrently, <mask> pursued a deep study of Byzantine art and icons. His final studies while in Russia concentrated on the works of the Russian Orthodox priest Father Pavel Florensky and the art historian Lev Zhegin. Career
After graduation, <mask>'s life was full of a variety of activities, but his most important goal was to try to combine official art with his own creative ideas.The greatest opportunities for this came through work for the theater in the town of Volkhov, as well as at Houses of Culture. He made sketches for sets and costumes for various plays such as Brecht's The Good Woman from Szechuan and Fear and Misery of the Third Reich, Pushkin's The Queen of Spades, Brandon Thomas's Charley's Aunt and V.Ivanov's Armored Train 14-69. At this time, <mask> also worked as an artist's assistant at "Lenfilm" and as a book designer and illustrator for various publishing houses. However, his greatest satisfaction came from teaching specialty courses in composition, design and human anatomy at the Serov Art School. He organized a new liberal course in technical aesthetics, introducing his students to Lotman's theory of semiotics, the Modulor of Le Corbusier, the Bauhaus school, Russian Constructivism, Russian icons and contemporary Western art. As a result of his "radicalism," <mask> was fired for "ideological conspiracy." Thereafter, <mask> channeled all his energy into his own creative work.His main projects centered on Biblical themes, Anti-Semitism and subjects of everyday life. He sought to cultivate himself as Jewish artist. This became particularly noticeable after the Six-Day War, when the Israeli victory led intellectuals, including the Jewish intelligentsia, to feel a heightened interest in Jewish culture and its Biblical roots. <mask>'s works of this period include Three Figures, a series of images of Talmudic Scholars, and works dealing with anti-Semitism. 1970s
In the 1970s <mask> joined the non-conformist movement, which opposed the dogmas of "Socialist realism" in art, along with Soviet censorship. The movement sought to preserve the traditions of Russian iconography and the Constructivist/Suprematist style of the 1910s. Despite the authorities' persecutions of nonconformist artists (including arrests, forced evictions, terminations of employment, and various forms of routine hassling), they united in a group, "TEV – Fellowship of Experimental Exhibitions."TEV's exhibitions proved tremendously successful. In the same period, <mask> became one of the initiators of another anti-establishment group, ALEF (Union of Leningrad's Jewish Artists). In the United States this group was known as "Twelve from the Soviet Underground." <mask>'s involvement with this group increased tension with the authorities and attracted KGB scrutiny, including "friendly conversations," surveillance, detentions and house arrests. It became increasingly dangerous for him to live and work in the USSR. In October 1976, <mask> with his wife and son were forced to leave Russia. Following the usual path among Russian immigrants of that time, the family traveled through Austria and Italy, then moved to the U.S.They lived in Italy half a year. Despite missing Russia, <mask> savored his exposure to Italian culture and art, which had intrigued him since childhood. The entire environment strongly inspired his mind and creative work. In Italy, <mask> exhibited at the Venice Biennale, "La Nuova Arte Sovietica-Una prospettiva non-ufficiale" (1977), participated in television programs about nonconformist art in the Soviet Union, and created lithographic works continuing his theme of Jewish characters from Babel's play Sunset. In 1977, <mask>'s family was granted U.S. immigration status and settled in San Francisco. With assistance from the Bay Area Council of Soviet Jews (BACSJ), <mask> traveled to many American cities as a representative of the "ALEF" group, known in U.S. as "12 from the Soviet Underground," accompanying exhibitions of these artists and lecturing. <mask> grew up in the anti-religious Soviet environment.An encounter with the New Testament at age 16 led his first creation of religious artwork. Beginning in the 1960s, images of the Biblical prophets emerged as a recurring theme in <mask>'s art. His inspiration came from various sources: the stories of the Old and New Testaments, the art of Russian (Byzantine) icons as well as the humanistic art of Renaissance, and Russian religious philosophers such as S.Bulgakov, N.Berdyayev, V.Solovyov. Among this latter group, <mask> had a special regard for Father Pavel Florensky. <mask> dedicated his painting Short Life of Euphrosynos the Cook (1978) to the memory of Florensky, who perished in a Gulag in 1944. For almost nine years, <mask> was employed as a draftsman-designer of stage equipment, while continuing his own creative work. Initially overwhelmed by a sense of freedom in his new life, he soon came to feel that these liberties restricted more than they permitted, with freedom limited to the narrow views of artists who followed the demands of the market.He experienced difficulty fitting into the American contemporary art mainstream, which he considered frivolous, career-oriented and devoid of any spirituality or artistic merit. 1980s
For <mask>, the 1980s were a time full of creativity and significant life events. He participated in numerous exhibitions in San Francisco and other American cities, sold his paintings in auctions in Europe and the U.S., illustrated Erotic Tales of Old Russia by A.Afanasyev (Scythian Books, Oakland, CA), and traveled to European countries. A visit to Spain made a profound impression on him, confirming a sense of personal connection, even blood ties, with the art and culture of the country of El Greco. <mask> began a new series of paintings inspired by his experiences in Spain. In 1984, a significant event in <mask>'s life occurred in his meeting with San Francisco gallery owner Michael Dunev, who became his friend and representative, organizing all his exhibitions until the artist's death. <mask> tried to make a connection to bridge the gap between his art and the American viewers, a goal perhaps reflected in his new series of paintings, Images of San Francisco.While in Russia, <mask> had concentrated on interior and spiritual subjects; in San Francisco, he broadened his art with new sources. He valued the city's international flavor, theatrical and dramatical image, phantasmal ocean-accented light and geographical structure, capturing these qualities with his characteristic forced spherical perspectives and expressionistic coloration, evoking a sense of a spontaneous theater of everyday life. Images of San Francisco came to constitute a second major body of subjects in <mask>'s art. At the same time, the idea of "brotherhood" and artists "guild" had always attracted <mask>, and he particularly missed this sense of fellowship while in the U.S. Accordingly, in 1992, he organized the group "SPSF"(Saint Petersburg-San Francisco). SPSF consisted of two artists and two photographers, all St. Petersburg natives who had wound up in San Francisco. The four saw themselves as heirs of the great St. Petersburg cultural tradition, while also having absorbed the new San Francisco environment.Their exhibitions were enthusiastically received by Russians and Americans. In 1987, <mask> was finally able devote himself completely to his creative work. While his subject matter did not change, his works increased in emotional impact and his technical skills became fully developed. 1990s
Toward the end of the 1980s and beginning of the 1990s, <mask> completed his most ambitious works on the theme of the Old Testament prophets: Samson Destroying the House of the Philistines (1989), Lamentation and Mourning and Woe (1990), the four paintings Angel and Prophets (1990–1991) and Three Deeds of Moses (1992). In 1992, the artist's friends in St. Petersburg organized the first exhibition of his
works there since his departure into exile, with works patiently gathered from collectors and art museums. This exhibition, held in the City Museum of St. Petersburg and accompanied by headlines such as "A St. Petersburg artist returns to his town," was followed by much larger ones in 1993 (St. Petersburg and Moscow), organized in collaboration with Michael Dunev Gallery under the name California Branches – Russian Roots. The exhibitions, with an invitation featuring <mask>'s painting Self-portrait as a Mask of Mordecai (1985), marked the artist's first visit to Russia since his departure in 1976.<mask> had always protested loudly and openly. In Russia, he protested against the rigidity of the system of teaching, against the communist ideology and censorship in art, against the suppression of religious art. He took a leading part in the creation of the dissident art groups TEV and ALEF. For this he was persecuted by the authorities and forced to emigrate. Then, in the U.S., <mask> protested against commercialism in art, against the dominance of ideas of market over ideas of spirit, against the crushing of religious art by public indifference, against the loss of Judeo-Christian values. "In search of these values, I turn again and again to the Old Masters from the Mediterranean region, where at the very outset of Western Civilization, the art of Pictorial Image was born, art in which both the Divine Spirit and the Human Being served as the measure for all things." This was the subject of <mask>'s "loud and bitter cry."The last five years of <mask>'s life (1993–1997) were spent in voluntary seclusion. He did not endure emigration easily. "What a pathetic life, everything repeats itself," he said, quoting from the letters of Albrecht Dürer, another artist who saw himself as born in the wrong place and time. During these years, <mask> concentrated on his own creative world. In his own words, he worked not for the sake of art, but because art gave him the means to express himself. He sought to reach the very core and heart of the image, an urge complemented by his ever-present inner desire to attain the ideal. In 1995, he began an association with CIVA (Christians in Visual Arts), participating in the group's exhibitions and conferences.He produced more expressionistic paintings on religious themes, while continuing his ongoing series Images of San Francisco. His works became increasingly spiritual and magically expressive. The art critic V.Baranovsky (Moscow-San Francisco) noted, "One can not leave unnoticed the strange power of these paintings, which remind us of the incandescent coals of Old Russian icons." By 1996, the artist almost never left his studio, completing Anastasis 1, based on the apocryphal fourth-century Gospel of Nicodemus. The painting was his final and most personal religious work. Death
On February 4, 1997, <mask> <mask> died suddenly and unexpectedly in his studio while working on his new painting Trinity. Main personal exhibits
 1980 – Gallerie "Trifalco," Rome, Italy
 1981 – Images of San Francisco, Eduard Nakhamkin Gallery, New York, NY.1984 – Images of San Francisco, University of the Pacific Gallery, Stockton, CA. 1986 – Images of San Francisco, Michael Dunev Gallery, San Francisco, CA. 1988 – Ecumenical Works, Michael Dunev Gallery, San Francisco, CA. 1992 – Russia-USA, The Museum of the City of St. Petersburg, St. Petersburg, Russia. 1993 – California Branches-Russian Roots, Manege Exhibition Hall, St. Petersburg, Russia; National Exhibition Hall, Moscow, Russia. 1996 – Ecumenical Paintings, SOMAR Gallery, San Francisco, CA. 1997 – The Last Paintings: A Memorial Exhibition, Michael Dunev Gallery, San Francisco, CA; The Early Drawings.A Memorial Exhibition. George Krevsky Fine Art, San Francisco, CA; Sacred Inspiration: Icons by <mask> <mask>, The Marian Library, IMRI, Dayton University, Dayton, OH. 1998 – Angel and Prophet, Center for Art and Religion, Washington, DC. 2004 – Images of San Francisco, Diaghilev Art Center, St. Petersburg, Russia. 2007 – <mask> <mask>: A Memorial Exhibition, Belcher Studios Gallery, San Francisco, CA. Main collections

 Russian Museum, St. Petersburg, Russia
 Tretyakov Gallery, Moscow, Russia
 Hermitage Museum, St. Petersburg, Russia
 Ellis Island Museum, NJ
 Personal collection of John Paul II, Vatican City, Italy
 International Marian Research Institute, Dayton University, Dayton, OH. Judah L. Magnes Museum, Berkeley, CA.Zimmerli Museum, Rutgers University, New Brunswick, NJ
 Legion of Honor Museum, San Francisco, CA. Duke University Museum of Art, Duke University, Durham, NC. Oakland Museum of California, Oakland, CA. Museum of Nonconformist Art, St. Petersburg, Russia
 Moscow Museum of Modern Art, Moscow, Russia
 Diaghilev Art Center, St. Petersburg, Russia

Bibliography
 From Gulag to Glasnost: Nonconformist Art from the Soviet Union. The N&N Dodge Collection. Thames and Hudson, New York, 1995
 <mask>, <mask>. Tradition and Innovation in the Fine Arts.Canadian-American Slavic Studies. Publisher BRILL, Volume 45, Number 2, 2011, P. 183-206
 12 from the Soviet Underground. Catalogue, Berkeley, CA, 1976
 Creativity Under Duress: From Gulag To Glasnost. Catalogue, Louisville, KY, 1989
 Soltes, Ori Z. III. Art, Politics, Literature and Religion, Art and the Holocaust. B'nai B'rith Klutznick National Museum, Washington DC. P. 6-8
 Scharlach, B. California Dreamin'.Hadassah, Volume 68, Number 4, December 1986. P. 50
 Bernstein, Boris. Rapoportian Space. Canadian American Slavic Studies. Publisher Charles Schlacks, vol.41, No 2, Summer, 2007, California, USA, P. 205–216. <mask> <mask>. An Artist's Journey.Album, Michael Dunev Gallery, San Francisco, 1998. Dunev, Michael. Art of Conscience: The Paintings of <mask> <mask>. ARTS, Eleven one, 1999, New Brighton, MN, USA, C.36–37
 Jane, R. Russian Artists at OPTS Art. Asian Art News, vol.5, No1, January–February 1995, San Francisco, CA
 Alek Rapoport. St.Petersburg — San Francisco. Catalogue, APOLLON, St. Petersburg, 1993

References

External links

1933 births
Soviet painters
Painters from Saint Petersburg
20th-century Russian painters
Russian male painters
Soviet emigrants to the United States
1997 deaths
Artists from the San Francisco Bay Area

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title: Julius Schniewind

texts:
<mask> (28 May 1883 - 7 September 1948) was a German evangelical (Lutheran) theologian. He came to prominence in the 1930s as a leader of the Confessing Church ("Bekennende Kirche"), which can be seen as a movement within German Protestantism that arose during the Nazi years in opposition to government-sponsored efforts to unify all Protestant churches into a single pro-Nazi Protestant Reich Church. Life

Provenance and early years
<mask> was born in Elberfeld, a town in the Ruhr region which had emerged during the nineteenth century as a major centre for the textiles industry, and which has subsequently been subsumed into Wuppertal. His father,  also called <mask> (1847-1902) worked in the silk business and was a partner in the Elbersfeld-based firm "H. E. Schniewind". His grandfather, <mask> (1813-1895), had also been a partner in the family firm, and a prominent member of the local business community. His mother, born Emmi Elisabeth Burchard (1854–1924), was from Hamburg, a daughter of a banker originally from Bremen called Friedrich Wilhelm Burchard (1824–92). His childhood was shaped by a confident spirit of religious piety within the family.He attended the Wilhelm Dörpfeld Gymnasium ("grammar school") in Elberfeld and then moved on to study Lutheran Theology at Bonn, Halle, Berlin und Marburg between 1901 and 1906. His tutors included Paul Feine (1859-1933), Karl Heim (1874-1958) and Friedrich Loofs (1858-1928). He also became, according to at least one major source, the most significant of the students of Martin Kähler (1835-1912). In 1910 he received his Licentiate (higher degree) at Halle for a piece of work on the writings and preaching of Paul the Apostle ("Die Begriffe Wort und Evangelium bei Paulus"). He remained at Halle, teaching New Testament studies, till 1914. That year he received his habilitation (degree) for a piece of work on parallel pericopes for Luke and John ("Die Parallelperikopen bei Lukas und Johannes"). His academic progress was interrupted during at least a part of the First World War, when Schniewind became a volunteer field chaplain.He was awarded the Iron Cross 2nd Class (Eisernes Kreuz 2. Klasse). Marriage and family
<mask> married Anna Alice Wanda Eveline Countess of Keyserling (1884-1955) at Elberfeld on 7 May 1919. His bride came from Courland. The marriage was followed by the births of the couple's two sons. Academic progression
In 1919 <mask> was appointed to a provisional extraordinary professorship which in 1921 became a regular extraordinary professorship with a full teaching contract covering New Testament studies, Patristic Philology and Palaeography. The university awarded him a doctorate in theology in 1925.The next year he was appointed to the teaching chair in New Testament studies. He moved in 1927 when he received a full professorship in New Testament studies at the University of Greifswald in the extreme north of the country. Two years later he moved again, this time accepting an offer from the University of Königsberg where he was in regular (and sometimes disputatious) contact with a younger generation of notable theologians such as Günther Bornkamm, Hans Iwand and Martin Noth. Nazi years
In 1933 the Nazis took power, following several years during which politics had become progressively more polarised and then gridlocked. The new government lost no time in transforming Germany into a one-party dictatorship. In April 1933 leading protestant churchmen were persuaded to draft a new constitution for the "German Evangelical Church", which was part of a government plan for a state controlled protestant church. The idea was not one that sat comfortably with German tradition, and many protestant theologians responded by creating the Confessing Church ("Bekennende Kirche") movement,  Actively backed by Bornkamm and Iwand, Schniewind took a lead in the struggle to establish the Confessing Church in East Prussia.They managed to involve the Bahnauer Fraternity. The Theology faculty at Königsberg became a power house for theological training on behalf of the Confessing Church. Schniewind joined the Pfarrernotbund (loosely "Emergency League of Pastors"). As a result of his activities involving the Confessing Church and his openly hostile attitude to the Nazi regime, in 1935 <mask> was expelled from the University of Königsberg. He had made a public attack on the East Prussian Gauleiter, Erich Koch. He was sent to Kiel where, as before, he engaged actively with the  Confessing Church. Meanwhile relations between the Confessing church and the more mainstream regional protestant churches had broken down.Professors involved with the Confessing Church had been forbidden from setting exams for theology students since February 1935. Schniewind continued to profess his support for the Confessing Church and refused to set exams on behalf of the regional churches. In 1936, because of his continuing refusal to comply with the requirements of the authorities in Kiel, he was sent away after a few months. He accepted an invitation to return to Halle. He nevertheless persisted with his open commitment to the Confessing Church. Along with Ernst Wolf he became a leader of the student religious community. In March 1937 Schniewind was removed from his university post and early in 1938 the authorities launched a criminal investigation case into his involvement with the Confessing Church.He was obliged to take an 80% salary cut. Many sources assume or imply that he remained deprived of his professorship till war ended in May 1945, but recent investigation of personnel records retained in the archives at the University of Halle has indicated that <mask>'s professorship was quietly restored in some form later in 1938. There is no report of the criminal case having reached the stage of a prosecution. According to one source, alongside his lecturing activities on behalf of the Confessing Church, he was able to continue "mentoring his students privately". After 1939 he combined his activities at the university with work as a military-hospital chaplain. Final years
As the war ended, the western two thirds of Germany was divided into zones of military occupation. The central portion, including Halle, was now administered as the Soviet occupation zone.The Ruhr region, where he had been born and lived as a young man became part of the British occupation zone. Schniewind received invitations to take up university appointments from Münster, Mainz and Berlin, but he turned them down. If his employment status at the University of Halle had been unclear before 1945, it now became a matter of public record, as he was restored to a full professorship. As a lecturer at the university and church provost in the Halle-Merseburg region he played a decisive role in a revival of public Christian awareness and the life of the church in Halle and in the Ecclesiastical Province of Saxony more widely. <mask> died in Halle aged 65. Theology
<mask> is regarded as the most important student of Martin Kähler (1835-1912). He was also influenced by Hermann Cremer, Adolf Schlatter and Søren Kierkegaard.He understood bible theology as the Word of God, deeply rooted in the Old Testament. In that respect he decisively stood apart from the ranks of the liberal theologians from Ferdinand Christian Baur to Adolf von Harnack. Schniewind's programme of "spiritual renewal" created a happy unity out of the frequently problematic relationship between scriptural belief and historical-critical biblical exegesis. At the same time, his first interest was in the New Testament and in his pastoral duties. ("Others write books. I must be there for my students.") Recognition of the value of religious scholarship and form criticism never prevented Schniewind from stressing in his elaboration of the Words of Christ the "signs of the times".In that respect he applied a pauline interpretation of National Socialism as nothing less than the Wrath of God. With regard to the state's attempts to control the church, he would have endorsed Dietrich Bonhoeffer's judgement that Protestantism without the Confessing Church would amount to a denial of the Truth of the Gospel. During the Nazi years <mask> exercised a huge influence over his students. He uncompromisingly rejected National Socialist ideology, and sought to combine subjective religious experience with the objectivity of biblical witness. References

Clergy from Wuppertal
20th-century German Protestant theologians
Martin Luther University of Halle-Wittenberg faculty
University of Greifswald faculty
20th-century Lutheran clergy
University and college chaplains in Germany
New Testament scholars
1883 births
1958 deaths

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title: Jack Preger

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<mask> (born 25 July 1930, in Manchester, England) is a British doctor who has been offering medical treatment as well as vocational training to the poor in the Indian city of Kolkata and in other parts of West Bengal since 1972. He established the relief agency Calcutta Rescue. <mask> graduated from St Edmund Hall, Oxford with a post-graduate degree in economics and political science. He worked for a few years as a farmer in Wales before selling his farm and deciding to become a doctor instead. In 1965, he was admitted into the Royal College of Surgeons in Dublin at the age of 35. Work in Bangladesh

In 1972, when he had just finished his internship, although his plans had been to dedicate his life to the poor in South or Central America, and he had prepared himself by learning Spanish, he answered a call over the radio for doctors to help the people of then newly independent Bangladesh. He was soon in Dhaka, where he worked, under squalid conditions, in refugee camps filled with Urdu-speaking people who intended to return to Pakistan.He learnt Urdu and later Bengali. In 1975, he set up a 90-bed clinic in Dhaka and two farms on the outskirts of the city. However, his work in Dhaka came to an abrupt end when he discovered that Dutch non-government organisation Terre des Hommes was operating a child-smuggling racket, and exposed it despite the Bangladesh government warning him not to. He was deported to Bangkok in 1979. Work in Kolkata

After being deported from Bangladesh, he went to India the same year and worked in Kolkata for six months under Mother Teresa's Missionaries of Charity. However, Preger criticized the inadequate conditions in Mother Teresa's charities, saying "If one wants to give love, understanding and care, one uses sterile needles. This is probably the richest order in the world.Many of the dying there do not have to be dying in a strictly medical sense." <mask> thought that he would be able to do more if he operated independently, and started a clinic for the poor below the flyover connecting the Howrah Bridge. He also requested a work permit, which ultimately was not given. When carrying medical supplies to and from the bridge proved impractical, <mask> moved to Middleton Row located off Park Street where he was offered free storage facilities at a Presbytery. With medicines and equipment now at hand, he set up a clinic on the pavement flanking the Presbytery’s exterior wall. The result was a basic but structured medical facility operating illegally at the side of the road. Partially covered by tarpaulins, it comprised several departments.Preger sat in a central consultation area assisted by local doctors willing to work for a small fee. Medical records were stored here in metal boxes. Physical examinations were conducted behind held-up cloth sheets. An adjoining pharmacy section dispensed medicines. Patients were sent for diagnostic procedures, including radiology and laboratory tests. A treatment area was staffed by volunteers, including several nurses. Many of these were overland travellers who postponed their travel plans to help Preger.This section provided first aid and wound care for ulcers, burns, infections and other conditions. A welfare department gave out vitamins and maternal supplies, plus small sums of money to cover travel costs for patients from rural areas. Serious cases, including cancer and heart disease, were referred to local hospitals for surgery, radiotherapy, or other medical procedures. The clinic was erected at daybreak and dismantled every day at dusk, leaving the sidewalk empty. Supported by donations, all treatment was provided free. Defying threats and demands from street mafia, and conflict with the authorities, <mask> operated this clinic six days a week for fourteen years from 1979 to 1993, often treating several hundred patients a day. When <mask> received official registration as Calcutta Rescue, he was able to set up legal, permanent clinics.An American doctor called Jim Withers who met <mask> on a trip to India in 1993, was inspired to introduce the concept in his home town of Pittsburgh, USA. Withers went on to found the Street Medicine Institute in 2009. As a result, Street Medicine programmes now operate in over 85 cities in 15 countries. <mask> became known as “The Pavement Doctor of Calcutta” and today is widely regarded as the founder of street medicine. Today, Calcutta Rescue operates three clinics, two schools and two vocational centres. It employs 150 locally hired staff and international support groups. Support groups for the work of <mask> have been formed in several countries, mostly spurred on by tourists returning home, who had witnessed his selfless work : England, Switzerland, France, Germany, Norway, The Netherlands, Canada, the US.Intervention by the government

In 1980, the Foreigners' Registration Office (FRO) of the West Bengal government noted that <mask> had accepted a donation from a missionary organisation based in the United States, and demanded that he declare himself as a missionary worker, in addition to being a doctor. He resolved this only after explaining to New Delhi officials that he was not a missionary worker. (Calcutta Rescue is entirely secular), and was permitted to stay in Kolkata without a visa. In 1981, the FRO charged him with entering India without a missionary visa, but he was released on bail. The FRO dropped the charge in 1989 after intervention by the then high commissioner of New Zealand to India, Sir Edmund Hillary. After <mask> registered Calcutta Rescue as a charity in 1991, he started two more clinics in Kolkata and donations came in from eight European countries. He also obtained a resident's permit.However, the government refused to grant him the clearance needed to accept foreign donations. <mask> then sued the government in Kolkata's courts. Eventually the courts struck down the government's rejection, and <mask> was allowed to accept 1.5 million rupees per month in donations. As of 1999, <mask> has to apply for a re-entry visa from the FRO before he leaves India for any reason. Most of these applications have required legal intervention to succeed. On 23 February that year, the FRO suddenly asked <mask> to leave India within seven days. The Calcutta High Court intervened by ordering the government to speedily grant him a return visa.Aged 88 and in declining health, <mask> retired in January 2019 and returned to the United Kingdom after 40 years of service to the poor in Kolkata. The work continues in his absence. " Awards

In 1993, <mask> was named a Member of the Order of the British Empire for his "continued perseverance and incredible selflessness". In 2017, <mask> was named "Philanthropist of the Year" by The Asian Awards at a ceremony in London, England on 5 May 2017. " "

References

Further reading
 – includes an interview with <mask>

External links

1930 births
Living people
20th-century English medical doctors
Alumni of St Edmund Hall, Oxford
British humanitarians
Members of the Order of the British Empire
People in health professions from Manchester

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title: Sofija Kymantaitė-Čiurlionienė

texts:
<mask>ė née Kymantaitė (13 March 1886 – 1 December 1958) was a Lithuanian writer, educator, and activist. After studies at girls' gymnasiums in Saint Petersburg and Riga, she studied philosophy, literature, art history at the  and Jagiellonian University. She returned to Lithuania in 1907 and joined the cultural life of Vilnius. In January 1909, she married painter and composer Mikalojus Konstantinas Čiurlionis, but he died in April 1911 leaving her with an infant daughter. Until the start of World War I, she taught Lithuanian language and literature at teachers' courses established by the Saulė Society in Kaunas. She lectured at the Vytautas Magnus University from 1925 to her retirement in 1938. Čiurlionienė was also active in public life – she was a delegate to the Assembly of the League of Nations in 1929–1931 and 1935–1938, leader of the Lithuanian girl scouts in 1930–1936, an active participant in various women's organizations, including the Women's International League for Peace and Freedom and the Lithuanian Women's Council.During World War II, she helped save Jews from the Kovno Ghetto and was recognized as Righteous Among the Nations in 1991. In her essays on art and literature, influenced by ideas of fin de siècle and Young Poland movements, she criticized realism and supported symbolism. However, some of her own literary works are good examples of realism. Her most popular works are theater plays, in particular comedies Pinigėliai (Money; 1919) and Vilos puošmena (Decoration of a Villa; 1932). She also wrote dramas, plays for school theaters, poems. Most of her novels explore the Lithuanian press ban and the Lithuanian National Revival. Biography

Early life and education
Kymantaitė was born to a family of a landless Lithuanian noble on 13 March 1886 in the clergy house in Joniškis.The family lived with her maternal uncle Catholic priest  who taught her privately and sponsored her education. When her parents' business, a guest house and a small shop in Šiauliai failed, the family moved back to live with Jarulaitis in Kuliai in 1893. In 1898, she enrolled into a primary girls' school in Palanga. The same year, Kymantaitė met priest Juozas Tumas-Vaižgantas, an active participant in the Lithuanian National Revival and editor of Tėvynės sargas, who was assigned to Kuliai. He taught her to read and write in the Lithuanian language. In 1899, she saw America in the Bathhouse, the first Lithuanian-language play in present-day Lithuania. In 1899–1904, Kymantaitė studied at the girls' gymnasium attached to the Catholic Church of St. Catherine in Saint Petersburg, at a private girls' school and a public girls' gymnasium in Riga.In Riga, she participated in a secret Lithuanian student society established by Kipras Bielinis. continued to teach her Lithuanian. She also frequently visited the family of writer Pranas Mašiotas and read her first poems. In 1904–1907, she studied in Kraków (then part of Austria-Hungary) at the  established by  and the Jagiellonian University. She initially hoped to study medicine, but she did not know Latin and instead studied philosophy, literature, art history. In Kraków, she met such Polish painters as Piotr Stachiewicz and ; her teachers included  for art history and Lucjan Rydel for literature. She also joined the Rūta Society, a Lithuanian society established by , and started writing articles on Lithuanian literature.Her first longer study on poets , Maironis, and Pranas Vaičaitis was published by Vilniaus žinios in December 1906. When her uncle Jarulaitis suffered a fire and could no longer support her education, Kymantaitė returned to Lithuania and joined the cultural life of Vilnius in 1907. Encouraged by Juozas Tumas-Vaižgantas, she took a job at the office of Viltis (Hope) and contributed articles and feuilletons on Lithuanian literature. She received further lessons in Lithuanian from Tumas-Vaižgantas, Jonas Jablonskis, . She participated at the First Congress of Lithuanian Women in September 1907. Together with Marija Pečkauskaitė, she was selected as vice-chair for the event. Kymantaitė delivered a speech on teaching the history of Lithuania and was elected to a 10-person committee charged with the establishment of the Lithuanian Women's Union.She also participated in the activities of the Rūta Society; for example, she performed the main female role of Aldona in the historical play Mindaugas by Juliusz Słowacki in May 1908. Marriage to Čiurlionis

She met her future husband Mikalojus Konstantinas Čiurlionis at the opening of the First Lithuanian Art Exhibition in January 1907. At the time, she was engaged to Zygmunt Ruszczyc, a manor owner from Širvintos. Kymantaitė and Čiurlionis met again in November 1907 at an event commemorating Vincas Kudirka during which she delivered a speech and he played a piano. After the event, he asked her to teach him Lithuanian. She agreed, teaching him three times a week using a Lithuanian grammar by Jonas Jablonskis and a Lithuanian folk song collection by Antanas Juška. In summer 1908, they spent some time in Palanga and then visited their families in Plungė and Druskininkai to inform them about their engagement.They wed on 1 January 1909 in . The couple departed to Saint Petersburg to further Čiurlionis' artistic career. They returned to Lithuania to spend the summer in Druskininkai, Vilnius, and Plungė. In fall 1909, Čiurlionis returned alone to Saint Petersburg. When Čiurlionienė visited him around Christmas, she found him in deep depression and barely aware of his surroundings. He was placed in a sanatorium in Marki near Warsaw. She remained in Lithuania and gave birth to their daughter  on 12 June 1910.Čiurlionis never saw his daughter – he caught cold, developed pneumonia, and died on 10 April 1911 in Marki. During their short relationship, the couple worked on a few joint projects – organized the Second Lithuanian Art Exhibition, published a collection of literary criticism Lietuvoje (In Lithuania; 1910), painted a backdrop for the Rūta Society (she painted tulip ornaments in the Lithuanian folk style), and worked on an unfinished opera Jūratė. They both had a artistic strong influence on one another. The paintings of Čiurlionis received universal acclaim in Lithuania and the government founded the M. K. Čiurlionis National Art Museum in 1921. In 1922, Čiurlionienė agreed to sell 193 works by Čiurlionis for 65,000 German gold marks to the government. However, the money was put into a trust for the benefit of their daughter until she turned 21. Educator and activist

Widowed at age 25 and with an infant daughter, Čiurlionienė settled in Kaunas.She got a teaching position at teachers' courses established by the Saulė Society and taught Lithuanian language and literature. To raise funds to support struggling students, activists organized cultural evenings with lectures, music, plays. During several such evenings, plays by Čiurlionienė were performed. During World War I, she evacuated to Voronezh and taught at Lithuanian teachers' courses and girls' school established by Martynas Yčas. Since there was a lack of Lithuanian textbooks, she prepared and published a collection of articles Iš mūsų literatūros (From Our Literature; 1913), textbook Lietuvių literatūros istorijos konspektas (Outline of the History of the Lithuanian Literature) and an accompanying anthology (both in 1918). In 1919, she returned to Kaunas and got a job in the education department of the Ministry of Defence and prepared an anthology for the Kaunas War School. From 1925 to 1938, she taught the Lithuanian language at Vytautas Magnus University.In 1935, the university sent her to Western Europe to learn best practices of teaching language and literature. She visited Basel, Bern, Geneva in Switzerland, Lyon in France, Toruń, Warsaw, Kraków in Poland. She collected material for a book on the methodology of teaching Lithuanian language and literature, but it was not finished due to World War II. Čiurlionienė continued to be active in public life. In March 1929, she attended a meeting on the situation in Eastern Europe organized by the Women's International League for Peace and Freedom (WILPF) in Vienna. Her efforts to defend Lithuania's territorial claims to Vilnius Region received praise in Lithuania and she was sent to the 6th congress of WILPF in Prague in August 1929. She also became a member of the Lithuanian government delegations to the Assembly of the League of Nations in 1929–1931 and 1935–1938.The other two members of the 1929 delegation were Prime Minister Augustinas Voldemaras and diplomat Vaclovas Sidzikauskas. In 1930, she joined the League's Fifth Committee which dealt with social and humanitarian questions such as human trafficking, prostitution, children's welfare. In Switzerland, she learned about the Union of Friends of Young Women () established in 1877 and founded its chapter in Lithuania (Mergaičių bičiulių draugija) in 1929. The union sought to help young women who moved from


title: Phil Matson

texts:
<mask> (22 October 1884 – 13 June 1928) was a record-breaking swimmer, and both a highly successful player and coach of Australian rules football in the early 20th century, chiefly in Western Australia. Family
The son of <mask> (1842-1915), and his wife Emma (1854-1928), née Duffield, <mask>, was born at Port Adelaide on 22 October 1884. <mask> was educated at state school in Adelaide before moving to Western Australia as a youth. Lifestyle
Away from football, <mask>'s working was varied and somewhat inconsistent. He had stints as a miner, a tramway motorman, a farmer, a navvy on the trans-Australian railway, a lumper, a storeman and a 'Spot-Lager' retailer. Early in his career, he was a teetotaller but eventually became a "social" drinker and was well known for his gambling habit. His unconventional approach to life caused problems within his family, who were sometimes compelled to live in a tent.<mask> offered to enlist during World War I; however, when rejected he opted to live as a licensed Swan River fisherman and involve himself more heavily in gambling. He operated two-up schools at Subiaco and Pelican Point, SP books in some city hotels, and later an illegal gaming house in Perth. For a number of years, he held a trotting bookmaker's licence. Swimming
He worked as a navvies' water-boy in Western Australia, and began swimming competitively in 1902 and playing Australian football. He had been encouraged to take up football by his swimming trainer, William Howson (who had, himself, established a world-record in 1904, swimming underwater for 110 yards), to  "harden himself" for his swimming. During his swimming career, he held Western Australian freestyle titles from 100 yards (91 m) to a mile (1.6 km) using the now-obsolete trudgen stroke, and won the 220-yard breaststroke at the Australasian championships in three consecutive years (1905, 1906, and 1907). On 19 February 1908, swimming at the Australian championships, conducted by the West Australian Amateur Swimming Association  at Claremont, Western Australia, <mask> set a world record time for the 220-yard breaststroke: three minutes and fourteen seconds, winning by a length (having touched equal first at the last turn).Seven days later, on 26 February 1908, swimming at a swimming carnival in Kalgoorie, <mask> broke his own world record by another three and two-fifths seconds, when he swam the distance in three minutes and ten and three-fifths of a second. However, because a surveyor's certificate could not be produced that precisely verified the dimensions of the pool (i.e., the exact length of the swim) the governing body, the New South Wales Amateur Swimming Association, refused to ratify the new record. Because his playing professional football at the same time precluded him from being considered for the Olympic Games, he turned professional for a £20 stake in 1909. Football
"[<mask>] himself was a wonderful footballer. His name has been bracketed with that of the late Albert Thurgood as the best player of all time. Grim, relentless, shrewd, strong as a lion, courageous and trier from start to finish, <mask> was a great figure on the field." — The Sporting Globe, 20 July 1928."All up, <mask> played and/or coached nine clubs and was involved in 13 premiership (five as a player, four as player/coach and four as coach) and four runner-up teams in 25 completed seasons." — Peter Carter. A fast, vigorous and versatile utility with an ability to take the big mark (despite being only 179 cm), he played at half-back and half-forward and took turns in the ruck. He played for both South Australia (1909–10) and Western Australia (1908, 1911, 1914) and captained the South Australian team at the 1914 interstate carnival. Professional
<mask> supported himself playing football during an era when the game was supposedly an amateur sport. He moved clubs frequently, playing outside the main leagues if the price was right. Over 20 seasons he played for:
 South Bunbury Football Club (Western Australia): 1904–1905.Boulder City Football Club (Western Australia): 1906–1908. Sturt (South Australia): 1909–1910. North Fremantle Football Club (Western Australia): 1911. Subiaco Football Club (Western Australia): 1912–1917. East Perth Football Club (Western Australia): 1918–1923. Coaching career

East Perth
Aged 33, <mask> found his calling when he was appointed as coach of East Perth Football Club in 1918. <mask> worked on the players' confidence and garnered their respect with a methodical approach to his coaching.He was lauded for his ability to outwit opponents and exploit weaknesses. <mask>'s dominant personality helped recruit some excellent players and a dynasty was rapidly built. In nine seasons between 1919 and 1927, East Perth won seven premierships and dominated Western Australian football. In total, he played in twelve premiership teams and, in the last ten years of his career, coached teams into nine finals. WAFL
He was an essential part of the state team, as a selector for the successful 1921 Western Australian interstate carnival team, and as the coach of the 1924, and the 1927 teams that lost narrowly to Victoria. Controversially, he openly criticised Victorian officials in 1924 for encouraging violence against his team. This outburst came back to haunt him.Castlemaine (BFL)
In 1925, <mask> accepted an offer to coach the Castlemaine Football Club, in the Victorian goldfields, in the club's first year in the Bendigo Football League competition. He was cleared as both player (he played in 2 or 3 games) and as coach to Castlemaine in April 1925. With <mask>'s coaching, Castlemaine made the 1925 Grand Final, but lost to South Bendigo by 14 Points: 7.12 (54) to 6.4 (40). Richmond (VFL)
Impressed with his effort in lifting the team into the Grand Final, Richmond officials approached <mask> with an offer to succeed Dan Minogue as the Tigers' coach for 1926. <mask> accepted and relocated to Melbourne. However, the Victorian Football League (VFL) refused <mask> a permit to take up the job, which incensed both the club and prospective coach. It was variously suggested that the VFL officials had not forgotten <mask>'s outburst two years earlier, or that they disapproved of his "unconventional" lifestyle.Western Australia
<mask> returned to Perth in time for the football season, and was re-appointed to coach East Perth. He took them to successive premierships. <mask> had revenge on the VFL officials by inspiring Western Australia to two "spiteful, vicious, brutal" victories over Victoria in 1926. Death
He died on 13 June 1928, from a fractured skull — an injury he sustained on 11 June 1928 (as the only passenger) in an accident on Hampden Road in Nedlands, when a truck driven by his former team-mate Horrie Bant, careered off the road, crashed through the bush, and collided with a post carrying overhead tram wires. Both men were thrown from the vehicle. Although injured, Bant survived the crash, and died in 1957. <mask> struck the post with his head.<ref>[http://nla.gov.au/nla.news-article39351520 Gay, Tasman, "<mask> is Remembered: Star footballer and outstanding football personality, his accidental death was a great blow to his many friends and admirers", The Westen Mail, (Thursday, 12 June 1952), p.21.]</ref>

Survived by his former wife, their two sons (Glenn and Cliff), and his de facto wife Catherine Thompson, née Owens,Public Notices: Re the Late <mask><mask>, The West Australian, (Saturday, 18 August 1928), p.13. he was buried at Karrakatta Cemetery on 15 June 1928.The Last Tribute: A Scene from Yesterday's Funeral (of <mask>), The (Perth) Mirror, (Saturday, 16 June 1928), p.4.Harry Kneebone's World of Sport: Unmarked, The (Adelaide) Advertiser, (Friday, 25 June 1948), p.8. Legacy
He played an important role in the process of making Australian football professional by openly negotiating fees that made him the highest paid Western Australian player and coach of the time. Subiaco Football Club
He was selected at centre half-forward in Subiaco's "Team of the Century". East Perth Football Club
He was selected as coach of East Perth's (1906-1944) "Team of the Century". Western Australia Sesquicentennial
In 1979 he was honoured with the bronze tablet for 1926, set into the footpath along St Georges Terrace, Perth as part of the WAY '79 sesquicentennial (150th anniversary) celebrations of the colonisation of Western Australia by Europeans. Western Australian Hall of Champions
In 1986, <mask> was inducted into the Western Australian Institute of Sport's "Western Australian Hall of Champions".West Australian Football Hall of Fame
In 2004 he was an inaugural inductee into the WAFL Hall of Fame. Australian Football Hall of Fame
Inducted into the coaching division of the Australian Football Hall of Fame in 2004, <mask>'s citation reads:

See also
 1908 Melbourne Carnival
 1911 Adelaide Carnival
 1914 Sydney Carnival
 1924 Hobart Carnival
 1927 Melbourne Carnival
 Australian Football Hall of Fame
 West Australian Football Hall of Fame
 Western Australian Hall of Champions

Footnotes

References
 Glossop, Matthew (ed), East Perth 1906–1976, Matthew Glossop, (Perth), 1976. Hunt, Lyall, "<mask>, <mask> (1884–1928)", Australian Dictionary of Biography, Volume 10, 1986. Stannage, Tom (ed), A New History of Western Australia, University of Western Australia Press, (Nedlands), 1981. Western Australian National Football League, Football 150'', Promotional Graphics, (Perth), 1979. External links

 WAFL Hall of Fame
 Australian Football Hall of Fame

1884 births
1928 deaths
Australian Football Hall of Fame inductees
Sturt Football Club players
West Perth Football Club players
East Perth Football Club players
Subiaco Football Club players
North Fremantle Football Club players
Boulder City Football Club players
East Perth Football Club coaches
Subiaco Football Club coaches
Australian rules footballers from South Australia
Australian rules footballers from Western Australia
South Bunbury Football Club players
West Australian Football Hall of Fame inductees
World record setters in swimming
Australian male freestyle swimmers
Road incident deaths in Western Australia
Burials at Karrakatta Cemetery

masks:
Phillip Henry Matson
George Thomas Matson
Phillip Henry Matson
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Phil Matson
Philip H
. Matson
Phil Matson
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Phillip Henry