title: James Tissot

texts:
<mask> (; 15 October 1836 – 8 August 1902), Anglicized as <mask> (), was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and figures from the Bible. Early life
<mask> was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats.A devout Catholic, <mask>'s mother instilled pious devotion in the future artist from a very young age. <mask>'s youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time <mask> was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of <mask>. By 1854 he was commonly known as <mask>; he may have adopted it because of his increasing interest in everything English.Early career

In 1856 or 1857, <mask> travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Jules-Élie Delaunay, <mask> enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of <mask>'s studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, <mask> also made the acquaintance of the American <mask> Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, <mask> exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust.These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom <mask> had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter von Cornelius and Moritz Retzsch. After <mask> had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Mature career

Émile Péreire supplied <mask>'s painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by <mask> were displayed at the London gallery of Ernest Gambart. In about 1863, <mask> suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, <mask> also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence.Degas painted a portrait of <mask> from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. <mask> fought in the Franco-Prussian War as part of the improvised defence of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. <mask> used the name Coïdé in Vanity Fair from 1869 to 1873.<mask> quickly developed his reputation as a painter of elegantly dressed women shown in scenes of fashionable life. By 1872 <mask> had bought a house in St John's Wood, an area of London very popular with artists at the time. According to The Oxford Dictionary of Art and Artists, "in 1874 Edmond de Goncourt wrote sarcastically that he had 'a studio with a waiting room where, at all times, there is iced champagne at the disposal of visitors'". He gained membership of The Arts Club in 1873. Paintings by <mask> appealed greatly to wealthy British industrialists during the second half of the 19th century. During 1872 he earned 94,515 francs, an income normally only enjoyed by those in the echelons of the upper classes. In 1874, Degas asked him to join them in the first exhibition organized by the artists who became known as the Impressionists, but Tissot refused.He continued to be close to these artists, however. Berthe Morisot visited him in London in 1874, and he travelled to Venice with Édouard Manet at about the same time. He regularly saw Whistler, who influenced Tissot's Thames river scenes. In 1875 or 1876, <mask> met Kathleen Newton, a divorcee who became the painter's companion and frequent model. He composed an etching of her in 1876 entitled Portrait of Mrs N., more commonly titled . She gave birth to a son, Cecil George Newton in 1876, who is believed to be Tissot's son. She moved into Tissot's household in St. John's Wood in 1876 and lived with him until her death in the late stages of consumption in 1882.<mask> frequently referred to these years with Newton as the happiest of his life, a time when he was able to live out his dream of a family life. After Kathleen Newton's death, <mask> returned to Paris. A major exhibition of his work took place in 1885 at the Galerie Sedelmeyer, where he showed 15 large paintings in a series called . Unlike the genre scenes of fashionable women he painted in London, these paintings represent different types and classes of women, shown in professional and social scenes. The works also show the widespread influence of Japanese prints, as he used unexpected angles and framing from that tradition. He created a monumental context in the size of the canvases. <mask> was among many Western artists and designers influenced at the time by Japanese art, fashion and aesthetics.Late career

In 1885, <mask> had a revival of his Catholic faith, which led him to spend the rest of his life making paintings about Biblical events. Many of his artist friends were skeptical about his conversion, as it conveniently coincided with the French Catholic revival, a reaction against the secular attitude of the French Third Republic. At a time when French artists were working in Impressionism, Pointillism, and heavy oil washes, <mask> was moving toward realism in his watercolors. To assist in his completion of biblical illustrations, <mask> traveled to the Middle East in 1886, 1889, and 1896 to make studies of the landscape and people. His series of 365 gouache (opaque watercolor) illustrations showing the life of Christ were shown to critical acclaim and enthusiastic audiences in Paris (1894–1895), London (1896) and New York (1898–1899), before being bought by the Brooklyn Museum in 1900. They were published in a French edition in 1896–1897 and in an English one in 1897–1898, bringing Tissot vast wealth and fame. During July 1894, <mask> was awarded the Légion d'honneur, France's most prestigious medal.<mask> spent the last years of his life working on paintings of subjects from the Old Testament. Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901 and engravings after them were published in 1904. Death and legacy
<mask> died suddenly in Doubs, France, on 8 August 1902, while living in the Château de Buillon, a former abbey which he had inherited from his father in 1888. His grave is in the chapel sited within the grounds of the chateau. Widespread use of his illustrations in literature and slides continued after his death with The Life of Christ and The Old Testament becoming the "definitive Bible images". In 1906, filmmaker Alice Guy-Blaché used the Tissot Bible as reference material for her largest production at Gaumont to date, The Passion, creating twenty-five episodes, with approximately three hundred extras. His images provided a foundation for contemporary films such as the design for the Ark of the Covenant in Raiders of the Lost Ark (1981) and lifestyle themes in The Age of Innocence (1993).In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices. Gallery

See also
 List of Orientalist artists
 Orientalism

References

Citations

General sources

 Biography of Tissot with recent information on Kathleen Newton
 Misfeldt, Willard E. "Tissot, <mask> [Jacques-Joseph]" in Oxford Art Online. Wentworth, Michael. "<mask>issot." Oxford: Clarendon Press, 1984. Print
 Wood, Christopher. "Tissot: Life and Work of Jacques Joseph <mask> 1836–1902."London: Weidenfeld and Nicolson, 1986. Print. External links

 209 works by <mask> at www.<mask>Tissot.org
 <mask>: The Life Of Christ. Exhibition at Brooklyn Museum 2009
 Commentary on <mask>'s etching of Kathleen Newton
Commentary on a portrait of Mrs. Newton

 Biblical art by <mask>
 Degas: The Artist's Mind, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on <mask> (see index)

1836 births
1902 deaths
19th-century French painters
French expatriates in the United Kingdom
French male painters
French military personnel of the Franco-Prussian War
Orientalist painters
People from Nantes
Vanity Fair (British magazine) artists

masks:
Jacques Joseph Tissot
James Tissot
Jacques Tissot
Tissot
Tissot
Tissot
James
James Tot
Tissot
Tissot
Tissot
Tissot
James McNeill
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
James
James T
Tissot
James Tissot
James
James Tissot
Tissot
James Tissot
James Tissot


title: Anita Louise Combe

type: original

texts:
<mask> is an Australian actress, singer, dancer  who has worked extensively in the entertainment industry all around the world. <mask> attended the Gwen Mackay School of Dancing and trained in the Cechetti method of ballet with Jennifer Pollard in Adelaide, South Australia before making her first professional appearance on stage as Sillabub in the Australian Premiere Production of Cats at the Theatre Royal in Sydney. She is one of the few people in the world to date who has played both roles of Roxie Hart and Velma Kelly in the production of Chicago in the West End. <mask> created the role of Stephanie Mangano in the World Premiere Production of Saturday Night Fever opposite fellow Australian, Adam Garcia and produced by Adelaide born, Robert Stigwood. Personal life
<mask> was born in Adelaide, South Australia. Her mother Rosemary was a nursing sister and her father John was an architect. She grew up with five brothers, two older and three younger.Her eldest brother, Scott, died in a car accident only months after her opening night in the musical Cats. Her main ambition was to become a ballet dancer, but after being cast in her first role in Cats she realised she wanted to expand her career into singing and acting also. After playing roles such as Peron's Mistress in Evita, Sybil in Private Lives and Cosette in Les Misérables, all in Australia, <mask> then made her West End debut in the world premiere production of Sunset Boulevard. It was in London that she met the father of her daughter. Her daughter was born in 2000 in London.

masks:
Anita Louise Combe
Combe
Anita
Combe
Combe


title: Ivan Zajc

texts:
<mask> (also , ; ; August 3, 1832 – December 16, 1914), was a Croatian composer, conductor, director, and teacher who dominated Croatia's musical culture for over forty years. Through his artistic and institutional reform efforts, he is credited with its revitalization and refinement, paving the way for new and significant Croatian musical achievements in the 20th century. He is often called the Croatian Verdi. Life

Childhood years

<mask> was born in Fiume, modern-day Rijeka, Croatia. His family migrated from Bratislava, Slovakia; his father, Johann Zaytz, was of Czech descent, and his mother, Anna Bodensteiner was of German descent. His musical talent was evident very early on in his life, as he began to study the piano and violin at the age of five, performed in public by the age of six, and even began to compose his own music by the age of twelve. Nevertheless, despite his early musical success, his military bandmaster father was opposed to the idea of a career in music and wanted him to study law instead following the completion of his secondary education.In the end, <mask>'s professors prevailed and he entered the Milan Conservatory in 1850 with his father's consent. Early success in Milan and Vienna

<mask> studied in Milan from 1850 to 1855, under the supervision of Stefano Ronchetti-Monteviti (counterpoint and composition), Alberto Mazzucato (orchestration), and Lauro Rossi (dramatic music). During this period, <mask> took his studies very seriously and regularly won prizes as one of the conservatory's most talented students. He was awarded first prize at his graduation examination for the opera La Tirolese (1855), which was performed on stage in the same year. <mask>'s future as a composer and conductor in Milan was secure, but the death of his parents in the meantime forced him to return to Rijeka. Back home, he accepted the post of conductor and concert master of the Town Theatre Orchestra, taught stringed instruments at the Philharmonic Institute, and simultaneously wrote numerous compositions with his characteristic speed and ease. In 1860, his opera Amelia ossia Il Bandito was met with great success, though two years later, after a prolonged illness, <mask> chose to move to Vienna, where opera and theatre were flourishing.His eight-year stay there (1862–70) was marked by further success, though he settled for composing operettas rather than operas. His first Viennese work, Mannschaft an Bord (1863), was enormously well received and his later operettas only served to strengthen his growing reputation. Yet it was in Vienna that Zajc became involved with the Croatian academic society Velebit and frequently met with young Croatian students. Influenced by such Croatian cultural figures as bishop Josip Juraj Strossmayer and poets Petar Preradović, <mask>, August Šenoa, and Matija Divković, <mask> chose patriotism over world fame and returned to Croatia. Return to Croatia

Upon his arrival in Zagreb in 1870, Zajc was presented with two posts:  director and conductor of the Croatian Opera and director and teacher at the Croatian Institute of Music. It was during this period that Zajc made his colossal contribution to Croatian musical culture, not only through his compositions, but also through his leadership in reorganizing Zagreb's musical institutions. He was also an excellent vocal teacher and succeeded in training several prominent singers.<mask> was an exceptionally prolific composer as evidenced by almost 1000 works, from Op. 234 to Op. 1202, produced during his time in Zagreb. Included in this number are Mislav (1870), Ban Leget (1872), his masterpiece Nikola Šubić Zrinski (1876), and Lizinka (1878), in addition to operettas, musical comedies, cantatas, songs and choral compositions, concerti, chamber music, and many other works. <mask>'s appointment at the opera was held until 1889, when owing to financial difficulties the organization lapsed for a time, but <mask> retained his post at the school until 1908, when he finally retired. He is credited with reviving Croatian music during a period of musical stagnation after the collapse of the Illyrian Movement and raising it to the artistic level where it stands today. His efforts paved the way for new and significant Croatian musical achievements in the early 20th century, which <mask> himself lived to see until his death on December 16, 1914 in Zagreb.List of major works

 La tirolese, Premiered in Milan on May 4, 1855
 Amelia ossia Il bandito, Rijeka, April 24, 1860
 Mannschaft an Bord, Vienna, December 15, 1863
 Fitzliputzli, Vienna, November 5, 1864
 Die lazzaroni vom Stanzel, Vienna, May 4, 1865
 Die Hexe von Boissy, Vienna, April 24, 1866
 Nachtschwärmer, Vienna, November 10, 1866
 Das Rendezvous in der Schweiz, Vienna, April 3, 1867
 Das Gaugericht, Vienna, September 14, 1867
 Nach Mekka, Vienna, January 11, 1868
 Somnambula, Vienna, January 21, 1868
 Schützen von einst und jetzt, Vienna, July 25, 1868
 Meister Puff, Vienna, May 22, 1869
 Mislav, Zagreb, February 2, 1870
 Symphony in C minor (also known as Symphonic Poem), Op. 394 (1870)
 Ban Leget, Zagreb, July 16, 1872
 Der gefangene Amor, Vienna, September 12, 1874
 Nikola Šubić Zrinski, Zagreb, November 4, 1876
 Lizinka, Zagreb, November 12, 1878
 Der Wildling, Zagreb, September 23, 1905
 Prvi grijeh, Zagreb, April 25, 1907; December 18, 1912
 Oče naš, Zagreb, December 16, 1911

Sources

 Josip Andreis: <mask>, Encyclopedia of Music, No. 3, Miroslav Krleža Institute of Lexicography, Zagreb. Translated to English by Tomislav Pisk for the Nikola Šubić Zrinski libretto book published by Croatia Records. Ivan pl. Zajc Biography
 Stanford OperaGlass
 Hubert Pettan, Popis skladbi Ivana Zajca [List of compositions by Ivan Zajc]. Zagreb: Yugoslav Academy of Sciences and Arts, 1956.Zdravko Blažeković, <mask> u ogledalu svoje korespondencije [<mask> reflected in his correspondence], Arti musices X/1 (1979), 43–77. Marija Božić, ur., Tragovima glazbene baštine: <mask>, u povodu 150. obljetnice rođenja [On the path of music heritage: <mask>, on the 150th anniversary of his birth], Zagreb: Zagreb: Muzički informativni centar Koncertne direkcije Zagreb, 1982. Lovro Županović, ur., Zbornik radova sa znanstvnog skupa održanog u povodu 150. obljetnice rođenja Ivana Zajca [Proceedings of the conference held on the 150th anniversary of <mask>'s birth]. Zagreb, Yugoslav Academy of Sciences and Arts, 1982. Hubert Pettan, Hrvatska opera: <mask>c. II [Croatian opera: <mask>. II.Zagreb: Muzički informativni centar Koncertne direkcije Zagreb, 1983. Stanislav Tuksar, ur., <mask>, Rijeka-Milano-Rijeka (1832.-1862.) [Early <mask>, Rijeka-Milan-Rijeka (1982–1862)]. Rijeka: Croatian National Theatre Ivan pl. Zajc, 1998. Zdravko Blažeković, Glazba osjenjena politikom: Studije o hrvatskoj glazbi između 17. i 19. stoljeća. Zagreb: Matica hrvatska, 2002.Vjera Katalinić/Stanislav Tuksar, ur., Mladi <mask>, Beč = Young <mask>, Vienna, 1862.-1870. Rijeka: Izdavački centar Rijeka, 2003. External links
 Ivan pl. Zajc Choir

1832 births
1914 deaths
19th-century classical composers
19th-century male conductors (music)
19th-century conductors (music)
20th-century classical composers
20th-century conductors (music)
20th-century male musicians
Burials at Mirogoj Cemetery
Croatian composers
Croatian conductors (music)
Croatian opera composers
Croatian people of Czech descent
Croatian people of German descent
Croatian people of Slovak descent
Male classical composers
Male conductors (music)
Milan Conservatory alumni
Music educators
Musicians from Rijeka
Romantic composers

masks:
Ivan Zajc
Ivan Dragutin Stjepan Zajc
Zajc
Zajc
Zajc
Zajc
Zajc
Ivan Trnski
Zajc
Zajc
Zajc
Zajc
Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zaj
Ivan Zajc
Rani Zajc
Zajc
Zajc
Zajc


title: Brigitte Heinrich

texts:
<mask> (born 29 June 1941, Frankfurt am Main – 29 December 1987) was a German journalist, and an Alliance '90/The Greens politician. Biography
In 1966, she became a press spokesperson for the Socialist German Student Union ("Sozialistische Deutsche Studentenbund" / SDS). After completing her degree in Applied Economics ("Volkswirtschaft"), in 1970 she travelled in the Middle-East. During the 1970s she took a lectureship in "International Relations" at Frankfurt University. During this time she maintained contacts with various terrorist groups. On 26 November 1974 <mask> was arrested. This was part of "Aktion Winterreise", a nationwide raid in fifteen towns and cities, which targeted RAF supporters in the aftermath of the murder of Berlin Court President Günter von Drenkmann by members of the 2 June Movement.<mask> was arrested on suspicion of "illegal trafficking in weapons and explosives". All those arrested were released after two weeks, possibly apart from <mask>. Sources differ over whether she was released after a couple of weeks like the others but then re-arrested soon afterwards, or whether, unlike the others, she remained in investigative custody at this point. <mask> vehemently protested her innocence and some months later became seriously ill. She was released "for reasons of health" before the prosecuting authorities had completed their work on her case. She returned to Frankfurt University where for several years she combined with her other work  the presidency of the student parliament. In 1978 she published a pamphlet in Italian in Milan in the form of a "diary from the dungeon" in which she presented "Aktion Winterreise" as an act of state persecution of intellectuals in Germany, of which she had been a victim. There are indications that during her time in Milan in the late 1970s Heinich was in close contact with members of the Red Brigade terrorist groups.By 1980 <mask> <mask> had developed a significant media profile, and between 1980 or 1981 and 1984 she worked as a regular journalist for the Berlin-based Tageszeitung (a daily newspaper). One of her colleagues at the newspaper was the radical lawyer Klaus Croissant. It was also in 1980 that <mask> <mask> finally faced trial. She received a 21 month prison sentence "for weapons smuggling". The context for her trial was her involvement in a German-Italian-Swiss "anarchist" network which was headed up by her friend, the German-Italian alleged terrorist Petra Krause. Possibly on account of her excellent media contacts, and the widespread belief on the radical left that prison conditions for West German "political prisoners" were exceptionally grim, <mask>'s imprisonment became something of a 'cause célèbre'. Several sources strongly hint that it was because of this that she served her sentence under conditions of "semi-freedom", described by one source as a "daytime release", which enabled her to continue providing contributions to the Tageszeitung while returning to prison at nights.Her sentence was completed at the end of 1983, and she accepted the offer of a place on the party list of the Green Party for the European parliamentary election in June 1984. Reflecting the fringe position which the party then occupied on the West German political spectrum, her name was placed second on the list and she accordingly became one of the seven German Green Party members of the parliament, retaining her seat till her sudden death in 1987. She died as the result of a heart attack two days before the end of the year. Her funeral took place on 6 January 1988 in the principal chamber of the Frankfurt Main Cemetery and was attended by members and representatives from a range of left-wing groups from many countries. Agent of the East German security services
Following reunification in 1990 researchers gained access to a vast archive of the carefully compiled documentation produced between 1950 and 1989 by the East Germany Ministry for State Security "(Stasi)". It was discovered that since the early part of 1981 <mask> had been passing information to the East German security services. She was identified in Stasi records under the code names "IM Taler" and also, after 1983 as "Beate Schäfer".While they worked together on the Tageszeitung Brigitte <mask> and Klaus Croissant also teamed up together in their personal lives. In this connection <mask> was recruited, apparently by Croissant, as a Stasi informer. She worked for Hauptabteilung XXII ("Main department 12") which concerned itself with "observing" terrorism in West Germany. It was only after she died that it became known to authorities in the west that she had received her orders through Klaus Croissant and transmitted her reports to Stasi handlers in East Berlin through him. It is not clear from sources how the Hessischer regional branch of the Green Party came to nominate <mask> <mask> as a candidate for the 1984 European parliamentary election, but it is clear from sources that emerged subsequently that she only accepted the nomination after discussion with Stasi handlers. As a member of the European parliament <mask> became important not just to the Stasi's "Hauptabteilung XXII" but also to its National Intelligence Directorate ("Hauptverwaltung Aufklärung" / HVA). The HVA was East Germany's intelligence service with respect to West Germany.Most intelligence activity conducted on behalf of Warsaw Pact governments and Western Europe was tightly controlled from Moscow by the KGB. With respect to West Germany, however, it was far more effective to conduct espionage from East Germany because the extent of the shared language and kinships, culture and histories of East and West Germany meant that the pool of potential sympathizers, informants and secret intelligence operatives was immeasurably vast. As "Beate Schäfer" she was able to report, after May 1984, on the discussions between the national sub-groups of the parliament's Green group. The HVA were keen that she should become influential within the parliamentary Green faction and accordingly insisted that she distance herself from the "militant activist scene" in West Germany. In this way she might become more than a conventional "Stasi informant". As an influential voice of the left she would be able to influence detailed discussions within the European parliament and its committees in ways that aligned more closely with East German government objectives. From Stasi records it is apparent that "from 29 November 1984 Dr. Croissant and <mask> Heinich unconditionally separated themselves from the terrorist scene".<mask> was instructed to raise her profile in the Green Party and in the increasingly important "peace movement". By the time of her sudden death at the end of December 1987 it appears that she was succeeding. Through Croissant she had submitted detailed reports to her handlers containing a multiplicity of detail about meetings involving the "rainbow coalition" within the European parliament and involving the party's Bundestag group in the West German capital. She had also attended at least eight meetings with senior HVA officers . Further reading

References

1941 births
1987 deaths
Politicians from Frankfurt
Alliance 90/The Greens MEPs
Journalists from Frankfurt
Sozialistischer Deutscher Studentenbund members
MEPs for Germany 1984–1989
20th-century women MEPs for Germany
People of the Stasi

masks:
Brigitte Heinrich
Brigitte Heinrich
Heinrich
Heinrich
Heinrich
Brigitte
Heinrich
Brigitte
Heinrich
Heinrich
Heinrich
Heinrich
Heinrich
Brigitte
Heinrich
Heinrich
Brigitte
Heinrich


title: Don McCullin

texts:
<mask>  (born 9 October 1935) is a British photojournalist, particularly recognised for his war photography and images of urban strife. His career, which began in 1959, has specialised in examining the underside of society, and his photographs have depicted the unemployed, downtrodden and  impoverished. Early life
<mask> was born in St Pancras, London,  and grew up in Finsbury Park, but he was evacuated to a farm in Somerset during the Blitz. He is slightly dyslexic but displayed a talent for drawing at the secondary modern school he attended. He won a scholarship to Hammersmith School of Arts and Crafts but, following the death of his father, he left school at the age of 15, without qualifications, for a catering job on the railways. He was then called up for National Service with the Royal Air Force (RAF) in 1953. Photojournalism
During his National Service, <mask> was posted to the Suez Canal during the 1956 Suez Crisis, and served as a photographer's assistant.He failed the written theory paper to become a photographer in the RAF and spent his service in the darkroom. During this period <mask> bought his first camera, a Rolleicord, for £30 when stationed in Nairobi. On return to Britain, shortage of funds led to his pawning the camera and his mother used her money to redeem the pledge. In 1958 he took a photograph of a local London gang posing in a bombed-out building. He was persuaded by his colleagues to take his photograph of The Guvnors, as the gang was known, to The Observer, which published it, setting him on his path as a photographer. Between 1966 and 1984, he worked as an overseas correspondent for the Sunday Times Magazine, recording ecological and man-made catastrophes such as wars, amongst them Biafra in 1968, and victims of the African AIDS epidemic. His hard-hitting coverage of the Vietnam War and the Northern Ireland conflict is held in particularly high regard.He also took the photographs of Maryon Park in London used in Michelangelo Antonioni's 1966 film Blowup, In 1968, his Nikon camera stopped a bullet intended for him. Also in 1968, on 28 July, he was invited to photograph the Beatles, then at the height of their fame and in the midst of recording The White Album. These sessions, made at several London locations, have become known as The Mad Day Out. They contain many well-known images of the band, including the gatefold sleeve picture from the Red and Blue compilations where the Beatles mingled with the crowd seen through railings. The photographs from this day were published in the 2010 book A Day in the Life of the Beatles. A documentary about McCullin entitled Just One More War, directed by Jana Boková, with ATV as the production company, aired on the ITV network in 1977. In 1982 the British government refused to grant McCullin a press pass to cover the Falklands War, claiming the boat was full.At the time he believed it was because the Thatcher government felt his images might be too disturbing politically. He is the author of a number of books, including The Palestinians (with Jonathan Dimbleby, 1980), Beirut: A City in Crisis (1983) and <mask> in Africa (2005). His book, Shaped by War (2010) was published to accompany a retrospective exhibition at the Imperial War Museum North, Salford, England in 2010 and then at the Victoria Art Gallery, Bath and the Imperial War Museum, London. His most recent publication is Southern Frontiers: A Journey Across the Roman Empire, a poetic and contemplative study of selected Roman and pre-Roman ruins in North Africa and the Middle East. In 2012, a documentary film of his life, McCullin, directed by David Morris and Jacqui Morris, was released. It was nominated for two BAFTA awards. In later years, McCullin has turned to landscape, still-life works and commissioned portraits.In November 2015 <mask> was named Photo London Master of Photography for 2016, at the launch of Photo London, an art fair due to open at Somerset House in May 2016. A special exhibition dedicated to his work is to be commissioned. Asked about the rise of digital photography, he said: "Digital photography can be a totally lying experience – you can move what you want. The whole thing can’t be trusted really". Filmed in February 2018 and broadcast in May, the BBC Four documentary The Road To Palmyra saw <mask> visit Syria with historian Dan Cruickshank to see the devastation left by the conflict on the UNESCO listed site of Palmyra. Discussing his trip with the Radio Times he spoke of his approach to entering war zones: "I have risked my life endless times, and ended up in hospital with all kinds of burns and shell wounds. I have those reptile eyes that see behind and in front of me.I’m constantly trying to stay alive. I’m aware of warfare, of hidden mines." Despite his reputation as a war photographer, <mask> has said that Alfred Stieglitz was a key influence on his work. Personal life
Living in Somerset, he is married and has five children from his marriages. Biopic
In November 2020, it was announced Angelina Jolie would be directing a biopic about <mask>, with Tom Hardy in the starring role. It is being adapted from <mask>'s autobiography Unreasonable Behaviour by Gregory Burke. Publications

 <mask> (2010) A Day in the Life of the Beatles.London: Jonathan Cape. . New York: Rizzoli. .
A day in the life of the Beatles: un giorno speciale con John, Paul, George e Ringo. Milan: Rizzoli. .
A day in the life of the Beatles: söndagen den 28 juli 1968. Stockholm: Max Ström. . The Landscape. London: Jonathan Cape, 2018. . Awards

 1964: World Press Photo of the Year, Amsterdam, for his coverage of the war in Cyprus. 1964: Photo Stories, third prize stories, World Press Photo award, Amsterdam.1964: Warsaw Gold Medal. 1974: News Picture, first prize stories, World Press Photo award 1973, Amsterdam. 1977: Honorary Fellowship of the Royal Photographic Society (HonFRPS). 1978: Photo Stories, first prize stories, World Press Photo award 1977, Amsterdam. 1984: Spot News, second prize stories, World Press Photo award 1983, Amsterdam. 1993: Honorary doctorate from the University of Bradford. 1993: Appointed Commander of the Order of the British Empire in the 1993 New Year Honours, the first photojournalist to receive the honour.1994: Honorary degree from the Open University. 2003: Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography. 2006: Cornell Capa Award. 2007: Royal Photographic Society's Centenary Medal. 2008: Honorary Doctorate of Letters by the University of Gloucestershire in recognition of his lifetime's achievement in photojournalism. 2009: Honorary Fellowship of Hereford College of Arts. 2011: Honorary Degree (Doctor of Arts) from the University of Bath.2016: Lucie Award in Achievement in Photojournalism category
2017: Appointed Knight Bachelor in the 2017 New Year Honours for services to photography. 2017:  Honorary Degree (Doctor of Letters) from the University of Exeter. Exhibitions
2010–2012: Shaped by War: Photographs by <mask>, Imperial War Museum North, Salford, UK, 2010; Victoria Art Gallery, Bath, UK, 2010; Imperial War Museum, London, 2011–2012 in an updated form. "Shaped by War: Photographs by <mask>'s work is held in the following permanent collection:
Tate, UK: 85 prints as of May 2018
Victoria and Albert Museum, London: 11 prints

 Quotes

"I grew up in total ignorance, poverty and bigotry, and this has been a burden for me throughout my life. There is still some poison that won't go away, as much as I try to drive it out." "I am a professed atheist, until I find myself in serious circumstances. Then I quickly fall on my knees, in my mind if not literally, and I say : 'Please God, save me from this.'" "I have been manipulated, and I have in turn manipulated others, by recording their response to suffering and misery. So there is guilt in every direction: guilt because I don't practise religion, guilt because I was able to walk away, while this man was dying of starvation or being murdered by another man with a gun. And I am tired of guilt, tired of saying to myself: "I didn't kill that man on that photograph, I didn't starve that child."That's why I want to photograph landscapes and flowers. I am sentencing myself to peace." "Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures." References

 External links

<mask> at Hamiltons Gallery
Life Interrupted: A gallery from Africa on behalf of Christian Aid
Audio slideshow on BBC News
TateShots: <mask> The artist on his work (podcast by Tate Britain) (registration required)
<mask> at tate.org.uk
Photographs from the Shaped by War exhibition at The Guardian "<mask>in: the art of seeing" at The Guardian''

1935 births
People from St Pancras, London
British autobiographers
British non-fiction writers
Photographers from London
Commanders of the Order of the British Empire
English photojournalists
The Sunday Times photojournalists
The Observer photojournalists
Living people
Vietnam War photographers
Photography in India
Photography in Lebanon
War photographers
Social documentary photographers
British male writers
Knights Bachelor
People from Finsbury Park
Male non-fiction writers

masks:
Sir Donald McCullin
McCullin
McCullin
McCullin
Don McCullin
McCullin
McCullin
McCullin
McCullin
McCullin
Don McCullin
Don McCullin
Don McCullinCullin
Don McCullin
Don McCullin
Don McCullin
Don MCull


title: Sophie Matisse

texts:
<mask> (born February 13, 1965) is an American contemporary artist. <mask> initially gained notoriety for her series of Missing Person paintings, in which she appropriated and embellished upon, or subtracted from, recognizable works from art history. Media coverage is often quick to note <mask>'s family background, an art pedigree originating with her great-grandfather, the 20th century painter <mask>. Britain's Sunday Telegraph newspaper in 2003 referred to <mask> as "art royalty", a term occasionally paraphrased when discussing <mask> and her artwork. Early life
<mask> was born in Boston on February 13, 1965,
and was raised in Cambridge, Massachusetts, having what has been described as a "hippie childhood". Her father is the sculptor <mask>, whose grandfather was <mask>. <mask> had "serious" dyslexia in her youth, which she remedied through creative pursuits.Education
Matisse began studies in 1985 at the Massachusetts College of Art and Design in Boston, but she dropped out after her first year. In 1990, she relocated to Paris and attended the École des Beaux-Arts, the same institution where her great-grandfather <mask> had studied. She also bought supplies at the same art-supply store where he had shopped. Matisse lived with her grandmother Teeny Duchamp in France for a time. Teeny, after divorcing <mask>, had married the French artist Marcel Duchamp (Duchamp died in 1968). Studies at the École des Beaux-Arts were not easy for <mask>; not only facing imposed expectations of being an art student in France named "Matisse", but also being an American lacking proficiency in reading and writing French. After three years <mask> was asked to leave.She did, however, meet the French artist Alain Jacquet while at École des Beaux-Arts, whom she married in 1992. Early career
In 1996, <mask> moved to New York City, setting up her studio in Manhattan's Tribeca neighborhood, and soon began exhibiting her artwork. The artist's 1997 painting Monna Lisa (Be Back in Five Minutes) initiated art world interest which furthered her career. In the painting, <mask> replicated the background setting of Leonardo da Vinci's original, but omitted the eponymous subject Mona Lisa from the scene. It was the first of what became her signature Be Back in 5 Minutes series. The Be Back in Five Minutes series gave <mask> her first widespread exposure as an artist, in her own right, and informed her work for years thereafter. In those paintings, <mask> reproduced the recognizable settings of famous paintings, always omitting the figures; as if the models had "stepped out for the moment".Famous works of Vermeer also figured prominently in other early entries to the series; Young Woman with a Water Pitcher, The Art of Painting, and Girl with a Pearl Earring  were all reinterpreted by <mask> in the late 1990s, minus the figures portrayed by Vermeer. Exhibitions
Although she had previously participated in group exhibitions in New York and elsewhere, <mask>'s first solo exhibition opened in January 2002, at the gallery which continued to represent her in New York, Francis Naumann Fine Art. It was the gallery's first exhibition of Contemporary art. <mask>'s Monna Lisa (Be Back in Five Minutes) was featured in this first exhibition along with over twenty others of the artist's absentee paintings. Among American artworks from which <mask> "removed" the occupants are Grant Wood's American Gothic, in which the pitchfork is left standing alone in the foreground, and Edward Hopper's Nighthawks, in which the diner is replicated devoid of customers and staff. Both of these were painted in 2001. The artwork of <mask> is also among those reinterpreted.Goldfish reproduces the scene as originally portrayed by him, minus the goldfish. The Conversation leaves an empty chair by the window. Artwork from this series was also assembled for an exhibition titled "Once Removed" at the upstate New York Katonah Museum of Art in the summer of 2005. <mask>'s reinterpretation of Guernica
In 2003, <mask> added Pablo Picasso's Guernica to the number of paintings she reinterpreted. This time, <mask> opted to "colorize" Picasso's monochromatic "anti-war testament" — a painting to which she had never actually stood "face to face". Despite her great-grandfather and Picasso's "rocky relationship". <mask> followed her own color sensibilities, as opposed to mimicking those of her great-grandfather.<mask> used Guerra Paint acrylics and painted on canvas, testing color combinations by first painting many small sketches. She kept true to the impact of Picasso's original by painting it large-scale, approximately . Her efforts yielded several paintings and various drawings, which culminated in her Sophie Matisse Does Guernica exhibition, early in 2003 in New York. One piece, 911 Guernica, uses Guernica as the motif to convey her own first hand experiences witnessing the terrorist attack on New York's Twin Towers from her neighborhood near the site. <mask>'s Guernica exhibition was scheduled to coincide with the Museum of Modern Art's dual survey exhibiting the works of both Picasso and <mask>. The artist and her "Be Back in 5 minutes" series faced as much opposition as they did praise, with some critics deriding her "coloring-in" of Picasso by comparing it with the colorization of black and white movies. Art critic Arthur Danto said <mask>'s work "demonstrates why Picasso was right to use black and white and gray, and why <mask> was exactly right never to have attempted to depict violence".<mask> in 2003 also participated in a project coordinated by Dodie Kazanjian for Vogue magazine. "Self Portraits: A Vogue Portfolio" appeared in print as a ten-page feature in the December 2003, issue of the magazine. As the title suggests, each artist submitted a "self-portrait". <mask> was featured among other female artists of her generation such as Kiki Smith. <mask>'s contribution was a "Be Back in 5 Minutes" interpretation of Gustave Courbet's erotic painting The Origin of the World, this time removing the 19th century French painter's graphically portrayed nude model, leaving only the rumpled bedsheets. The completed artworks were exhibited at Deitch Projects SoHo gallery space at the time of publication. Zebra stripe paintings
<mask> began a new series of paintings in the Spring of 2004, which culminated in her third solo exhibition, the Zebra Stripe Paintings, debuting in New York in the latter months of 2005.<mask> once again appropriated historically significant artworks, this time superimposing her own imagery in the form of zebra stripes overlapping the originals. In these paintings, all acrylics and oil on canvas, the appropriated originals are somewhat obscured by the stripes, rendering them less readily identifiable, and the artist herself has joked that her dyslexia may have been helpful in creating these works. The series was compared to James Rosenquist's later works, juxtaposing and overlapping seemingly unrelated imagery. <mask> again appropriated one of her great-grandfather's artworks, this time overlaying his Blue Nude with her zebra stripes. Special projects
<mask> has provided artwork in collaboration with business interests and also in support of charitable causes. In 2008, She collaborated with Kilian Hennessy, heir to the Hennessy lineage of cognac makers, providing artwork for a line of fragrances. <mask> added her personal touch to fifty bottles of Kilian perfumes, hand-painting, signing and numbering every bottle and its box.Each of the limited edition creations bore a design different from the others. Additionally, <mask> collaborated with @byKilian in December 2009 on 15 hand-painted, Special Edition (Gold) perfume bottles, which were sold to key By Kilian clients. For an exhibition titled The Art of the Game coinciding with San Diego's Beyond the Border International Contemporary Art Fair of 2009, <mask> created five chess sets of her own design. She considered her participation "a tribute" to the game's presence within her family in general, and her upbringing personally. In 2010, <mask> participated in the New York installment of an international campaign produced by the non-profit group Sing For Hope. The project called for 60 pianos to be placed in specifically chosen public places around a chosen city, in this case New York City, each first hand-painted by participating artists and amateurs alike. The decorated pianos remained at their specified locations for two weeks in July 2010, with the instructions "Play me, I'm yours" clearly marked, and an attendant present to oversee and invite passersby.<mask> hand-painted four Kimball pianos, all of which had been donated for the cause, even painting the piano keys. Some, if not all, of <mask>'s four were displayed in the lobby of Avery Fisher Hall and Lincoln Center promenade. All 60 pianos were auctioned that fall. Matisse was represented by Francis Naumann Fine Art, LLC, in New York City. from 2003 to 2020. Matisse is now represented by the Baahng Gallery in New York City. Personal life
In 1992, when she was 27, Matisse married Pop artist Alain Jacquet, whom she had met during her years at the École des Beaux-Arts, Paris.Jacquet similarly reworked classic artworks into his own creations, which have been described as "Pop subterfuge". The marriage produced a daughter, Gaïa Jacquet-<mask>, born in 1993. <mask> and Jacquet were considered a "perfect couple" by friends and acquaintances, and remained married until Jacquet's death, at age 69, in 2008. <mask> later married Amar Zribi in St. Martin FWI, in 2012. Family background
<mask>'s father is the sculptor and inventor <mask>, a Harvard graduate. Her grandfather, Paul's father, was Modern art dealer <mask>, who had moved to America in the 1920s. Pierre was the youngest child of 20th century painter <mask>, <mask>'s great-grandfather.<mask> died in 1954, aged 85, eleven years before <mask>'s birth. Family members expressed concern for <mask>'s future as an artist in her own right, and suggested she use her great grandmother, Amelie Pareyre as her family name to avoid constant comparison to <mask>. Only by incidentally noticing her family name on museum walls did <mask>, as a young child, come to consider that her great-grandfather may have been someone "exceptional". <mask>'s step-grandfather was the artist Marcel Duchamp, who reinterpreted Leonardo da Vinci's Mona Lisa in his L.H.O.O.Q. by adding a mustache. Duchamp married <mask>'s grandmother Alexina "Teeny" <mask>, an American, in 1954 after she and <mask> had divorced. <mask> has cited Duchamp as an influence, once saying "his presence stopped me from getting too serious".Art writers have pointed to the "visual jokes" sometimes apparent in <mask>'s own work as a sign of Duchamp's influence. References

External links
 <mask> page at Francis Naumann Fine Art, LLC

1965 births
Living people
20th-century American women artists
American contemporary painters
Artists from Boston
American expatriates in France
American women painters
American people of French descent
Massachusetts College of Art and Design alumni
American alumni of the École des Beaux-Arts
Sophie
21st-century American women artists

masks:
Sophie Alexina Victoire Matisse
Matisse
Matisse
Henri Matisse
Matisse
Matisse
Matisse
Paul Matisse
Henri Matisse
Matisse
Henri Matisse
Pierre Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Henri Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Matisse
Sophie
Matisse
Matisse
Matisse
Matisse
Paul Matisse
Pierre Matisse
Henri Matisse
Sophie
Henri Matisse
Sophie
Sophie
Henri Matisse
Sophie
Matisse
Matisse
Matisse
Pierre Matisse
Matisse
Matisse
Sophie Matisse


title: Christopher Meyer

texts:
Sir <mask>  (born 22 February 1944) is a British former diplomat who served as the Ambassador to the United States (1997–2003), Ambassador to Germany (1997) and the chairman of the Press Complaints Commission (2003–2009). He is married to <mask>, Baroness <mask>, founder of the charity Parents & Abducted Children Together, and an active board member of the Transatlantic Forum for Education and Diplomacy. Early life and education

<mask> was born in 1944 to <mask> and his wife Eve. Reginald was a flight lieutenant in Coastal Command of the RAF who was killed in action over the Greek island of Icaria 13 days before his son was born (in 2011 <mask> visited the island and met witnesses of the shooting-down and burial of his father). <mask> was educated at Lancing College, a boarding independent school for boys (now co-educational), near the village of Lancing in West Sussex, the Lycee Henri IV in Paris and Peterhouse at the University of Cambridge, where he graduated in History (he has been an honorary fellow of Peterhouse since 2002). After graduating, he attended the Johns Hopkins School of Advanced International Studies at Bologna. Diplomatic career
He began his career in the Foreign and Commonwealth Office in 1966 in the West and Central African Department as desk officer for French-speaking African countries.Following a year's training in the Russian language, his first posting, at the age of 24, was as third secretary to the British embassy in Moscow in 1968, where for his first year he was the ambassador's private secretary. From 1970 to 1973 he was second secretary at the British embassy in Madrid. This was followed by five years in London, firstly, as the head of the Soviet section in the East European and Soviet Department; and, secondly, as speech-writer to three successive Foreign Secretaries: James Callaghan, Anthony Crosland and David (now Lord) Owen. <mask> was then sent from 1978 to '82 to the UK permanent representation to the European Communities in Brussels, followed by two years as political counsellor in the British embassy in Moscow. He returned to London in 1984 to become press secretary to the Foreign Secretary, Sir Geoffrey Howe, a position which he occupied until 1988, when he went for a year to Harvard University's Centre for International Affairs as a Visiting Fellow. This was followed by five years at the British embassy in Washington as minister-commercial and deputy head of mission. He returned to London in 1994 to become Prime Minister John Major's press secretary and government spokesman.He was posted briefly to Germany as ambassador in 1997, but was transferred in the same year to Washington as Britain's ambassador to the United States. HM Ambassador to the United States

His final posting was as British Ambassador to the United States from 1997 until his retirement in 2003. <mask> gave evidence about his time in the role to the Iraq Inquiry in November 2009. The Press Complaints Commission (PCC)
<mask> was appointed chairman of the UK press's self-regulating body in March 2003. During his tenure from 2003 to 2009, <mask> introduced a number of reforms to enhance the profile, independence and credibility of the Commission. These included increasing the majority of independent Commissioners, introducing independent scrutiny of the PCC's internal processes and decision-making, instituting PCC "away-days" twice a year in the cities and towns of the UK and extending the PCC's remit to online editions of newspapers, including audio-visual material. This led to a significant increase in public use of the PCC, with complaints about the press rising from 2,630 in 2002 to 4,698 by the time <mask> retired as chairman.He was also responsible for developing the PCC's pre-publication activity, including its anti-harassment service, which proved highly effective in protecting people from the unwanted attention of media scrums. <mask>'s tenure coincided with the gaoling in 2007 of the News of the World reporter, Clive Goodman, and the enquiry agent, Glenn Mulcaire, for phone-hacking offences under the Regulation of Investigatory Powers Act. This prompted the resignation of the News of the World's editor, Andy Coulson. Later, as the phone-hacking scandal spread, the PCC, and <mask> himself, were criticised for not having brought those responsible to account. But the Lord Judge, Lord Chief Justice of England and Wales, pointed out in a lecture to the Human Rights Law Conference on 19 October 2011 that "To criticise the PCC for failing to exercise powers it does not have is rather like criticising a judge who passes what appears to be a lenient sentence, when his power to pass a longer sentence is curtailed." <mask> had himself reminded the Leveson Inquiry in his witness statement, submitted on 14 September 2011, and at his appearance before the Inquiry on 31 January 2012 that phone-hacking was a crime under the Regulation of Investigatory Powers Act 2000 and that it was not in the remit of the PCC either to apply the criminal law or to carry out investigations that rightfully belonged to the police. Honours
In 1998, Her Majesty Queen Elizabeth II appointed him Knight Commander of the Order of St Michael and St George (KCMG).<mask> is a non-executive director of the Arbuthnot Banking Group. He is also Chairman of the Advisory Board of Pagefield and an Honorary Fellow of Peterhouse, Cambridge University. He is a Liveryman of the Worshipful Company of Stationers and Newspapermakers and a Freeman of the City of London. On 3 April 2012 he was appointed Court Assistant honoris causa by the Company. Since 2013 <mask> has been a Senior Associate Fellow of the Royal United Services Institute. <mask> was named in 2010 the Morehead-Cain Alumni Distinguished Visiting Professor at the University of North Carolina. Writing
He published his memoirs, DC Confidential, in November 2005, with extracts serialised in The Guardian and the Daily Mail.The book gave rise to considerable controversy. It was attacked by members of the Labour government (Deputy Prime Minister John Prescott called <mask> a "red-socked fop"),, while a group of MPs urged him to "publish and be damned". <mask> gave a detailed rebuttal of his critics in written evidence submitted to the House of Commons Select Committee on Public Administration. In 2005, the memoirs were included in his books of the year by Jim Hoagland, The Washington Posts commentator on foreign affairs, who described them as "thorough" and "credible". In 2009 he published a second book, Getting Our Way, a 500-year history of British diplomacy that accompanied a BBC 4 television series of the same name. He was again in the news with this book, serialised this time in The Sunday Times and The Daily Telegraph, and again openly critical of the Labour Government under which he served. In November 2013 <mask> published a third book, the Amazon Kindle Single, Only Child, a personal memoir of his childhood interwoven with the story of how his father was shot down and killed in the Second World War.It includes interviews with still surviving witnesses of his father's crash and burial. <mask> writes regularly on international affairs for a variety of newspapers and publications. Broadcasting
<mask> has presented several television and radio documentaries on diplomacy for the BBC, including Mortgaged to the Yanks (BBC Two/BBC Four 2006), Corridors of Power, How to Succeed at Summits, and Lying Abroad, all for BBC Radio 4 in 2006 and 2007. These were followed in 2009 by a BBC Radio 4 documentary series on the press called The Watchdog and the Feral Beast. 2009 also saw him present a BBC television series Getting Our Way, which chronicled episodes from British diplomatic history over the last 500 years and was later turned into a book (see below). In 2012 he fronted a 6-part international documentary series for Sky Atlantic called "Networks of Power", which examined the power-brokers of Mumbai, Rome, Moscow, New York, Los Angeles and London. The Guardian found the series "immensely watchable" and described <mask> as "Paxmanesque – quizzical, authoritative, faintly mischievous".He frequently appears on news and current affairs programmes, for example, providing analysis for the BBC's coverage of President Barack Obama's state visit to Britain in May 2011. <mask>, when asked (in an interview with the BBC) "Which foreign government has the most influence on Washington? ", unequivocally responded: "Israel." When he was then asked "And then? ", he said, "Well, in the hit parade I think Israel is in a class of its own..."

Personal life
He is married to <mask>, Baroness <mask> and has two sons from a previous marriage. He sits on the board of the charity his wife founded, PACT (Parents and Abducted Children Together). Sir <mask> was admitted to hospital on the afternoon of 11 July 2018 after an alleged attack by two youths at London Victoria station.He was 74 at the time, and had been doing a lot of television work regarding US President Donald Trump's UK visit. A 15-year-old girl and a 16-year-old boy were arrested on suspicion of assault occasioning grievous bodily harm, but were released under investigation while enquiries into the incident continued. However a witness later came forward to claim that Sir <mask> was not attacked and that he was injured after accidentally falling over. The boy pleaded guilty to causing grievous bodily harm without intent to Sir <mask> on 11 July 2018. Books
 <mask> (2005), DC Confidential, Weidenfeld & Nicolson. ()
 <mask> (2009), Getting Our Way: 500 Years of Adventure and Intrigue: the Inside Story of British Diplomacy, Weidenfeld & Nicolson ()
 <mask> (2013), "Only Child", Amazon Kindle Single,

References

External links

The Guardian, Sir <mask>'s memoirs
JLA, speaker profile
Press Complaints Commission

1944 births
Alumni of Peterhouse, Cambridge
Press secretaries
Ambassadors of the United Kingdom to Germany
Ambassadors of the United Kingdom to the United States
Harvard Fellows
Paul H. Nitze School of Advanced International Studies alumni
Living people
Lycée Henri-IV alumni
Knights Commander of the Order of St Michael and St George
People educated at Lancing College
Spouses of life peers

masks:
Christopher John Rome Meyer
Catherine Meyer
Meyer
Meyer
Reginald Henry Rome Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Meyer
Catherine Meyer
Meyer
Christopher
Christopher
Christopher
Christopher Meyer
Christopher Meyer
Christopher Meyer
Christopher Meyer


title: Alexander Bogen

texts:
<mask> (; born January 24, 1916 – October 20, 2010) was a Polish-Israeli visual artist, a decorated leader of partisans during World War II, a key player in 20th century Yiddish culture, and one of the trailblazers for art education and Artists' associations in the emerging state of Israel. Biography
<mask> was born in Tartu, Estonia and brought up in Wilno. As a young boy he adhered to the values of the Yiddish culture of Yung Vilne, as well as to the modern Polish culture. After completing his studies at the gymnasium, he was accepted to the Stefan Batory art academy affiliated with the Wilno University, where he studied painting and sculpture. His parents were physicians. His father came from a secular family and his mother was the daughter of Rabbi Tuvia Lobitzki, the rabbi of Wołkowysk, Poland. His studies were interrupted by World War II.<mask> joined the partisans and became a commander of the Jewish partisan unit in the Narocz Forests. He buried many of the drawings he made at this time near Lake Narocz. He returned to the ghetto in September 1943 and helped to facilitate the rescue of members of the United Partisan Organization (FPO), a Jewish underground movement active in the ghetto and lead by poet Abba Kovner, Bogen's school friend. When the Vilna Ghetto was about to be destroyed, Bogen and his partisans tried to rescue some key people, one of whom was Abraham Sutzkever. With the help of the soviet partisans, they managed to finally smuggle him into Moscow along with some of Bogen's drawings, which were eventually exhibited in Moscow

According to the  "Russian State Archive of literature and art” (RGALI), he was head of the Department of Arts of the Lithuanian SSR from: 05 September 1944 - February 1945. After the war Bogen returned to his studies, finished his academic degree and was mastered as an artist of monumental painting at the USB Academy of Art in Vilna. In 1947, he taught as a professor at The Academy of Fine Arts In Łódź and became a well-known artist, set designer and book illustrator.Alongside his recognition as a Polish Artist and war hero, receiving several accolades and awards as well as a large retrospective exhibition (Łódź State Museum, 1950) - <mask> was also very active in the resuscitation of the cultural life of the Jewish Community in post war Poland. In 1951, <mask> and his wife immigrated to Israel and settled in Tel Aviv. During his time in Israel, Bogen continued his cultural and educational activities in the arts. In 1957 he initiated the art program in WIZO France - Ironi Yud-Dalet high school in Tel Aviv and lead it for 22 years. Bogen completed his academic studies of art at the Ecole des Beaux Arts in Paris and was an art lecturer in the Hebrew University in Jerusalem. Bogen continued painting, drawing and sculpting until his death at the age of 94 in Tel Aviv on October 20, 2010. In July 2018, Mayor Ron Huldai, on behalf of the city of Tel Aviv, has inaugurated a Memorial plaque in Bogen's honor on the house where he lived and worked.Resistance through art

<mask> continued to draw during the war, documenting what he saw: "We saw abandoned children. We saw people being led to the slaughter. I did not lay down my pencil for a moment. An artist condemned to death portraying people condemned to extermination... I sketched the forest, my brothers-in-arms, the battle itself. There was no table. There were no paints.There was no paper. I found packing paper. I made ink from blueberries, fixer out of pulverized milk and burnt dry branches for charcoal for my sketches. I asked myself why I was drawing, when I was fighting day and night…

This was something similar to biological continuation. Every man, every people, is interested in continuing his people, his family,

in bringing children into the world for the future – in leaving this one thing. Another motivation was to get information to the so-called free world,

but mostly Being creative during the Holocaust was also a show of protest -

people facing brutal danger, facing death, react in their own different way. the artist's reaction is artistic.This is his weapon." His drawings, especially those that survived from his partisan days, offer a gallery of characters and document the history of a people fighting for its life during the Holocaust. Among the drawings on show were illustrations for poems by two Yiddish poets: Gebirtig and Abraham Sutzkever. Monuments & murals

 “Revolt” – Partisan Museum, Tel Aviv
 “Holocaust” – Partisan Museum, Tel Aviv
 Vitrage, Jabotinsky Institute, Tel Aviv
 Vitrage, 14th Vocational High School, Kiryal Hachinuch, Tel Aviv
 Memorial Monument, Commemorating the Holocaust and the Revolt,  Latroun Museum, Jerusalem

Awards

 1951	State Prize, Polish Government Prize
 1961	The Histadrut Prize, Israel
 1962	The Israel Ministry of Education & Culture Prize
 1980	Prize of the Sea League of Israel
 1982	The Negev Prize
 1993	Medal of the City of Vesoul, France
 1995	Shalom Aleichem Prize, Israel

See also
Official Website
Visual arts in Israel
 The Israel Museum, Jerusalem
Alexander Bogen Collection  at the United States Holocaust Memorial Museum, Washington D.C.
"the Pen and the Sword" - online exhibition from Yad Vashem, Jerusalem. References

External links

Alexander Bogen Foundation

Visual arts education
1916 births
2010 deaths
Israeli Ashkenazi Jews
Jewish painters
Israeli illustrators
Polish resistance members of World War II
Jewish partisans
Yiddish culture in Israel
Yiddish culture in Poland
Yiddish-language literature
Abstract expressionist artists
20th-century Israeli painters
21st-century Israeli painters
Burials at Kiryat Shaul Cemetery
Polish emigrants to Israel

masks:
Alexander Bogen
Alexander Bogen
Bogen
Bogen
Bogen
Bogen


title: Serafim Urechean

texts:
<mask> (born 2 February 1950 in Larga village, Briceni rayon) is a Moldovan politician. He held the position of general mayor of Chișinău municipality (1994–2005) and interim prime minister of the Republic of Moldova (5 – 17 February 1999). He was the chairman of the party Our Moldova Alliance (2003–2011), first deputy chairman of the Parliament of the Republic of Moldova (2009–2010) and president of the Court of Accounts of the Republic of Moldova (2011–2016). Biography
<mask> was born on February 2, 1950 at Larga, Briceni, in the Moldovan SSR,   in a peasant's family. Education and career
After graduation of the Middle School in his native village, he continued his education at the Polytechnic Institute in Chișinău, at the Faculty of Civil and Industrial Engineering (1969–1974), which he graduated from in 1974, obtaining the qualification of construction engineer. He was a member of the Communist Party of the Soviet Union. In the same year, the compulsory military service began in the Soviet army, during which, for two years, he participated, directly, in the construction of the famous car plant in Tolyatti, Russia (1974–1976).After demobilization, in 1976, he continued his professional activity in the native district – Briceni as an engineer within the Constructions Enterprise Briceni (1976–1978). In this capacity, he works on the construction sites of the Briceni district. He led construction works on several social-economic sites. In 1978 he was co-opted within the political structures of Briceni district. He held the position of Head of Department for Industrial and Constructions Development, Second Secretary of the District Committee of the Communist Party of Moldova in Briceni (1978–1983). In 1983–1985, he studied at the  Higher Party School of Leningrad, Russia. Returning to the Republic of Moldova, he worked at the Central Committee of the Communist Party of Moldova.He holds, for a short time, the position of inspector and, in the same year, he was transferred as the second secretary at the district committee  Anenii Noi of the CPM. In November 1985 he was elected as Chairman of the District Executive Committee of the  Anenii Noi by the People's Deputies (1985–1987). He then worked for the Federation of Independent Trade Unions of the Republic of Moldova (1987–1994), first as vice president, then as first vice president and finally as president. In parallel, for a period, he was an MP at the Parliament of the Republic of Moldova (1991–1994). In parallel, for a period, he was an MP at the Parliament of the Republic of Moldova (1991–1994). He led the faction of independent MPs. On August 9, 1994, by decree of the President of the Republic of Moldova, he was appointed as General Mayor of Chișinău Municipality.He was re-elected successively as mayor in the 1999 and 2003. He holds the position of mayor of Chișinău between 1994 and 2005. Since May 23, 1999, the position was called differently as a general mayor. He is a titular member of the Congress of Local and Regional Powers of the Council of Europe, president of the Federation of Local and Regional Powers of the Republic of Moldova (since 1996). He was president of the Chess Federation of the Republic of Moldova between 1995 and 2005. The president of the Moldavian branch of the International Academy of Engineering. As mayor of Chișinău municipality he directly supported and contributed to the organization of several international forums and conferences in Chișinău under the auspice of UN, UNESCO, NATO, TACIS, etc.He is also co-author of the monograph on Scientific and Technological Achievements Related to the Development of European Cities, NATO. ASI Series. Vol. 9. On February 5 and 17, 1999, he held the position of interim prime minister of the Republic of Moldova. President Petru Lucinschi delegated him as a candidate for the position of prime minister, but he did not get the support of the parliament, he withdrew his candidacy. On December 21, 1999, by the Decree no.1263 (art. 3) of the President of the Republic of Moldova, Petru Lucinschi, was declared that <mask> <mask>, in his capacity as general mayor of Chișinău municipality, would become a member of the ex officio Government. He held the position of member of the government by the time of adoption of the Law no. 806-XV of February 5, 2002 for amending and completing the Statute of Chișinău municipality, when he was suspended of being a member of the Government of the Republic of Moldova. <mask> <mask> was very proactive in the political life. In 2001 he became the President of the Social-Political Movement Independents' Alliance of Moldova, in 2003 he became the co-president of the Party Our Moldova Alliance (in 2005 – 2011 he became the president), and in 2004 – 2005 he was the leader of the Electoral Bloc Democratic Moldova. At the parliamentary elections of March 6, 2005, Electoral Bloc Democratic Moldova, led by the Chișinău mayor <mask> <mask>, accumulated 28.53% of the votes of the participants and got 34 mandates out of 101.In accordance with article 70 of the Constitution of Moldova, "the MP position is not compliant with the any other remunerated function, except the didactic and scientific activity". On April 18, 2005, in the last day of the one-month term given for the validation of the mandate, provided to decide whether to accept or reject the position for which was elected, <mask> <mask> decided to resign as mayor of Chișinău in favour of the deputy in the Parliament of the Republic Moldova. On April 21, 2011, he was appointed for the position of the chairman of the Court of Accounts of the Republic of Moldova. At the local elections in Chișinău held in 2015, <mask> <mask> was a candidate for the position of mayor from the part of the Liberal Democratic Party of Moldova. However, when he appeared on the talk shows during the election campaign, <mask> has stated: "I am not a member of any party, nor of the LDPM. By definition I cannot be, because I am going to chair an apolitical structure. If I become a mayor, I will remain apolitical.I am not going to join any party; I will be mayor of all the citizens of the Chișinău." During two months of election campaign he resigned from the position of the chairman of the Court of Accounts. Following the elections on June 14, 2015, <mask> <mask> has got only 2.97% of the vote. Alliance For European Integration

After the July 2009 parliamentary election, alongside Vlad Filat, Mihai Ghimpu, and Marian Lupu, <mask> <mask> signed the Alliance For European Integration in a press conference on August 8, 2009. Personal life
He is married to Tatiana Marcenco and has two children. Distinctions
He is decorated with the Order of the Republic of Moldova (2000), [4] the Order "Shield of Honor", the Order "For the development of science and education", the Orders "Saint Dumitru" of the second grade, "Sergii Radonezhsky" and "Saint Stanislav", granted by the Russian Orthodox Church by the Russian Patriarch, Patriarch Alexy II. In April 2015 he was awarded the honorary title of "Emeritus".External links
 Alianţa Moldova Noastră
 Serafim URECHEAN

References

1950 births
Living people
People from Briceni District
Prime Ministers of Moldova
Mayors of Chișinău
Deputy Presidents of the Moldovan Parliament
Members of the parliament of Moldova
Our Moldova Alliance politicians
Electoral Bloc Democratic Moldova politicians
Communist Party of Moldavia politicians
Moldovan MPs 1990–1994
Moldovan MPs 2005–2009
Moldovan MPs 2009
Moldovan MPs 2009–2010
Moldovan engineers
Recipients of the Order of the Republic (Moldova)
Independents' Alliance of Moldova politicians
Recipients of the Order of Honour (Moldova)

masks:
Serafim Urechean
Urechean
Serafim
Urechean
Serafim
Urechean
Serafim
Urechean
Serafim
Urechean
Serafim
Urechean
Urechean
Serafim
Urechean
Serafim
Urechean


title: Louise Upton Brumback

texts:
<mask> (January 17, 1867 – February 22, 1929) was an American artist and art activist known principally for her landscapes and marine scenes. Her paintings won praise from the critics and art collectors of her time. Writing at the height of her career, a newspaper critic praised her "firmness of character, quick vision, and directness of purpose." She said these traits "proved a solid rock upon which to build up an independent art expression which soon showed to men painters that they had a formidable rival." As art activist, she supported and led organizations devoted to supporting the work of under-appreciated painters, particularly women. Early life

On finishing high school in the late 1880s, <mask> first looked to a career in music, but soon turned her attention to painting. Her desire to become a professional artist may have been influenced by stories she had heard about her great uncle, William Page, a highly regarded artist who had held the office of president of the National Academy of Design in the early 1870s.She undertook formal study at the age of 33 when she attended William Merritt Chase's school for plein air painting held in the summer months at Shinnecock Hills, Long Island. She subsequently studied for a short time at Chase's New York School of Art and the Pennsylvania Academy of the Fine Arts, but principally developed her personal style through close study of the work of other artists both in New York and during travels within the United States. In 1923 she told an interviewer that she sought formal instruction only to learn good technique, believing that the best art showed the artist's individuality and skill of self-expression. She said painting such art cannot be learned in schools. "The great ones," she said, "won't teach their secrets, and the little ones have none to teach". In pursuing her career, she obtained the unswerving support of her husband, whose success in the law permitted him to retire at an early age. This support gave her freedom to develop her talent unimpeded by financial need.Her own "firmness of character, quick vision, and directness of purpose" assured that she would apply herself intensely, with courage and originality in making paintings that would quickly be recognized for their "clear, forceful rendering, good drawing, and fine color work". Mature style
Having no need for the money that art sales would provide, <mask> rarely exhibited her paintings in private galleries and never competed for prizes. She preferred group shows to solo ones, and chose for the most part to participate in exhibitions held by clubs, societies, and other institutions of which she was a member, or exhibitions held by museums and other public institutions. The first show of her professional career was a group exhibition held in 1902 at the Art Club in Kansas City, Missouri, where she and her husband made their home. The two landscapes she contributed displayed her skill in creating atmospheric effects. The subject of the first, a peach orchard, was described as "rich with the hues of blossom time and bathed in a bright spring atmosphere", while the other, a forest scene called The Beeches, was seen to possess "the same luminous atmospheric effects". In the early years of the twentieth century, she traveled frequently to New York City, and in 1905 she provided a painting called Moonrise to a group exhibition at the National Academy of Design.Over the next fifteen years, she would exhibit another ten times at the National Academy. About 1909 <mask> began spending most cooler months of the year in Manhattan and the warmer months in the seaside resort and artists' colony in Gloucester, Massachusetts. <mask> at first rented studio space in both locations but, while continuing to rent in New York, in 1912 she and her husband bought land and built a house in East Gloucester which they called the "House on the Hill". That year, she showed three landscapes at the Twenty-third Annual Exhibition of the New York Watercolor Club. She also contributed a picture, called Little Red Boat, to a group show of contemporary American painting at the Corcoran Gallery. The critic for a local paper called her work "sincere, frank and sympathetic", and said <mask>, although "by no means well known", was "rapidly gaining recognition". The following year, her work appeared in one of her few solo appearances in a New York gallery when she contributed 29 landscapes and marines to a show at the Folsom Galleries.In 1914, after a decade of few appearances, <mask> began to place her paintings in group, duo, and solo exhibitions. That year, she showed at the National Academy of Design and the Art Institute of Chicago, as well as another Corcoran show; a solo show at the Fine Arts Institute, Kansas City, and a dual-show with M. Bradish Titcomb at the Copley Gallery, Boston, Massachusetts. The trend continued during the next few years, with a solo show at the Petrus Stuyvesant Club, New York, in 1916 and group shows over the next three years: (1) in 1915 at the National Academy of Design, Macbeth Galleries in New York, the Association of Women Painters and Sculptors exhibition at Arlington Galleries in New York, Pennsylvania Academy of the Fine Arts, and the Fine Arts Institute, Kansas City, (2) in 1916 at the Gallery on the Moors, Gloucester, and the Art Institute of Chicago; and (3) in 1917 at the National Academy of Design, the National Arts Club, the Gallery on the Moors, the First Annual Exhibition of the Society of Independent Artists, Grand Central Palace, New York, and the Chatauqua Institution in the city of that name (New York). By this time her paintings were becoming famous and she was credited with being one of the best women painters of the time. Her work drew praise for its strong brush work, excellent composition and rich, glowing color, clean palette and vigorous handling, and clear, straightforward presentation of subject. Although two critics said draftsmanship of her work was crude and the "tone" needed refining, most gave her unreserved praise and one, obliquely suggesting why a conservative critic might withhold find fault, said she belonged to "the left wing of New York's feminine talent". In 1918 and 1919 she embarked on the first of several trips to California where she painted Pacific Coast scenes.Writing in July 1919, a critic said of these and earlier paintings that <mask>'s work was virile and energetic. In 1921, when the West Coast pictures appeared in a show at Buffalo's Albright Art Gallery, a local critic said they were "characterized by her great versatility and variety of subject matter — still life, the seashore, clouds, snow, forests, mountains—each treated in a different manner" and of one in particular, "a daring essay...there is movement, even excitement, in the canvas, brought out by the opposition of the lines, but chiefly by the opposition of the complementary colors". With the exception of some floral arrangements, <mask> did not paint interiors or urban scenes. Working out of doors in rural settings, she sought to capture the subjective feeling of a scene, its "mood of nature," as she put it, however much time and effort it might take to achieve that goal. While praising the "strong, clean palette and vigorous handling" in her landscapes and marines, one critic noted that her success derived from knowing what to leave out of a picture as well as what to put in it. In 1927, when <mask> turned 60, her skill and her appetite for hard work remained undiminished. The art reporter for the New York Evening Post praised a solo exhibition of that year for the subtlety and rhythm of the flower paintings and landscapes in oil and watercolor that it contained, and the reporter for the Times drew attention to the painting Gloucester in Winter in this show for its success in evoking a mood: the charm of a coastal resort that "flees with the opening of the Summer hotels".Art activist

As an artist, <mask> was viewed as energetic, forceful, virile, and direct. Deploying these character traits as an activist, she became a strong advocate for artists and of democratic principles within the art world. In 1922 she became president of a new society of artists—The Gloucester Society of Artists—devoted to exhibiting work without prior selection by juries. She believed that juries unfairly prevented good art from being seen, particularly art made by women, and, that, by skewing public taste, they inhibited young artists from developing their creative potential. That year she also opened a gallery in her New York apartment both to show her own work, on occasion, and to show the work of other artists who she believed deserved greater exposure. In 1925 she became a founding member of the New York Society of Women Artists and participated in its annual shows up to the time of her death. Like the Gloucester society, this one believed in exhibiting with no jury.It also decided that each member should get same amount of space to display her work and that the membership would be limited to 30 painters and sculptors. Exhibitions

<mask> exhibited her work in private galleries, shows of the societies of which she was a member, and public institutions such as the National Academy of Design, Corcoran Gallery of Art, Pennsylvania Academy, Albright Gallery, Art Institute of Chicago, Newark Museum, and the Museum of the Omaha Society of Fine Arts, Omaha, Nebraska. She also showed at the Panama–Pacific International Exposition of San Francisco in 1915. She participated in a large number of group and solo exhibitions. Solo exhibitions included shows at the Folson Gallery (1913, New York), Fine Arts Institute (1914, Kansas City, Mo. ), Petrus Stuyvesant Club (1916, New York), Albright Art Gallery (1920, Buffalo, N.Y.), Woman's City Club (1922, Kansas City, Mo. ), Art Institute of Chicago (1921), Memorial Art Gallery (1921, Rochester, N.Y.), Knoedler Galleries (1921, New York), Mrs. Sterner's Gallery (1922, New York), Painters and Sculptors Gallery (1926, New York), Marie Sterner's Art Patrons of America (1927, New York).Her participation in group shows included repeated appearances with the Art Institute of Chicago, Association of Women Painters and Sculptors, Corcoran Gallery (Washington, D.C.), Gallery on the Moors (Gloucester, Mass. ), Gloucester Society of Artists, MacDowell Club Galleries, National Academy of Design, National Association of Women Painters and Sculptors, New York Society of Women Artists, Pen and Brush Club, and Pennsylvania Academy of Fine Arts (Philadelphia, Penn.). Memberships

<mask> belonged to the American Federation of Arts, Art Association of Gloucester, Memorial Art Gallery (Rochester, New York), National Arts Club, National Association of Women Painters and Sculptors, New York Society of Women Artists, Pen and Brush Club, Salons of America, and Society of Independent Artists. Personal life

<mask> became a painter after her marriage in 1891 and consistently used <mask> <mask> as her professional name. Her married name, Mrs. <mask>, appeared only in newspapers' society notices. Various truncations and misspellings of her name appeared from time to time. The most common was the rendering her last name as "Brumbach" as in "<mask> Brumbach" or, on one case, "L.M.Brumbach." She was born in Rochester, New York, on January 17. There is disagreement about the year of her birth. Although references published since 1900 give 1872, sources from earlier years give 1867. Census reports for 1870, 1875, and 1880 give her birth year as 1867; her gravestone gives that year; and a genealogy published in 1900 gives it as well. The earliest source giving a later birth date is the United States Census of 1900 which lists her age as 29 with presumptive birth year of 1871 or 1872. Parents

<mask>'s parents were Charles E<mask> and <mask> <mask>.They were sufficiently prominent that the large house in which they lived stood on the corner of a street, Upton Park, named after them. <mask>'s siblings included an older sister, <mask> (born 1860), a brother, George Rackett <mask> (born 1863), and a twin sister, Alice. Following the death of George in 1866, her parents adopted a cousin, Charles F. Gorrard (also known as Charles Torrance) born 1859), as their son. Her father was a banker and speculator in commodities and stocks. In December 1882 he embezzled large sums from a bank he owned in an effort to cover a huge loss he had incurred in a speculation on the price of oil. The bank failed when it became known that <mask> would be unable to repay the money he had taken. Convicted of embezzlement in 1883, he died in 1886 while an appeal was pending.<mask>'s mother was <mask> <mask>, author of a novel, Castles in the Air (New York, G. P. Putnam's Sons, 1879). Education

At an early age <mask> and her twin sister Alice were sent to Mrs. Sylvanus Reed's School, a boarding school in New York City which had a curriculum of sufficient rigor that graduates could pass the examinations for entrance to Columbia College. Established in 1864 the school was run by Caroline Gallup Reed, widow of the Rev. Sylvanus Reed. Upon leaving it, <mask> enrolled in one of New York's conservatories of music. Move to Kansas City and marriage
In 1889 <mask> <mask> <mask> and her two daughters moved from New York to Kansas City and on June 11, 1891, <mask> married Frank Fullerton <mask>, a prominent attorney in Kansas City, Missouri, and author. The couple had one child, <mask> <mask>.He was born on June 9, 1892, in Kansas City and died on December 3, 1918, in Springfield, Ohio. He was killed in flight while serving as a lieutenant in the U.S. Army Air Service. In 1921 <mask> donated a painting called Fair and Cooler to the Memorial Art Gallery in Rochester in memory of her son. <mask> and her husband participated in the well-heeled society of Kansas City at the end of the nineteenth century and into the twentieth. She sponsored parties, such as one held in 1896 at Kansas City's Lyceum Hall, participated in musical entertainments, such as one written by her sister Alice that same year, and herself wrote an operetta that was performed at a local club the following year. In 1909 <mask> and her husband built a large house, designed by Louis Curtiss, and she drew murals in its rooms showing scenes of Gloucester much like her easel paintings. Soon after the house was completed, <mask> retired from legal practice and, as already noted, thereafter gave full support to <mask>'s professional career.In 1920 they leased the house for an indefinite period and spent all their time in Gloucester, Manhattan, and in travel. <mask> died at the age of 62 in Gloucester, Massachusetts, on February 22, 1929. Notes

References

Painters from New York (state)
20th-century American painters
20th-century American women artists
Modern artists
1867 births
1929 deaths
Artists from Rochester, New York
19th-century American painters
19th-century American women artists
Students of William Merritt Chase
National Association of Women Artists members
Society of Independent Artists

masks:
Louise Upton Brumback
Louise Upton Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Brumback
Louise Upton
Brumback
Frank Brumback
Louise Upton
Brumback
. Upton
Louise Rackett
Upton
Brumback
Annie Upton
Upton
Upton
Brumback
Louise Rackett
Upton
Louise
Brumback
Louise Rackett
Upton
Brumback
Brumback
Brumback
Jefferson Upton
Brumback
Brumback
Brumback
Brumback
Frank Brumback
Brumback
Brumback


title: David Cohen (rabbi)

texts:
<mask> (1887–1972) (also known as "Rav Ha-Nazir," the Nazirite Rabbi) was a rabbi, talmudist, philosopher, kabbalist, and a disciple of Rabbi Abraham Isaac Kook. A noted Jewish ascetic, he took a Nazirite vow at the outbreak of World War I. Education
<mask> was born in Maišiagala, near Vilna (in modern Lithuania), the scion of a distinguished rabbinic family. In his youth he studied at the Raduń Yeshiva under Rabbi Yisrael Meir Kagan, at the Volozhin yeshiva, and at the yeshiva in Slabodka. Even at that time, his restless and inquiring mind led him to extend his studies beyond the traditional subjects taught in the yeshivot. Thus he turned to Rabbi Samson Raphael Hirsch and the early writings of Rabbi Abraham Isaac Kook. He also studied Russian to prepare himself for entrance to the university.During the Russian Revolution of 1905 he was twice arrested but was not detained. His spiritual unrest and the desire to widen his intellectual horizon led him to enroll in the Academy for Jewish Studies established by Baron <mask>, where one of his close fellow students was Zalman Shazar, later president of Israel. From there he proceeded to Germany to study at the University of Freiburg. At the outbreak of World War I he was interned as an enemy alien, but was released and made his way to Basel, Switzerland, where he became involved in the Jewish Community while continuing studying Torah and also studying philosophy, classical literature, and Roman law at the University of Basel. He was for a time chairman of the Jewish Students' Society there and delivered lectures on Jewish philosophy. It was then that he took upon himself a lifelong Nazirite vow, which involves complete abstention from cutting one's hair and partaking of any products of the vine. However, his personal asceticism went further: he became vegetarian, eschewing not only meat but also any garment made of leather, and practiced self-imposed silence vows (referred to in Hebrew as "Speech Fasts") on a regular basis.A weekly silence every Shabbat; a monthly silence every Rosh Hodesh Eve (Yom Kippur Katan), and the highlight - an annual silence period of 41 days from Erev Rosh Hodesh Elul to the end of Yom Kippur. In addition, despite being proficient in [9] languages, he refused to speak anything but the Holy Language - Hebrew. Additionally, from the capture of the Old City of Jerusalem by the Jordanians in 1947–1949 Palestine war until the capture  by the IDF in the Six-Day War (1967), he vowed not to leave his home. Finally, since Israel's independence (1948), he vowed not to leave the Holy City of Jerusalem and, in fact, left Jerusalem only on 3 occasions after that (24 years until his passing),  with each such departure being formally approved by a special Beith Din (a Rabbinical Court) granting him temporary permission to depart from his undertaking. However, he was not a recluse and was extremely warm, welcoming and respectful towards any person who came to see him, regardless of this person's status, age, or in many cases, eccentricities. Rabbi <mask> was fully aware of the day-to-day occurrences in Israel and did not hesitate to publicly express his views on important topical issues. Meeting Rabbi Abraham Isaac Kook
The turning point in his life came with his meeting, on 29 Av, with Rabbi Kook, who was then in St. Gallen in Switzerland (1915)."My life then stood in the balance," he noted. "I listened to him and was turned into a new man. ... I had found a master." He decided to abandon his secular studies and devote himself entirely to Jewish thought. In 1922 he received an invitation from Rabbi Kook, who had returned to the Land of Israel, to become a tutor in the yeshiva which he had established. He helped draw up the curriculum, which was also to include history, philosophy, ethics, Hebrew grammar, and Bible.He was appointed lecturer in Talmud, ethics, and philosophy. The two used to meet daily, and Rabbi Kook entrusted him with the editing of his philosophical works, to which, along with disseminating Kook's ideas, he dedicated his life, hardly publishing any of his own works, although he left over 30 works in manuscript. The principal exception was the Kol Nevu'ah, of which the first volume appeared shortly before his death. It is the fruit of his life's work and is in two parts, "The Foundations of Jewish Religious Philosophy" and "The Foundations of Inner Wisdom." The work is based on the premise that there is an original Jewish philosophy and a spiritual Jewish system of logic which is not intuitive speculative but spiritual-acoustic: "Sound and light are the two angels of thought which accompany man everywhere" but "hearing is greater than seeing." The prophetic power is the beginning of Jewish wisdom, and he was convinced that the renewal of Jewish life in Israel would produce a new generation to which would even be vouchsafed the return of the spirit of prophecy. A passionate adherent of Rabbi Kook's doctrine that the return to Zion and its various stages, of which the establishment of the State of Israel was the latest, was itself only a stage in the fulfillment of the Divine Promise that would bring about the complete Redemption and the Messianic Age, he did not hesitate to reprove those rabbis who did not accept this belief.He saw in Rabbi Moses Hayyim Luzzatto the harbinger of this redemption, pointing out that the three significant movements, Hasidism, Musar, and Haskalah, had each made certain of Luzzatto's works their classics, and he claimed that both Rabbi Kook and he himself followed his doctrines. <mask> was married to his cousin, <mask> (Etkin) and had a daughter and a son: – Zfia Goren, the wife of Rabbi Shlomo Goren Zt"l, the first Chief Rabbi of the IDF  and Major General (Res), then the Chief Rabbi of Tel Aviv-Jaffa and finally the Chief Rabbi of Israel; and Rabbi She'ar Yashuv <mask>t"l – Ashkenazi Chief Rabbi of Haifa. <mask>, his wife and his children were vegetarian. <mask>'s Yahrzeit is on the 28th of Av. In 1977, a three-volume Festschrift entitled Nezir Ehav was published in his memory. See also
 Jewish vegetarianism

References

General references

1887 births
1972 deaths
People from Vilnius District Municipality
People from Vilensky Uyezd
Lithuanian Orthodox rabbis
20th-century rabbis
Israeli Orthodox rabbis
Kohanim writers of Rabbinic literature
Jewish vegetarianism
Burials at the Jewish cemetery on the Mount of Olives

masks:
David Cohen
Cohen
David Guenburg
Cohen
Cohen
Sarah Cohen
Cohen Z
Cohen
Cohen