texts:
<mask> (born April 10, 1994) is an American professional basketball player for the New York Knicks of the National Basketball Association (NBA). His collegiate basketball career ended in his first season with a tear of his anterior cruciate ligament (ACL) at the University of Kentucky. <mask> was drafted with the sixth overall pick in the 2013 NBA draft by the New Orleans Pelicans. His rights were later traded to the Philadelphia 76ers. He plays center and power forward, and was one of the top high school basketball players in the class of 2012. High school career

Born outside Boston in Malden, Massachusetts to Haitian immigrant parents, <mask> spent his first two years of high school at Everett High School. After his sophomore year, he transferred to Tilton School in Tilton, New Hampshire.<mask> was originally a part of the class of 2013, but reclassified to the 2012 college recruiting class. <mask> averaged 12.6 points, 7.2 rebounds and 3.9 blocks per game as a senior. He was rated as the #1 player in the class of 2012 by ESPN and Scout.com, and the #2 player by SLAM. <mask> was selected to play in the 2012 Nike Hoop Summit and the 2012 Jordan Brand Classic. In addition to his high school career, <mask> also played AAU basketball on the same team as future Sixers teammate Michael Carter-Williams. Shortly before his high school graduation, an article in The New York Times described <mask> as being hailed as one of the best shot blockers of his generation, although he was also described as having unrefined offensive skills. College career

After deliberating among several elite college basketball programs, <mask> decided in April 2012 that he would be going to the University of Kentucky to play NCAA Division I basketball.He made his verbal commitment by revealing the UK logo shaved in the back of his head on national television. Since <mask> was well known for his elite shot blocking abilities, fans and the media had high expectations for him to fill the shoes of Anthony Davis, who had just led the Kentucky Wildcats to a national championship in the previous season, was the 2011–2012 National Player of the Year in the NCAA, and set a Kentucky and NCAA freshman single-season block record with 186. In his third game on November 16, 2012, he accumulated 15 points, 7 rebounds, 4 assists, 1 block, and 4 steals against Lafayette. On January 12, 2013, although Kentucky lost the game against Texas A&M, <mask> recorded 15 points, 11 rebounds, 7 blocks, 6 assists, and 4 steals. On January 29, 2013, <mask> set the UK single-game record with 12 blocks in an 87–74 team victory over #16 Ole Miss. Five of the blocks happened while <mask> had four personal fouls, and two of them were denials on slam dunk attempts. The UK school record was previously nine blocks, set by Sam Bowie in 1981 and was then tied by Andre Riddick in 1993.Although he recorded only two points, Ole Miss coach Andy Kennedy said in the post-game press conference that "[<mask>] was the difference in the game" and that he is "an incredible defensive presence." Ole Miss senior forward Murphy Holloway added that he believes Nerlens <mask> is the "best shot blocker [he has] played against", including Anthony Davis. On February 12, 2013, in a game against the Florida Gators, <mask> tore the ACL in his left knee after blocking a Florida lay-up, forcing him to sit out the remainder of the season. Before his injury, it was projected that he would be the 1st overall pick in the 2013 NBA draft. Despite his injury, <mask> decided to declare for the 2013 draft on April 15, 2013. <mask> was honored with many awards, including SEC Freshman of the Year, SEC Defensive Player of the Year, SEC First Team, SEC All Freshman Team, and SEC Community Service Team. In addition to earning All-SEC first team honors by the league's coaches, <mask> earned first-team honors from the Associated Press, continuing a four-year streak of UK players earning first-team AP honors.The Wildcats'  center was joined by UNLV Runnin' Rebels' Anthony Bennett, UCLA Bruins's Shabazz Muhammad, Oklahoma State Cowboys's Marcus Smart and Kansas Jayhawks's Ben McLemore on the Freshman All-America team. He was the fifth Kentucky player under coach John Calipari to earn the honor from the USBWA, joining John Wall, DeMarcus Cousins, Anthony Davis, and Michael Kidd-Gilchrist. Professional career

NBA draft
<mask> entered the 2013 NBA draft after playing one season at the University of Kentucky and was projected to be one of the top picks, with many considering <mask> the favorite to be picked first in the draft. He was invited to sit in the "green room", a room of the projected top 10 to 15 collegiate basketball players during the draft and ended up being selected with the sixth overall pick by the New Orleans Pelicans. There were concerns around the league about his torn left ACL, which may have caused him to slide down the draft. Later that night, <mask>'s draft rights were traded along with a 2014 first round pick to the Philadelphia 76ers in exchange for guard Jrue Holiday and the draft rights to Pierre Jackson. Philadelphia 76ers (2013–2017)

Draft year injury and rookie season (2013–2015)
On July 12, 2013, the trade sending <mask> to the 76ers was finalized.On September 24, 2013, he signed with the 76ers. Although the 76ers' original plan was to have <mask> play during the 2013–14 season, <mask> missed the entire season as he recovered from knee surgery. In July 2014, <mask> joined the Philadelphia 76ers for the 2014 NBA Summer League. In game one of the 76ers' Orlando Summer League schedule, <mask> played his first minutes of professional basketball, scoring a game-high 19 points in the 76ers' 83–77 loss to the Orlando Magic. On October 29, 2014, <mask> made his long-awaited NBA debut in the 76ers' 103–91 loss to the Indiana Pacers. In just under 35 minutes of action as a starter, he recorded 6 points on 2-of-11 shooting, along with 10 rebounds and 3 blocks. Two days later, the 76ers exercised their third-year team option on <mask>'s rookie scale contract, extending the contract through the 2015–16 season.Later that day, he recorded 14 points, 10 rebounds, 3 blocks, 2 assists and 1 steal in a loss to Milwaukee Bucks. On January 30, he recorded 14 points, 6 rebounds, 4 steals, and a then-career-high 6 blocks in a 103–94 win over the Minnesota Timberwolves. Participating in the 2015 Rising Stars Challenge on February 13, <mask> recorded 4 points and 4 rebounds as Team USA were defeated by Team World, 121–112. On February 20, <mask> recorded 12 points, 9 rebounds, 4 steals, and a career-high 9 blocks in a loss to the Indiana Pacers. A week later against Washington, <mask> became just the third 76ers' rookie to record 100 blocks in a season. Injury and rotation issues (2015–2017)
On October 30, 2015, the 76ers exercised their fourth-year team option on <mask>'s rookie scale contract, extending the contract through the 2016–17 season. On December 30, he recorded a season-high 20 points and 9 rebounds in a 110–105 win over the Sacramento Kings.On February 11, he was ruled out of the 2016 Rising Stars Challenge due to tendinitis in his right knee. On October 22, 2016, <mask> was ruled out for three to five weeks due to an inflamed plica above his left knee that required surgery. After spending time with the Delaware 87ers of the NBA Development League on injury rehab assignments in late November and early December, <mask> made his season debut for the 76ers on December 11 against the Detroit Pistons, having missed the first 23 games. He scored eight points in 10 minutes off the bench before leaving the game in the second quarter with a left ankle sprain. Even before he returned to the team, <mask> was particularly vocal about the log-jam the 76ers had at the center position with him as well as Joel Embiid, Jahlil Okafor, and Richaun Holmes competing for time on the court. In his second game back from injury, <mask> posted just eight minutes against the Los Angeles Lakers, much to his frustration. <mask> expressed his dissatisfaction with his limited role in a post-game conference, lamenting "I'm not an eight-minute player.So I don't know what that's about. I don't really care [who he's paired with]. I need to be on the court playing basketball. I'm too good to be playing eight minutes right now—that's crazy... Need to figure this [stuff] out". Following a matchup against the Brooklyn Nets in which <mask> did not play, coach Brett Brown announced <mask> would not participate in the 76ers regular rotation for the foreseeable future while emphasizing the move was unrelated to <mask>'s recent disagreements with the team. Contrary to Brown's statement, <mask> returned two games later, and assumed a backup role behind Embiid as Okafor recovered from a right knee injury.On January 24, 2017, while making his first start of the season in place of the injured Joel Embiid, <mask> scored a season-high 19 points and had three blocked shots in a 121–110 win over the Los Angeles Clippers. Dallas Mavericks (2017–2018)
On February 23, 2017, <mask> was traded to the Dallas Mavericks in exchange for Justin Anderson, Andrew Bogut and a 2017 protected first-round pick. He made his debut for the Mavericks two days later, recording nine points and 10 rebounds off the bench in a 96–83 win over the New Orleans Pelicans. On March 3, 2017, in his first start for the Mavericks, <mask> tied a career high with 17 rebounds while scoring 15 points in a 104–100 win over the Memphis Grizzlies. On June 23, 2017, the Mavericks tendered a $4.1 million qualifying offer to make <mask> a restricted free agent. On August 26, 2017, he accepted the one-year, $4.1 million qualifying offer, officially re-signing with the Mavericks two days later. In the Mavericks' season opener on October 18, 2017, <mask> had 16 points, his most since joining Dallas, and 11 rebounds in a 117–111 loss to the Atlanta Hawks.On December 8, 2017, he underwent surgery to repair a torn ligament in his left thumb. He subsequently missed 42 games, returning to action on February 28, 2018 against the Oklahoma City Thunder, recording four points, three rebounds and four fouls in 16 minutes in a 111–110 overtime loss. On March 6, 2018, he had a season-high 14 rebounds in a 118–107 win over the Denver Nuggets. On April 3, 2018, he was suspended without pay for five games for violating the terms of the NBA/NBPA Anti-Drug Program. Oklahoma City Thunder (2018–2020)
On July 6, 2018, <mask> signed a two-year contract with the Oklahoma City Thunder. On October 28, 2018, he had 20 points and 15 rebounds in a 117–110 win over the Phoenix Suns. On December 31, he scored 15 points in 15 minutes in a 122–102 win over the Dallas Mavericks.On January 8 against the Minnesota Timberwolves, <mask> was taken off the court on a stretcher in the third quarter after taking an elbow in the face and hitting the floor hard. Due to concussion, he missed the next three games. New York Knicks (2020–present)
On November 25, 2020, <mask> signed a one-year contract with the New York Knicks. On August 11, 2021, the Knicks re-signed <mask> to a three-year, $32 million deal. He has two older brothers and one younger sister; both of <mask>'s older brothers played for Division I college football programs. His oldest brother, Jim, played for Boston College, while Rodman played for North Carolina State. References

External links

 Kentucky Wildcats bio

1994 births
Living people
African-American basketball players
American men's basketball players
American sportspeople of Haitian descent
Basketball players from Massachusetts
Centers (basketball)
Dallas Mavericks players
Kentucky Wildcats men's basketball players
New Orleans Pelicans draft picks
New York Knicks players
Oklahoma City Thunder players
Parade High School All-Americans (boys' basketball)
Philadelphia 76ers players
Power forwards (basketball)
Sportspeople from Everett, Massachusetts
Sportspeople from Malden, Massachusetts
21st-century African-American sportspeople

masks:
Nerlens Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
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Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
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Noel
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Noel
Noel
Noel
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Noel
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Noel
Noel
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Noel


type: original

texts:
<mask> (born 29 October 1950) is a Scottish composer who is often regarded as belonging to the New Complexity school. <mask> studied art and design, linguistics, piano, acoustics, Indian rhythm, mathematics and computer music, but is self-taught in composition. <mask> was born in Glasgow, Scotland. Honours include first prize in the Huddersfield Contemporary Music Festival in 1978, the Kranichsteiner music prize at Darmstadt in 1982, and five Royal Philharmonic Society composition awards, most recently for his chamber piece Tanz/Haus: triptych 2017. <mask> taught at Darmstadt from 1982 to 1992, and has been a guest lecturer and composer at various institutions around the world. He taught at the University of Minnesota School of Music in Minneapolis, Minnesota from 2007 to 2014. Selected works
His major works include choral and vocal music, including the cycle L'évolution du vol (1993) and the opera Philomela (2004), the orchestral works helle Nacht (1987), ignis noster (1992), Via Sacra (2000), and La navette (2001), as well as a violin concerto for Thomas Zehetmair (2000) and the piano concerto Andromeda (2006) for his partner, Noriko Kawai, all showing an ease of writing for large forces.From 1982–2000, <mask> worked on the Nine Rivers cycle, a 3-hour work for voices, strings, percussion, live electronics and computer-generated tape. The epic work was first performed in full in Glasgow, November 2010. Andrew Clements of The Guardian awarded it a full five stars, describing the last movement (“Oceanos”) as having a “Wagnerian grandeur” and stating, “The cumulative power of [Nine Rivers] is massive, the range of musical experience vast.”

His considerable body of chamber music, often written expressly for a performer's individual abilities, includes solos for clarinet, drumkit, cello, flute, piccolo, guitar, violin, viola, and accordion, alongside eight string quartets (1983, 1991, 1998, 2004, 2008, 2010, 2013, 2017), the five-part Book of Elements for piano (1997–2002) and the soadie waste for piano and string quartet (2002/3). In 2013, Tom Service referred to the Book of Elements as “the most significant contribution to the pianist's repertoire since György Ligeti's Études.” His fourth string quartet received the 2005 Royal Philharmonic Society Music Award for Chamber-Scale Composition. He won the same award in 1997 (for Traumwerk, Book 1), 2002 (for The Book of Elements 5), and 2017 (for Tanz/Haus: triptych 2017). His music has been published by Edition Peters since 1982. 2, 1991

Siorram, viola, 1992

Lumen naturæ, violin, viola, cello, 1992

Vernal Showers, violin, ensemble (flute [+ piccolo, alto flute], oboe, harp, guitar, mandolin, viola, cello, double bass, harpsichord, percussion), 1992

l'ascension, 2 percussion, 1993 (section of L'Évolution du vol; may be performed separately)

le vent, l'arbre et le temps, double bass, 1993 (section of L'Évolution du vol; may be performed separately)

Redemption, clarinet, violin, piano, 1995

Traumwerk, Book 1, 2 violins, 1995–96

Todesengel, clarinet, vibraphone, 1996

String Quartet No.3, 1998

Eos, cello, 1999

La Coupure – Nine Rivers 5, percussion, live electronics, film, 1989–2000

Two Studies, accordion, 2001

Traumwerk, Book 2, violin, harpsichord, 2001

Traumwerk, Book 3, violin, piano, 2001–02

The Soadie Waste, piano, string quartet, 2002–03

The Magic Stick, piano, percussion, 2005

String Quartet No. 4, 2005

The Hesperides, cello, piano, 2007

Theatrum: figuræ, oboe (+ English horn), clarinet (+ contrabass clarinet), bass clarinet, trumpet, trombone, 2 percussion, 2007

String Quartet No. 5, 2003–08

The Leuven Triptych, flute, oboe, clarinet, bassoon, trombone, harp, guitar, cello, double bass, piano (+ synthesizer), percussion, live electronics, 2008–09

String Quartet No. 6, 2010

Oslo/Triptych, flute (+ piccolo, bass flute, shortwave radio), clarinet (+ E-flat clarinet, bass clarinet, contrabass clarinet, shortwave radio), 2 violins, viola, cello, piano (+ harmonium/synthesizer), percussion (+ shortwave radio, voice transformer), 2011

New York Triptych, flute (+ piccolo, alto flute, bass flute), oboe (+ English horn), clarinet (+ E-flat clarinet, bass clarinet), violin, viola, cello, piano (+ electronic keyboard), percussion, shortwave radio, fixed media, 2011–12

String Quartet No. 7, 2013

Tanz/Haus: triptych 2017, flute, clarinet, electric guitar, violin, cello, double bass, piano, accordion, percussion, 2017

String Quartet No. 8, 2017

String Quartet No. 2001."<mask>, <mask>". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. External links
 Entry at The Living Composers Project

 Art of the States: the soadie waste world premiere performance of <mask> work

1950 births
Living people
20th-century classical composers
20th-century British composers
20th-century British male musicians
20th-century Scottish musicians
21st-century classical composers
21st-century British composers
21st-century British male musicians
British classical composers
British male classical composers
Scottish classical composers

masks:
James Dillon
Dillon
Dillon
Dillon
Dillon
Dillon
James
Dillon


texts:
<mask> is an American artist and art administrator. Her artworks often deal with ecological themes and focus on human being’s relationship with nature. Art education and career
<mask> is an American artist who lives and works in Marnay Sur Seine, France and Los Angeles, California. Her artworks often deal with ecological themes and focus on human being’s relationship with nature. <mask> was born to Fred and <mask> in Portland, Oregon. She grew up in Tigard, Oregon where she attended Tigard High School. In 2018 she was inducted into Tigard High School’s Distinguished Alumni, an award bestowed to a former student who has made significant contributions to the greater good of the community, country, or state.In 1986 she began studying at Art Center College of Design, in Pasadena. She graduated with honors and a BFA, Art Center College of Design, Pasadena, CA in illustration in 1989. From 1989 through 2013 <mask>’s illustration clients included The New York Times Book Review, the Los Angeles Times, The Peterson Automotive Museum, the San Francisco Chronicle, Harcourt Brace, The Biography Channel, The History Channel, Disney Consumer Products, DreamWorks SKG, Rosetta Getty, the Toronto Star, and the Miami New Times. <mask>'s associations with environmentally conscious groups include Grist, Mother Earth News and Earth Island Journal, with all of whom she was an active participant and contributor. In September 2011, she collaborated with Peter Schulberg and Barefoot Wines to create a large-scale mural composed entirely of trash to promote "One Beach", a film series highlighting the innovative creations of artists who support clean and sustainable beaches. The mural went on display in Venice, California. In 2013, <mask> was awarded first place in the San Diego Museum of Art Artist Guild’s juried exhibition titled, “Contemporary Expression - The Creative Spirit.”

In 2014 <mask> moved to Florence, Italy and attended Studio Arts Centers International, where she received an MFA, Studio Art Centers International, Florence, Italy in Studio Arts.In 2015 she collaborated with french artist Philippe Nodluaner to create a large scale installation showing support and solidarity for Paris after the terrorist attacks on November 13, 2015. The form was created using 200 baguettes in the shape of an Ankh on the banks of the River Seine in Paris. In 2016, a giclee of the installation became part of the permanent collection of the Museo d’Arte Contemporania di Florina, in Greece. <mask>’s artwork was included into three month long group exhibitions titled Gaia I, Gaia II, and Gaia III in Paris, France in conjunction with the International Summit on Climate Change: City Hall (2nd arrondissement), Maison Bleue, and Galerie Amarrage. Her artwork was also shown in Artclash 2016 at the Sala d’Arme in Palazzo Vecchio in Florence, Italy and Plantarium at Casa de Carraresi in Treviso, Italy. In October 2016, <mask>’s artwork was included into the Natural History Museum/State Darwin Museum in Moscow, Russia for an exhibition on ecology titled Now & After. In 2017 her work was part of a group show titled After Hours at the Main Museum in Los Angeles and in 2018 at Yonsei University in Seoul, Korea as part of the GAMMA Young Artist’s Exhibition.<mask> is currently working on a 12 foot sculptural commission mixing indigenous wood from the Oregon coast and copper metal to form a large scale shape similar to a tree and antler. This will be installed in early 2020 at the Sweetshop in Gearhart, Oregon. <mask> has had three solo exhibitions: Nature And Man at the Cartavetra Galleria in Florence, Italy (2016), Nature And Man at the Nuetra institute Gallery and Museum in Los Angeles, California (2016) and God’s Logos at the Co-op Gallery in Los Angeles, California. (2011) Her next solo exhibition will take place in Gearhart, Oregon at the Sweetshop, in conjunction with the Clatsop County Arts Summit 2019. Art administration
<mask> <mask> served as the President of the Society of Illustrators of Los Angeles for two years and is a member of the Board of Directors for the Eco-Logical Art Gallery of Los Angeles, a non-profit eco-focused art gallery. In 2008 and 2009, she participated in the gallery's "Drive-By" public art exhibitions which converted billboards across Los Angeles and San Francisco – replacing advertisement spaces with original artwork – under the direction of gallery owner Peter Schulberg. From 2012-2014 she managed the adult arts program for the Cultural Affairs Department of Los Angeles at Barnsdall Art Park.Rosebraugh taught drawing and painting at Barnsdall Art Park from 1997 - 2014. She was a teacher and the assistant to artistic director Carole Robb for the
Rome Art Program in 2016 in Rome Italy. Rosebraugh taught illustration classes at the Pacific Northwest College of Art in Portland, Oregon from 1992-1994. In the summer of 2019 <mask> collaborated with Mathilde Rousseau Domec to create L’Expressoir, an artist residency program in Marnay Sur Seine, France which focuses on bringing people together to emphasize the importance of meaningful and multi-layered cultural exchanges through music and art. She currently serves as the director of L’Expressoir. <mask> also serves as a Board Member of Responsible Education and Media, a Los Angeles-based non-profit organization with a stated goal of "raising public awareness and consciousness of social and political issues concerning the global community" by exploiting the fields of art and entertainment. Articles, Press
Articles, Press Solidarity Art in Paris - Strength in Baguettes, The Florentine newspaper, 2015 Campus Italia - editione 2015 seconda serie, RAI television interview, RAI World, 2015 First Place Award of Excellence - Artist Profile, San Diego Museum of Art Artist's Guild, 2013 Beautiful Sign Is Made From Garbage, Mother Nature Network, 2013 G Word television episode on billboard artists re Eco-LA Gallery, Discovery's Planet Green, 2012 Time Lapse YouTube video of One Beach Mural, Barefoot Wines, 2012 <mask> <mask>'s Eco-Art Tackles Themes of Destruction, Reuse, Mother Nature Network, 2011 21st Century Gargoyles Drawn on Found Paper, Treehugger 2011

Selected exhibitions
2013 Eco Art (Group show): Malibu Lumber Yard Gallery, Malibu, CA.2011 Gods' Logos (Solo Show): Co-op 28 Gallery, Los Angeles, CA. 2011 Navigating LA (Group show): The Studio for Southern California History, Los Angeles, CA. 2010 SHFT Pop up Exhibition (Group show): The Continental, Los Angeles, CA. 2009 Satsuma 7 (Group show): Satsuma Gallery, North Hollywood, CA. 2009 Wisdom Within Us (Group show): Create: Fixate @ Premiere Events Center, Los Angeles, CA. 2008 Recycled Billboard Exhibition (Group show): Eco-logical Art Gallery, Los Angeles, CA. 2007 Cannibal Flower Exhibition (Group show): Los Angeles, CA.2006 Everything But The Kitchen Sync (Group show): La Luz De Jesus Gallery, Hollywood, CA. 2005 Society of Illustrator's Member Exhibition (Group show): New York, NY. 2004 Junior Arts Center Gallery (Group show): Barnsdall Park, Los Angeles, CA. 1999 Arroyo Arts Collective Jail Exhibition (Group show): Los Angeles, CA. See also
 Environmental art
 Environmental movement
 Greenmuseum.org
 Sustainable art

References

External links

Living people
Artists from Portland, Oregon
Year of birth missing (living people)
Artists from Los Angeles
Art Center College of Design alumni

masks:
Keri Rosebraugh
Keri Rosebraugh
Rosebraugh
Marilyn Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Keri
Rosebraugh
Rosebraugh
Rosebraugh
Keri
Rosebraugh


texts:
<mask> (June 13, 1879 – November 13, 1939) was an American silent film actress, screenwriter, producer and director. She is identified in some historical references as "the most important female director the American film industry has known", and among "the most important and prolific film directors in the era of silent films". Film historian Anthony Slide has also asserted, "Along with D.W.Griffith, <mask> was the American cinema's first genuine auteur, a filmmaker involved in all aspects of production and one who utilized the motion picture to put across her own ideas and philosophies". <mask> produced a body of work which has been compared to Griffith's in both quantity and quality and brought to the screen her concerns for humanity and social justice in an estimated 200 to 400 films, of which as few as twenty have been preserved. She has been credited by IMDb with directing 135 films, writing 114, and acting in 100. <mask> was "one of the first directors to come to the attention of the censors in Hollywood's early years". <mask> has been credited with pioneering the use of the split screen technique to show simultaneous action in her 1913 film Suspense.In collaboration with her first husband, Phillips Smalley, in 1913 <mask> was "one of the first directors to experiment with sound", making the first sound films in the United States. She was also the first American woman to direct a full-length feature film when she and Smalley directed The Merchant of Venice in 1914, and in 1917 the first American woman director to own her own film studio. During the war years, <mask> "achieved tremendous success by combining a canny commercial sense with a rare vision of cinema as a moral tool". At her zenith, "few men, before or since, have retained such absolute control over the films they have directedand certainly no women directors have achieved the all-embracing, powerful status once held by <mask>". By 1920, <mask> was considered the "premier woman director of the screen and author and producer of the biggest money making features in the history of the film business". Among <mask>'s notable films are: the controversial Hypocrites, which featured the first full-frontal female nude scene, in 1915; the 1916 film Where Are My Children?, which discussed abortion and birth control and was added to the National Film Registry in 1993; her adaptation of Edgar Rice Burrough's Tarzan of the Apes novel for the very first Tarzan of the Apes film, in 1918; The Blot (1921) is also generally considered one of her finest works. <mask> is credited with discovering, mentoring, or making stars of several women actors, including Mary MacLaren, Mildred Harris, Claire Windsor, Esther Ralston, Billie Dove, Ella Hall, Cleo Ridgely, and Anita Stewart, and with discovering and inspiring screenwriter Frances Marion.For her contribution to the motion picture industry, <mask> was awarded a star on the Hollywood Walk of Fame on February 8, 1960. Early life
<mask> <mask> was born on June 13, 1879, in Allegheny City, Pennsylvania, the second of three children of Mary Matilda Snaman  and <mask>, an upholster and decorator who had spent several years in missionary street work. She was the younger sister of Elizabeth Snaman <mask> and older sister of <mask> Howland, who later appeared in two of <mask>'s films in 1916 and married assistant director Louis A. Howland. The <mask>s were a devout middle class Christian family of Pennsylvania German ancestry. <mask> was considered a child prodigy and an excellent pianist. As a girl, music was her passion, and her most treasured possession was a baby grand piano. <mask> left home and lived in poverty while working as a street-corner evangelist and social activist for two years with the evangelical Church Army Workers, an organization similar to the Salvation Army, preaching and singing hymns on street corners and singing and playing the organ in rescue missions in red-light districts in Pittsburgh and New York, until the Church Army Workers disbanded in 1900.In June 1900, <mask> was almost 21 and living with her parents and two sisters at 1717 Fremont Street, Allegheny, Pennsylvania, where she was a music student. By April 1903, <mask> was performing as a soprano singer and pianist. She toured the United States as a concert pianist until her final performance in Charleston, South Carolina, a year later. After a piano key broke during a recital, <mask> retired from the concert stage, having lost her nerve to play in public. Theater career
Frustrated by the futility of one-on-one conversions, and following the advice of an uncle in Chicago, <mask> decided to take up acting about 1904, and moved to New York City, where she took some singing lessons. <mask> later explained her motivation: "As I was convinced the theatrical profession needed a missionary, he suggested that the best way to reach them was to become one of them so I went on the stage filled with a great desire to convert my fellowman". For five years <mask> was a repertory and stock actress.After short stint as a soubrette in the farce comedy "Zig-Zag" for a Chicago-based touring company, <mask> resigned as it "proved too superficial for her altruistic aims". In 1904, <mask> joined the road company of "Why Girls Leave Home", where she became "a musical comedy prima donna and melodrama heroine". <mask> received "promising reviews" for her performance; for example, The Boston Globe wrote in September 1904 that she "sang two very pretty songs very effectively and won considerable applause". The troupe's leading man and manager was Wendell Phillips Smalley (1865–1939), a grandson of Oliver Wendell Holmes, and the elder son of New York Tribune war and foreign correspondent George Washburn Smalley (1833-1916) and Phoebe Garnaut Phillips (1841-1923), the adopted daughter of abolitionist Wendell Phillips. Smalley, who had attended Balliol College, Oxford and was a graduate of Harvard University, had been a lawyer in New York for seven years, and as a stage actor made his professional stage debut in August 1901 in Manhattan. He appeared in productions of Harrison Grey Fiske, Minnie Maddern Fiske, and Raymond Hitchcock. After a brief acquaintance, just before her 25th birthday, <mask> and Smalley, aged 38, married on April 29, 1904 in Chicago, Illinois.After initially touring separately from her husband, and then accompanying him on his tours, about 1906 <mask> left her career in the theater and became a homemaker in New York. During this period <mask> wrote freelance moving picture scenarios. Film career
In 1908, <mask> was hired by American Gaumont Chronophones, which produced phonoscènes, initially as a singer of songs recorded for the chronophone. Both Herbert Blaché and his wife, Alice Guy, later claimed to have given <mask> her start in the movie industry. At the end of the 1908 theatrical season, Smalley joined <mask> at Gaumont. Soon <mask> was writing scripts, and in 1908 <mask> began directing English language phonoscènes at the Gaumont Studio in Flushing, New York. In 1915 <mask> directed and starred in a film she had written called Hypocrites.In 1910, <mask> and Smalley decided to pursue a career in the infant motion picture industry. For the next five years, they worked and were credited as The Smalleys (but typically <mask> received sole writing credit) on dozens of shorts and features for small production companies like Gaumont, the New York Motion Picture Co., Reliance Studio, the Rex Motion Picture Company, and Bosworth, where <mask> wrote scenarios and subtitles, acted, directed, designed sets and costumes, edited films, and even developed negatives. <mask> took two years off her birth date when she signed her first movie contract. <mask> and Smalley had a daughter, Phoebe (named after Smalley's mother), who was born on October 29, 1910, but died in infancy. Rex Motion Picture Company
By 1911, <mask> and Smalley were working for William Swanson's Rex Motion Picture Company, based at 573–579 11th Avenue, New York City. While at Rex, <mask> gained her reputation as "a serious social uplifter and as the leading partner in the Weber-Smalley unit." In 1911, <mask> acted in and directed her first silent short film, A Heroine of '76, sharing the directorial duties with Smalley and Edwin S. Porter.At the time of Rex's merger with five other studios to form the Universal Film Manufacturing Company on April 30, 1912, <mask> and Smalley were the "prima facie heads of Rex", and had relocated to Los Angeles. Rex continued as a subsidiary of Universal, with <mask> and Smalley running it, making one two-reel film each week, until they left Rex in September 1912. Carl Laemmle startled the film industry with his use of and advocacy for women directors and producers, including <mask>, Ida May Park and Cleo Madison. In the autumn of 1913, shortly after the incorporation of Universal City, <mask> was elected its first mayor in a close contest that required a recount, and Laura Oakley as police chief. At the time, Universal's publicity department claimed Universal City was "the only municipality in the world that possesses an entire outfit of women officials". In March 1913, <mask> starred in the first English language version of Oscar Wilde's The Picture of Dorian Gray, which was produced for the New York Motion Picture Co., directed by Smalley from an adaptation by <mask>, and featuring Wallace Reid as Dorian Gray. In 1913, <mask> and Smalley collaborated in directing a ten-minute thriller, Suspense, based on the play Au Telephone by André de Lorde, which had been filmed in 1908 as Heard over the 'Phone by Edwin S. Porter.Adapted by <mask>, it used multiple images and mirror shots to tell of a woman (<mask>) threatened by a burglar (Sam Kaufman). <mask> is credited with pioneering the use of the split screen technique to show simultaneous action in this film, but the "oft-mentioned triptych shots had already been used in the Danish "The White Slave Trade" films (Den hvide slavehandel) (1910), and for telephone conversations." According to Tom Gunning, "No film made before WWI shows a stronger command of film style than Suspense [which] outdoes even Griffith for emotionally involved filmmaking". Suspense was released on July 6, 1913. In late 1913, <mask> and Smalley made The Jew's Christmas, a three-reel silent film that dramatizes the conflict between traditional Jewish values and American customs and values, illustrating the challenges of cultural assimilation, especially the generational conflict over interfaith marriage and the second generation's abandonment of the faith and customs of their ancestors. In "the earliest portrayal of a rabbi in an American film", The Jew's Christmas told the story of an orthodox rabbi (Smalley) who ostracizes his daughter (<mask>) for marrying a gentile, but is reconciled twelve years later on Christmas Eve when he meets an impoverished small child, who turns out to be his granddaughter. Endeavoring to combat racial discrimination and antisemitism, the film aims to show that love is stronger than any religious ties, and that "the tie of blood overbears the pride and prejudice of religion".In its assertion of "Melting-pot idealism" by its approval of intermarriage between people of different religions, the film was considered controversial at the time of its release on December 18, 1913. In 1914, a year in which she directed 27 movies, <mask> became "one of the first directors to come to the attention of the censors". That year, <mask> co-directed an adaptation of Shakespeare's The Merchant of Venice with Smalley, who also played Shylock. making her the first American woman to direct a feature-length film in the United States, and the first person who "directed the first feature-length Shakespearean comedy". In February 1914, Universal released the four-reel Rex silent film which was also adapted by <mask> and Smalley, and was also produced, directed, and starred <mask> as Portia, and Smalley as Shylock. The film featured Douglas Gerrard, Rupert Julian, and Jeanie MacPherson, who would play a major role in cinema as Cecil B. DeMille's favorite screenwriter. A "prominent rabbi in Chicago strongly objected on the grounds that the play 'more than any other book, more than any other influence in the history of the world, is responsible for the world-wide prejudice against the Jews'", but the film was praised at the time as "a supreme adaptation of Shakespeare".Robert Hamilton Ball considered the film "careful, respectful, dignified, but lacking in passion and poetry", which he attributes to the difficulty it had satisfying the censor, and because the film was a special release rather than a release on the regular programme, exhibitors had to pay extra for it, which may have contributed to its swift demise. The Merchant of Venice is now considered a lost film. One film that illustrates the paradoxical nature of <mask>'s role and films was her 1914 film The Spider and Her Web, where she advocates both modesty and maternalism. In this film, <mask> plays "The Spider", a vamp living the "ultra-modern high life" who seduces and ruins intellectual men until frightened into adopting an orphan baby, which results in the salvation of the lead character through motherhood. Bosworth
As Universal was reluctant to make feature-length films, in the summer of 1914 <mask> was persuaded to move to the Bosworth company by Julia Crawford Ivers, the first woman general manager of a film studio, to take over the production duties from Hobart Bosworth on a $50,000 a year contract, making her "the best known, most respected and highest-paid" of the dozen or so women directors in Hollywood at that time. In 1914, Bertha Smith estimated <mask>'s audience at five to six million a week. In fact, by 1915 <mask> was as famous as D.W. Griffith and Cecil B. de Mille.While at Bosworth, <mask> and Smalley made six features and one short, The Traitor. "Energized by evangelistic zeal and social conscience", from early in her career <mask> saw movies as "a vehicle for evangelism", and "an opportunity to preach to the masses", and to encourage her audience to be involved in progressive causes. In a 1914 interview <mask> declared: "In moving pictures I have found my life's work. I find at once an outlet for my emotions and my ideals. I can preach to my heart's content, and with the opportunity to write the play, act the leading role, and direct the entire production, if my message fails to reach someone, I can blame only myself." As many of <mask>'s films focused on a moral topic, she "was often mistaken as a Christian fundamentalist, but she was more of a libertarian, opposing censorship and the death penalty and championing birth control. The need for a strong, loving and nurturing home was clearly promoted as well and if there was a single maxim that underlay each film it was that selfishness and egocentricity erode the individual and community".Although not a practicing Christian Scientist, <mask> attended the Christian Science church regularly, according to Adela Rogers St. Johns, and, in at least two of her films, Jewel (1915) and its remake, A Chapter in Her Life (1923), Christian Science plays a prominent role. <mask>'s impeccable reputation and "impressive middle-class credentials" allowed her considerable artistic freedom in her presentation of controversial issues. In 1914, <mask> made her first major feature, a controversial version of Hypocrites, a four-reel allegorical drama shot at Universal City which she wrote, directed and produced, addressing social themes and moral lessons considered daring for the time. Hypocrites included the first film full-frontal female nudity, inspired by Jules Joseph Lefebvre's 1870 allegorical painting La Vérité, with truth portrayed in the ghostly figure of the Naked Truth, literally shown by an unidentified nude woman (Margaret Edwards). Margaret Sinclair Edwards (born 1877, New York City – died January 14, 1929, New York City), known on the stage as "Daisy Sinclair", appeared with the theatrical companies of Edward Harrigan, Eddie Foy, and Gus Edwards, among others. Her husband, John Edwards, an invalid, died the same year she did (1929). She appeared as Marguerite Edwards in A Physical Culture Romance in 1914, and in <mask>'s Sunshine Molly in 1915.Although the nudity was tastefully done (it was passed by the National Board of Review of Motion Pictures after a two-month delay), it was still banned in Ohio; caused riots in New York; and James Michael Curley, the mayor of Boston, demanded that every frame displaying the naked figure of Truth be hand-painted to clothe the then unidentified actress. Hypocrites was released finally by Bosworth on January 15, 1915, and premiered at Manhattan's prestigious Longacre Theatre, and was "celebrated as a cultural, artistic, and moral landmark for the film industry", and "praised for its use of multiple exposures and complex film editing". While its negative cost was $18,000, it earned $119,000 in sales in the United States alone and made <mask> "a household name". In a 1917 interview, <mask> denied the film was indecent and defended the film: "Hypocrites is not a slap at any church or creed – it is a slap at hypocrites, and its effectiveness is shown by the outcry amongst those it hits hardest, to have the film stopped". Universal

In April 1915, <mask> and Smalley left Bosworth when the founder left the company due to ill health. After being promised they could make feature-length films by Carl Laemmle, they returned to Universal Pictures. <mask>'s first movie for Universal was Scandal, in which both <mask> and Smalley starred, that featured the consequences of gossip mongering.In 1916, <mask> directed 10 feature-length films for

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 release by Universal, nine of which she also wrote, and she also became Universal Studios' highest-paid director, earning $5,000 a week. She "enjoyed complete freedom in overseeing most stages of the film-making process – choice of stories and actors, writing of scripts (which she invariably did herself), as well as direction". Universal head Carl Laemmle, "who was known more for his frugality and cunning business sense than philanthropy", said of <mask>: "I would trust <mask> with any sum of money that she needed to make any picture that she wanted to make. I would be sure that she would bring it back." In 1916, <mask> explained her philosophy of directing films: "I'll never be convinced that the general public does not want serious entertainment rather than frivolous", and "A real director should be absolute. He (or she in this case) alone knows the effects he wants to produce, and he alone should have authority in the arrangement, cutting, titling or anything else that may seem necessary to do to the finished product. What other artist has his work interfered with by someone else?...We ought to realize that the work of a picture director, worthy of a name, is creative". Bluebird Photoplays

In February 1916, <mask> and Smalley were transferred to Universal's Bluebird Photoplays brand, where they made a dozen features, including The Dumb Girl of Portici (also known as Pavlowa), adapted by <mask> from Daniel Auber's 1828 opera La muette de Portici, Russian ballerina Anna Pavlova's only screen appearance, which was directed to Pavlova's satisfaction by <mask>. The film also starred Rupert Julian as Masaniello. Released to popular acclaim, it premiered on April 3, 1916 at the Globe Theatre in Manhattan. Hoping to "become the editorial page of the studio", and to "provoke a middle-class sense of responsibility for those less fortunate than themselves, and to stimulate moral reforms", <mask> specialized in making films that stressed both high quality and moral rectitude, including films of the "burning social and moral issues of the day", among them such controversial themes as abortion, eugenics, and birth control in Where Are My Children? (1916), influenced by the trial of Charles Stielow, an innocent man who was almost executed, opposition to capital punishment based on circumstantial evidence in  The People vs. John Doe; and alcoholism and opium addiction in Hop, the Devil's Brew, which were all successful at the box office, but, while embraced by reformers in the film industry, "drew the ire of the conservatives". Despite the predominance of strong women in her films, in 1916 <mask> disassociated herself from the women's suffrage movement.In Where Are My Children? (working title: The Illborn), which was released on April 16, 1916, <mask> advocates social purity, birth control, and eugenics to prevent the "deterioration of the race" and the "proliferation of the lower classes", and makes "an indirect case for birth control or perhaps even for legalized, and safe, abortions". The film starred Tyrone Power, Sr. and his then-wife Helen Riaume; future star Mary MacLaren made her debut. It also makes use of several trick photography scenes, with an emphasis on multiple exposures to convey information or emotions visually. As a recurring motif, every time a character becomes pregnant, a child's face is double exposed over their shoulder. In March 1916, the National Board of Review expressed disapproval of the film for showings to mixed audiences, but later approved it for adult showings. It was banned in Pennsylvania on the grounds that it "tended to debase or corrupt morals", but Universal won a case in Brooklyn, New York in 1916 to show the film after the district attorney filed suit against the theater manager and the Universal exchange president.Controversy, the threat of censorship, and the banning of Where Are My Children? in some locations helped fuel the box office success of the film, estimated to have grossed in excess of $3 million, in an era where ticket prices were less than 50c each, and "rocketed <mask>'s name to larger audiences, bigger box-office returns, and an even higher annual income". The film spread <mask>'s fame internationally. For example, Kevin Brownlow indicates that this film attracted 30,000 in Preston, Lancashire, 40,000 in Bradford, Yorkshire, and 100,000 in two weeks in Sydney. In 2000, the Library of Congress Motion Picture Conservation Center copyrighted a preservation print reconstructed from several incomplete prints. Shoes, a "sociological" film released in June 1916 that <mask> directed for the Bluebird Photoplays, was based on Stella Wynne Herron's short story of the same name, which had been published in Collier's magazine earlier that year. Herron took inspiration from noted social reformer Jane Addams's 1912 book A New Conscience and an Ancient Evil.The nonfiction book depicts the struggles of working-class women for consumer goods and upward mobility and their dubious sexual activities, including prostitution. Starring Mary Maclaren as Eva Meyer, a poverty-stricken shopgirl who supports her family of five, who needs to replace her only pair of shoes, and is so desperate that she sells her virginity for a new pair, it proved to be the most booked Bluebird production of 1916. A version restored digitally from three extant fragments by EYE Film Institute Netherlands, made its debut in North America in July 2011. A scene from the restored "Shoes" showing architect John B. Parkinson's 1910 design for Pershing Square in Downtown Los Angeles has been used by the grassroots Pershing Square Restoration Society in promoting their campaign to restore the historic park. After another significant censorship battle, and a vigorous publicity campaign by Universal, on May 13, 1917, Universal released The Hand That Rocks the Cradle, "one of the most forceful films ever made in support of legalizing birth control", a follow-up to the previous year's top money-maker for Universal, Where Are My Children? Directed by <mask> and Smalley based on their original script, it starred Smalley and <mask>, in her last screen appearance, as a doctor's wife arrested and imprisoned for illegally disseminating family planning information. Influenced by the recent trial and imprisonment of pioneer birth control advocate Margaret Sanger, the film drew explicitly on her headline-generating activism.The film was released only weeks after Sanger's own film, Birth Control, was banned under a 1915 ruling of the United States Supreme Court that films "did not constitute free speech", and the ruling of the New York Court of Appeals that a film on family planning may be censored "in the interest of morality, decency, and public safety and welfare". Sensitive to the opinions of local communities, and hoping to avoid powerful censorship boards in the northeast and midwest, The Hand That Rocks the Cradle was distributed primarily in the southern and western regions of the United States, with the result that it did not attain the record-breaking attendance set by Where Are My Children? the previous year. When The Hand That Rocks the Cradle opened at Clune's Auditorium in Los Angeles in June 1917, <mask> appeared on stage, bitterly denouncing attempts to alter or suppress her film. While The Hand That Rocks the Cradle is now lost, the surviving script and accompanying marketing materials make it clear that <mask> mounted an unstinting argument in favor of "voluntary motherhood". Lois Weber Productions

In June 1917 <mask> became the first American female director to establish and run her own movie studio when she formed her own production company, Lois Weber Productions, with the financial assistance of Universal. She leased a self-contained estate, and had offices, dressing rooms, scenic and property rooms, and a  shooting stage constructed.Smalley was made studio manager, and the Smalleys made their home on the studio lot at 1550 N. Sierra Bonita Avenue. According to film historian Shelley Stamp, while <mask> and Smalley were often co-credited as directors, it was "the wife who clearly had the artistic vision to drive the business partnership forward". By this time, <mask>'s "idealized collaborative marriage" with Smalley had begun to show signs of deterioration, which was accelerated by the increased focus of critics and journalists on <mask> as the dominant filmmaker, at the expense of Smalley, after 1916, and <mask> increasingly took credit for her contributions after 1917. However, as early as 1913, some saw <mask> as the "fertile brain" in the partnership, with Smalley seen as an indolent womanizer "who chased every woman on the lot", which resulted in arguments and shouting matches. <mask> consciously resisted the industry's movement toward assembly line-style studio film making. "By concentrating on only one production at a time, and mobilizing her entire workforce around that effort, <mask> aimed for quality film making rather than efficient bookkeeping". <mask>'s independence allowed her to shoot her films in sequence, as she preferred (rather than out of order to suit production schedules).William D. Routt indicates that "Lois Weber Productions were a good investment, cost-effective. The company made movies cheaply: in later years at least shooting on location even for interiors, using a small cast, working fast. Its somewhat sensational topics and titles guaranteed at least a modest box office return, and at times may have done much better than that." Karen Mahar attributes the success of <mask>'s films of the 1910s to their representation of "the generational conflict of the era" between the traditional view of women and that of the freedoms of the emerging "New Woman and the emergent consumer culture". Mahar argues that "<mask>'s life was an expression of this generational divide: she was a stage performer and a Church Army Worker, a filmmaker and a middle-class matron, a childless advocate of birth control who 'radiates domesticity'". While <mask> was clearly a New Woman by virtue of her career, she was also publicly identified as the wife and collaborator of her first husband. Shelley Stamp argues that <mask>'s "image was instrumental in defining both her particular place in film-making practices, and women's roles within early Hollywood generally", and that her "wifely, bourgeois persona, relatively conservative and staid, mirrored the film industry's idealized conception of its new customers: white, married, middle-class women perceived to be arbiters of taste in their communities".While <mask>'s beliefs reflected modern values, as did her career as a filmmaker that was atypical for women of her era, she had "internalized much of what the Victorians deemed proper behavior for women", and there are "strong elements of the Victorian code of womanhood in her films". The Smalleys exemplified and promoted the Victorian ideal of marriage as companionship and a partnership. In 1917, <mask> was the only woman granted membership in the Motion Picture Directors Association, and from 1917 <mask> was active in supporting the newly established Hollywood Studio Club, a residence for struggling would-be starlets. After the United States entered World War I, <mask> served on the board of the Motion Picture War Service Association, headed by D. W. Griffith and including Mack Sennett, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, William S. Hart, Cecil B. DeMille, and William Desmond Taylor. The Association raised funds for the construction of a thousand-bed hospital. In 1918, the Fox Film Corporation hired <mask> to direct Queen of the Seas, in which Annette Kellerman swam and dove naked. However, she was replaced eventually by John G. Adolfi.In September 1918, <mask> broke her left arm in two places when she fell in Barker Brothers, a downtown Los Angeles store, forcing her to be hospitalized in the California Hospital. <mask>'s arm was still causing her trouble seven months later. Anita Stewart Productions
Despite continuing to work at Universal, and renting out her studio to other independent producers, including Marshall Neilan, <mask> found it difficult to pay the bills and to find the capital to finance her own productions. By December 1918, <mask> had left Universal, and signed a contract with Louis B. Mayer to direct Anita Stewart for $3,500 a week. In a letter to <mask>, Mayer proclaimed: "My unchanging policy will be great star, great director, great play, great cast. You are authorized to get these without stint or limit. Spare nothing, neither expense, time, or effort.Results only are what I'm after." <mask> made two films with Stewart as the lead: A Midnight Romance and Mary Regan, both released in 1919 to mixed reviews. Famous Players-Lasky
Needing finances, in July 1919 <mask> signed a contract with Famous Players-Lasky to direct five films to be distributed through Paramount-Artcraft for $50,000 each, plus one-third of the profits, and guaranteed first-run bookings in Paramount theaters. By January 1920, Smalley and <mask> purchased a two-level home at 1917 N. Ivar Avenue, Hollywood, later the home of Preston Sturges in the 1940s. In October 1920, <mask> purchased the studio facilities at 4634 Santa Monica Boulevard in Los Angeles, near Sunset Boulevard, which she had been leasing for the previous three years. By February 1921, <mask> was at the zenith of her career, regarded "as fearless in the production of her pictures as she once was in her struggle for a living, and her indubitable position is that of one of the best directors of the screen." One newspaper wrote, "<mask> is not only the foremost woman director – she's the whole works", and attributed her success to having "a feminine touch lacking in most man-made films".In an effort to protect the American film industry, by 1921 <mask> advocated the prohibition of the importation of all European films into the United States. In May 1921, <mask> anticipated the possibility of both color and "three-dimensional films". Following "the cinematic rumination on modern marriage begun by Cecil B. DeMille" and like other post-war filmmakers, <mask> turned her attention toward marriage and domestic life to honor her deal with Famous Players-Lasky with such melodramas as To Please One Woman, What's Worth While? Too Wise Wives, and What Do Men Want? However, as the United States entered the Jazz Age in the 1920s, <mask> came to be seen as passé, in part because of her "propensity for didacticism" but also because her "values became increasingly archaic; her moralising, propagandistic tone was unsuited to the era of the 'flapper' girl and a hedonism that seemed all the more urgent". By this time her "morally upright films bored modern audiences", her crusading was unwanted, and her views were considered "quaint". Her fall from favor was also due to her inability or unwillingness to adapt to changing audience tastes, and "her refusal to feature big-name stars or to glamorize consumerist excess in her films."After an advance screening in February 1921, Paramount executives decided not to distribute the fourth film in their arrangement with <mask>, What Do Men Want? a domestic melodrama about a philandering husband and a faithful wife (Claire Windsor), and to cancel their arrangement with <mask> to distribute her films. After making 13 films, by April 1921, Lois Weber Productions collapsed, and <mask> was forced to release all her contracted staff, with the exception of two novice actors. While she would direct a few other movies, effectively her career as a Hollywood director was over. F.B. Warren Corporation

After reading the articles "Impoverished College Teaching" and "Boycotting the Ministry" in the April 30, 1921 issue of Literary Digest about the underpayment of educators and clergy, <mask>, with scenarist Marion Orth, crafted a melodramatic narrative to bring the issue to life in The Blot. Starring Claire Windsor and Louis Calhern, The Blot was her masterpiece, her most successful film from this period and probably <mask>'s best-known film today.The film "rejects the values of capitalist America that measures the value of people in wealth and property" by depicting the compromises and choices impoverished women are forced to make to achieve social mobility and financial security. It "condemns capitalistic materialism and linked consumerism with sexual exploitation", and addresses class, money, and ethnicity. "<mask>'s basically Christian ethos shines clearly through this plot: the text disapproves of both the new consumerist immigrant class, and the old aristocratic one". Despite xenophobic assumptions, <mask> advocates learning, asceticism, and service to the needy. According to film historian Kevin Brownlow in The Blot, "<mask>'s technique is reminiscent of that of William C. deMille, with its quietness, in its use of detail, and its emphasis on naturalism. <mask> used the same method of direction, too, filming in continuity." To tell with maximum realism this story of a college professor's family – hardworking but with only a meager income – <mask> filmed in real houses, using a special lighting rig, and gave supporting roles to non-actors.To emphasize this film was a woman-centered narrative, in a "radical departure from Hollywood practice", <mask> used point-of-view cutting from the perspective of the professor's wife. <mask> also used extreme close-ups and an ambiguous ending, that Richard Combs describes The Blot as "so un-Griffithian as to seem almost modernistically open-ended", while others see it as almost surreal, declaring it "the Los Olvidados of the literally down at heel middle class". Due to the collapse of her distribution deal with Paramount, <mask> was forced to distribute The Blot

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 through the F.B. Warren Corporation, a newly formed small independent company that would also distribute a film each by Canadian women producers Nell Shipman and May Tully, later in 1921. The Blot was released on September 4, 1921, but was not well-received critically and did little box office, and vanished after its run. After The Blot, <mask>'s films did not make money at the box office. For decades, The Blot was considered a lost film, until it was rediscovered by the American Film Institute in 1975 and was reconstituted and restored by Robert Gitt of the UCLA Film & Television Archive in 1986 from an incomplete negative and an incomplete print.The Blot was then produced for video by Kevin Brownlow and David Gill of Photoplay Productions, and released on home video and DVD. As part of the deal to distribute The Blot, F.B. Warren also released What Do Men Want? After the film's premiere at Manhattan's Lyric Theatre on November 13, 1921, The New York Times, while praising <mask> for her casting and the technical aspects of the film, and also the performance of Claire Windsor, dismissed the film as a "simplified sermon" that provided "pat answers" which ignored "the real facts of life", which it considers "incompetent, irrelevant and immaterial". Soon after the New York City premiere of The Blot, and in an attempt to salvage their troubled marriage, <mask> and Smalley sailed for Europe with <mask>'s sister and brother-in-law, Ethel and Louis A. Howland. They ultimately traveled for six months through Europe, Egypt, China, and India. In late December 1921, they were in Rome, with plans to travel to the Orient.<mask> and Smalley returned to the United States on April 7, 1922. On June 24, 1922, <mask> obtained a divorce secretly from Smalley, who was described as both alcoholic and abusive, but kept him as a friend and companion. Their divorce was made public on January 12, 1923 by the Los Angeles Examiner. Universal

Upon her return to Hollywood, <mask> found an "'industry in transition', evident in the fact that Erich von Stroheim was out of favor, D. W. Griffith was gradually more marginalized, and Rex Ingram, like von Stroheim, could not adapt to production changes demanded by the consolidated studios." As Shelley Stamp explains, "In an age of studio conglomeration and vertical integration, few independents could survive, a reality that hit women particularly hard: both Alice Guy-Blaché and Nell Shipman closed their production companies during this period as well. Will Hays, newly installed at the MPPDA, was also beginning to assert greater control over studio releases." In November 1922, <mask> returned to Universal, where she directed A Chapter in Her Life, based on the 1903 novel Jewel: A Chapter in her Life by Clara Louise Burnham, and a remake of a 1915 film called Jewel, which she had directed previously with Smalley.A Chapter in Her Life was part of "a slate of literary adaptations Universal released that year, headlined by Lon Chaney's The Hunchback of Notre Dame and marketed under the tag line "Great Pictures made from Great Books with Great Exploitation Tieups." The film starring Claude Gillingwater was released on September 17, 1923. However, according to Stamp, "Without a chain of theaters under its control, like emerging studio giants MGM and Paramount, Universal now occupied a significantly different market position than it had during the height of <mask>'s career there in the mid-1910s. With the bulk of urban, first-run theaters closed to Universal, the studio now relied on independent theaters mainly located in small towns and rural areas. Nor was the studio home to the female directing talent it had once been—<mask> was now on her own." Consequently, Universal's trade ads made a clear pitch to small-town exhibitors, offering them "quality" pictures at reasonable prices, providing access to first-run pictures many studios reserved for their large urban venues. A Chapter in Her Life is available on home video and DVD from Nostalgia.Hiatus
While <mask> was praised for her direction in A Chapter in Her Life, "critics felt the film's subject matter – a young girl whose love and faith transform the troubled adults in her life – was ultimately out of step with the times. Film Daily dubbed the material 'old fashioned', with other critics objecting to the film's 'Pollyanna' themes." <mask> subsequently left Universal, vowing not to produce any films for a while, intending to write plays and a novel instead. She traveled to Europe again and spent time at the Colorado summer home of her friend, novelist Margaretta Tuttle, who had written the novel Feet of Clay (later made into a 1924 film by Cecil B. deMille), saying she would remain on vacation until the censors "came to their senses". At the time, <mask> complained of both the control exerted by consolidated studios, as well as the ever more strenuous censorship of the Hays Code: "I have received many offers, but in each case I'm hampered with too many conditions. ... The producers select the stories, select the cast, tell you how much you can pay for a picture and how long you can have to make it in.All this could be borne. But when they tell you that they also will cut your picture, that is too much." The trade journal Film Mercury declared that "it would be interesting to know why [<mask>] has made no films in the past year or so," noting that "it is almost a crime for such wonderful director material to be lying idle while third-raters flood the screen with junk." After suffering a nervous collapse in 1923, <mask> made no movies until 1925. During this period, when <mask> ostensibly "retired from public life", it was rumored that <mask> had attempted suicide and had entered a mental facility to treat her mental depression. By the end of January 1925, <mask> announced her engagement to Captain Harry Gantz (born in Deadwood, South Dakota on September 4, 1887; died August 11, 1949 in Cairns, Queensland, Australia), a retired army officer who had served as a second lieutenant in the Philippine Constabulary from 1907 to 1911, then as a second lieutenant in company C of the 23rd Infantry from 1912 to 1915. In October 1914, Gantz transferred from the 23rd Infantry to the Aviation Section, U.S. Signal Corps, and became a pioneer aviator during the Pancho Villa Expedition, making him an early bird of aviation.On September 1, 1915, Gantz married Beatrice Wooster Miller. At the time of his engagement to <mask>, Gantz was a wealthy orange rancher and the owner of the 140-acre El Dorado Ranch in Fullerton, California. Gantz is credited with bringing <mask> "out of a retirement which was more nearly a despondent withdrawal from public life". However, Anthony Slide indicates that Gantz was "something of an opportunist, who persuaded <mask> to marry him — and co-incidentally let him manage her considerable fortune." Universal
In January 1925, <mask> returned once again to Universal, hired by Carl Laemmle to take charge of all story development for a $5 million production initiative based around the adaptation of popular novels. Universal released one major big-budget film each year, including The Hunchback of Notre-Dame (1923) and The Phantom of the Opera (1925), both starring Lon Chaney, Sr. After two unsuccessful previews, in 1925 <mask> and Maurice Pivar were assigned to re-edit The Phantom of the Opera before its ultimate release in September 1925. Another novel which Universal decided to film was Uncle Tom's Cabin, for which <mask> completed an adaptation for a film to be directed in 1926 by Harry A. Pollard, who had starred as Uncle Tom in a 1913 version and was, by 1923, Universal's leading director, with nine consecutive hits.In 1926, <mask> signed a new distribution deal with Universal, making her "one of the highest paid women in the business". One of her first "comeback" movies was The Marriage Clause, which <mask> adapted from the short story "Technic" by Dana Burnet in The Saturday Evening Post of May 16, 1925. It starred Francis X. Bushman and brought contract player Billie Dove to international prominence. It was released on September 12, 1926. By June 1926, <mask> was signed to direct Sensation Seekers, a romantic drama based on Ernest Pascal's novel Egypt, that also starred Billie Dove. However, just before her wedding, <mask> replaced Pollard as director of Uncle Tom's Cabin, as he had been hospitalized in Manhattan with blood poisoning and a shattered jaw caused by the "maltreatment" of a tooth infection by a New York dentist. <mask> ceased work on Sensation Seekers and was willing to interrupt her honeymoon to travel to Louisiana to direct the location scenes for Uncle Tom's Cabin.On June 15, the Los Angeles Times reported Gantz had obtained a license to marry <mask>. On June 30, 1926, a justice of the peace married the couple in a ceremony at Enchanted Hill, the home of screenwriter Frances Marion in Santa Ana, California. At their wedding, <mask> reduced her age by nine years to 38 to match her new husband. In 1927, Smalley married music teacher Phyllis Lorraine Ephlin. After five months during which his life was in serious jeopardy, and six jaw operations, Pollard emerged from hospital "disfigured for life, but undaunted, ready once more to resume his megaphone". <mask> was no longer required for Uncle Tom's Cabin. <mask> returned to direct Sensation Seekers, which was released on March 20, 1927.United Artists
In November 1926, <mask> joined United Artists to direct a comedy film called Topsy and Eva based on a popular play of that name written by Catherine Chisholm Cushing, featuring the Duncan Sisters in blackface. <mask> had adapted from the original novel when she was attached to the Universal version of Uncle Tom's Cabin. She attempted to make another serious adaptation, but the studio decided that it should be a comedy rather than a drama. After some shooting by <mask>, she thought some of the scenes to be shot were insulting to African Americans, including such "racist humor as a stork dropping a black baby into a trash can". Topsy and Eva was reassigned to Del Lord to direct, with some additional scenes by D.W. Griffith. By 1927, <mask> advised young women to avoid filmmaking careers. In 1927 DeMille Pictures signed <mask> to direct her final silent movie, The Angel of Broadway, which featured Leatrice Joy, released on October 3, 1927.However, the advent of sound technology and the demise of silent movies, coupled with some negative reviews and poor box office receipts, ended <mask>'s comeback in 1927. For example, Variety believed The Angel of Broadway'''s sentimentality would appeal to the masses, but not to sophisticated urban audiences: "For New York this title is a dud, but in the hinterland it may well be esteemed box office. Pathe has, in fact, a very good commercial property for the territory west of Hoboken". Nadir
By February 1927, <mask> owned and operated <mask>'s Garden Village at 4633 Santa Monica Boulevard in Los Angeles. In the late 1920s, <mask> and Gantz sub-divided the El Rancho ranch, creating the upscale "Brookdale Heights" (now at West Brookfield Place), Fullerton, with the 300–400 residential lots advertised for $1,500 to $3,000 each, and houses priced at $8,000 to $9,000 each. On another part of their acreage, the Gantzes built a Spanish-style residence with a tower retreat for <mask> at 225 W. Union Ave. When <mask> was asked in April 1928 when she might direct again, she replied "when I find a producer who thinks I have intelligence enough to be let alone and go ahead with my own unit."Five years elapsed before <mask> got the opportunity again. While <mask> and Gantz appeared to be enjoying domestic harmony in March 1930, soon afterward <mask> was separated from Gantz and was living with her mother and nephew in Los Angeles. In 1931, Gantz sold the El Dorado ranch to C. Stanley Chapman, the son of Charles C. Chapman. By 1932, <mask> was still separated from Gantz and was managing an apartment building in Fullerton, California. In February 1932, Universal released a condensed version of Shoes called The Unshod Maiden, complete with satirical narration. Final comeback
Through the intervention of Frances Marion, by early June 1932 <mask> was hired by United Artists as a script doctor to work on Cynara with Marion. In February 1933, Universal signed <mask> to scout for new talent and to direct screen tests.Within weeks, <mask> had interviewed 250 girls and young women from dramatic schools. In 1933, Universal offered <mask> another directing contract, assigning her to Edna Ferber's Glamour, but she was removed from the project abruptly and it was transferred to a reluctant William Wyler. <mask> and Gantz spent five weeks on location in Kauai, Hawaii from August 24, 1933,Ancestry.com. California Passenger and Crew Lists, 1882–1957 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2008–2011. Archive information (series:roll number): m1764:47. as she had been hired by the Seven Seas Corporation to direct Virginia Cherrill (then the fiancée of Cary Grant) and Mona Maris in Cane Fire, a tale of racial prejudice and miscegenation on a Hawaiian sugar plantation. Made on a low budget on the plantations of the Kekaha Sugar Company and the Waimea Sugar Company and at Alexander McBryde's Lawai Kai estate, it was the first film shot on the island of Kauai.It was released as White Heat by the Pinnacle Production Company on June 15, 1934 to limited "commercial and critical success", with <mask> quoted as saying at the time that the film "was not a hit but will not lose any money".White Heat proved to be her final film, and her only talkie. It was shown on television on Friday, June 21, 1940 on NBC's station W2XBS, but is now considered a lost film. Later years and death
<mask> and Gantz divorced about 1935. "<mask>", The Hartford Courant (Hartford, CT: November 14, 1939). In November 1939, <mask> was admitted to Good Samaritan Hospital in critical condition, suffering from a stomach ailment that had afflicted her for years. She died almost two weeks later on Monday, November 13, 1939, destitute, from a bleeding ulcer. She was 60 years old.Her younger sister, Ethel Howland, and friends Frances Marion and Veda Terry, were at her bedside. Her death was largely overlooked, with her Variety obituary only two brief paragraphs longVariety (November 15, 1939). and a brief mention in the Los Angeles Examiner. Gossip columnist Hedda Hopper contributed a more substantial tribute in the Los Angeles Times. On Friday, November 17, 1939, more than 300 people attended <mask>'s funeral,"<mask> Rites Set for Today", Los Angeles Times (November 17, 1939): 30. which was paid for by Frances Marion. After the funeral, <mask> was cremated at the Los Angeles Crematory and the location of her remains is unknown. <mask> wrote a memoir, The End of the Circle, which was to have been published shortly before her death  but ultimately was not, despite the efforts of her sister, Ethel Howland, and was later stolen in the 1970s.For her contribution to the motion picture industry, on February 8, 1960, <mask> was awarded a star on the Hollywood Walk of Fame at 6518 Hollywood Blvd. Legacy
The Buffalo Dreams Fantastic Film Festival gives out the <mask> Award in her honor since 2017. A one-woman play, Tea with <mask>, is based on <mask>'s talks at the Hollywood Studio Club. Written, produced and directed by Susan Kurtz, it was recorded and shown at the 53rd Cinecon Film Featival in 2017. Selected filmography

Further reading
Acker, Ally. Reel Women: Pioneers of the Cinema 1896–present. New York, 1991.Foster, Gwendolyn Audrey. Women Film Directors: An International Bio-critical Dictionary. Westport, CT; London, 1995. Koszarski, Richard. 1976. Hollywood Directors: 1914-1940. Oxford University Press.Library of Congress Catalog Number: 76-9262. Lowe, Denise. An Encyclopedic Dictionary of Women in Early American films, 1895–1930. Routledge, 2005. Norden, Martin F. The Birth Control Films of Margaret Sanger and <mask>. (forthcoming). Norden, Martin F.  <mask>: Interviews.Jackson, MS: University Press of Mississippi, 2019. Pendergast, Tom and Sara Pendergast, eds. International Dictionary of Films and Filmmakers, Vol. 2: Directors. Detroit, MI: 2000. Slide, Anthony. <mask>: The Director Who Lost Her Way in History.Westport, CT: Greenwood Press, 1996. Stamp, Shelley. "'Exit Flapper, Enter Woman,' or <mask> in Jazz Age Hollywood". Framework (Fall 2010). Stamp, Shelley. <mask> in Early Hollywood. University of California Press, May 2015.Tibbetts, John C. and James M. Welsh. The Encyclopedia of Filmmakers. Vol. Two. New York, NY: 2002. Unterburger, Amy L., ed. Women Filmmakers & Their Films.Detroit, MI; New York; and London, 1998. Douglas, Illeana, et al., Pioneers: First Women Filmmakers''. Copublished by Library of Congress and Kino Classics, NY, 2018. Pages 52–57 provide overviews and details of several films <mask> and Phillips Smalley co-created between 1911 and 1921. These restored films are featured on disc three of this collection from Kino Lorber, Inc.

References

External links

<mask> at the Women Film Pioneers Project
Literature on <mask>
The Films of <mask>

1879 births
1939 deaths
American people of Pennsylvania Dutch descent
American film actresses
American silent film actresses
Actresses from Pittsburgh
Silent film directors
20th-century American actresses
American women film directors
Film producers from Pennsylvania
American women screenwriters
Writers from Pittsburgh
Film directors from Pennsylvania
Deaths from ulcers
Women film pioneers
Screenwriters from Pennsylvania
American women film producers
20th-century American women writers
20th-century American screenwriters
Burials at Kensico

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<mask><mask> (25 October 1849, Asch, Bohemia Austrian Empire – 1 April 1929, San Francisco) was an Austrian-born American physician and ardent, influential exponent of homeopathy. He is known in the field today as the compiler and editor of the Pocket Manual of Homeopathic Materia Medica. The ninth edition has endured as his most re-published version partly because of its then final inclusion of a mini-repertory by his brother, <mask>, MD, also a homeopathic physician. Early life
As a child, <mask>e immigrated to the United States with his family from Asch, then part of the Austrian Empire, a Bohemian region that, since the end of World War II, was part of Czechoslovakia, then, since 1993, the Czech Republic. The Boerickes settled in Cleveland. <mask>'s father, <mask> (1813–1901), married twice, his second being to Henriette C. née Jaenig (1836–1902), <mask>e's stepmother. Medical journal
Boericke was the founding editor in November 1882 of the journal, The California Homeopath.The first five volumes were published bi-monthly. Willis Alonzo Dewey, MD (1858–1938) became co-editor with volume six. Charles Lewis Tisdale, MD (1859–1925), was added as editor with volume eight. With volume nine in 1892, the name changed to The Pacific Coast Journal of Homeopathy under a new editor, Hugo Emil Rudolph Arndt (1849–1913). Boericke was editor again from 1910 to 1915 and from 1918 to 1922. The journal ran until 1940, closing under the editorship of one of Boericke's sons, Charles Caleb <mask>, MD (1897–1965). The publication had been the official  of the state homeopathic medical societies of California, Oregon, and Washington.Hospital and medical college in Northern California
Boericke co-founded the Pacific Homeopathic Medical College and Hahnemann Hospital in 1881. In 1883, Boericke was a co-incorporator and founding faculty member of the Hahnemann Medical College of San Francisco, graduating its first class in October 1884. The Hahnemann Medical College was absorbed by the University of California, San Francisco, Medical School in July 1918. That same year, the University appointed Boericke as its first homeopathic lecturer, a position he had held from 1883, at the original college, to 1922, at UCSF. Instruction in homeopathy continued at UCSF until 1939, when the school dropped it from the curriculum. Boericke & Tafel

In 1853, <mask>e's uncle, Francis Edmund <mask> (1826–1901), and Rudolph Leonhard Tafel (1831–1896) founded a bookstore specializing in Swedenborgian literature, at 24 South 5th in Philadelphia. Upon the suggestion of Constantine Hering, they began to manufacture and sell homeopathic remedies.Within six months of the formation of the partnership, Rudolph Tafel left to assume a teaching position at the U.S. Naval Academy. That same year (1854), <mask> married Rudolph Tafel's sister, Eliza Mathilda Tafel (1838–1904). Francis Boericke kept the small book store, and took in Rudolph's brother, Adolph Julius Tafel (1839–1995), as an apprentice. In 1855, Adolph Tafel left for the West. In 1863, Francis Boericke earned a medical degree from the Homeopathic Medical College of Pennsylvania. In 1869, he formed a partnership with Adolph Tafel, Boericke & Tafel, a publishing company, homeopathic medicine wholesaler, retailer, and manufacturer, in Philadelphia, headquartered at Fifth Street, above Chesnut.When <mask>e graduated from public high school in Cincinnati in 1863, he moved to Philadelphia to work for the Boericke pharmacy. In 1870, Boericke & Tafel opened a branch in San Francisco called "Pioneer Homeopathic Pharmacy", located at 234 Sutter Street. <mask>icke ran it from its inception. In 1876, <mask>e moved back to Philadelphia to attend Hahnemann Medical College, where he graduated with an MD in 1880. He then studied at the Vienna Medical School for one year. Boericke & Schreck
In 1882, <mask>e moved back to San Francisco to practice medicine and, in the spring of that same year, he and Ernest Albert Schreck (1831–1886) purchased the Pioneer Homeopathic Pharmacy and henceforth named it Boericke & Schreck. Boericke and Runyon Company
Schreck died in 1886.In October 1890, Edward Wheelock Runyon (1851–1937) purchased Schreck's half interest and the firm henceforth, until 1950, was known as "Boericke and Runyon". Around 1894, Boericke and Runyon took on another partner, Frederick O. Ernesty (1951–1959) and the firm became known as Boericke, Runyan & Ernesty. Ernesty sold his interest to Boericke and Runyon in 1899 and retired. Around 1920, Boericke and Runyon began producing popular non-prescription home-remedy medicines under the tradename EOPA, the middle four alpha characters from the word "Hom-eopa-thy". EOPA eventually became a subsidiary of Boericke and Runyon – Eopa Company – and distributed medicines nationwide. The Eopa Company operated nationally until the early 1950s. In 1877, Boericke & Tafel opened a pharmacy in Oakland at the Grand Central Hotel at 956 Broadway.They suspended operations in 1882, selling it to <mask> Brueck, a homeopathic pharmacist who had been their manager. In 1886, Brueck sold it to Boericke and Schreck. Legacy
When <mask>e died in 1929, approximately three-fourths of the stock in Boericke & Tafel descended to his four surviving sons: (i) Garth Wilkinson <mask>, MD (1893–1968), (ii) <mask> <mask> (1885–1963), (iii) Charles Caleb <mask>, MD (1897–1965), (iv) Arthur Thacher <mask> (1899–1972). Before the end of the 19th century, Boericke & Tafel, headquartered in Philadelphia, became the largest manufacturer of homeopathic medicines in the United States. In 1987, Boericke & Tafel was acquired by VSM (nl) (Voorhoeve Schwabe Merkgeneesmiddelen) of the Netherlands, a subsidiary of the Willmar Schwabe Group (de) of Germany. In 1992, Boericke & Tafel moved to Santa Rosa, California. In 2005, Schwabe Pharmaceuticals closed its Santa Rosa manufacturing facilities and moved its marketing and distribution departments to a sister company, Nature's Way, in Utah, and its manufacturing to the Netherlands and Mexico, where Schwabe, at that time, had facilities that were underused.Boericke and Runyon Company was eventually, sometime after 1950, acquired by Boericke & Tafel. Boericke, who was known internationally in the field of homeopathy, flourished in several dimensions of homeopathy during its rise in the United States. He was a popular clinical physician, prolific academic writer, publisher, medical journal editor, owner of several pharmacies, medicine manufacturer, medical school professor, and published researcher. To the extent that homeopathy had been, and still is, criticized by the mainstream medical community in North America, Boericke's era of homeopathy, and Boericke in particular, was highly transparent and well-published. Boericke was also well-known and influential in Europe, particularly Germany – the birthplace of homeopathy, whose people spoke the language of Boericke's childhood. At the end of the 19th century, there was hardly a U.S. city with over 50,000 people that didn't have a homeopathic hospital. In 1890, there were 93 regular medical schools, of which 14 were exclusively homeopathic and 8 were eclectic.In 1900, there were 121 regular medical schools, of which 22 were exclusively homeopathic, and 10 were eclectic. Also in 1900, there were more than 100 homeopathic hospitals, over 60 homeopathic orphan asylums and old people's homes, and over 1,000 homeopathic pharmacies. Teaching of homeopathy in the United States declined rapidly in the early 20th century. The last purely homeopathic medical school closed in 1920, although homeopathic electives continued to be offered by the Hahnemann Medical School in Philadelphia until the 1940s. Criticism in 21st century about the validity of homeopathy is not entirely dissimilar to the criticism of Boericke's era. And, despite the rise in the sale of homeopathic preparations since the late 1980s, particularly in North America, Europe and India, there is one contrasting difference as of 2010: only Arizona, Connecticut, and Nevada license MDs and DOs to practice homeopathy. Personal life
<mask>e finished medical school in 1880 and moved back to San Francisco around 1881.On August 22, 1883, in San Francisco, he married Katherine (Kate) Worcester Fay (1861–1933), the daughter of Caleb Taylor Fay (1821–1885), a Forty-Niner from Massachusetts, San Francisco merchant, and participant in local and California state politics. <mask> and Kate Boericke had five sons and two daughters; the daughters were twins; two of the sons were:
 Garth Wilkinson <mask>, MD (1893–1968), graduated in 1918 from the University of Michigan Medical School and taught pediatrics there. He became a surgeon and a published several articles in medical journals on homeopathic medicine. Garth's middle name was from James John Garth Wilkinson, a Swedenborgian writer and close friend of <mask>e. Charles Caleb <mask>, MD (1897–1965), was a physician, surgeon, and influential exponent of homeopathic medicine. But it remained unpublished for 79 years – until Richard M. Haehl (1873–1932) in 1921 and <mask>e in 1922 produced German and English versions, respectively. Hahnemann's manuscript is held at the University of California, San Francisco library.Boericke worked from the original manuscript; Haehl, of Stuttgart, worked from a handwritten copy. Articles and lectures

 "Differentiation Between Melilotus, Glonoin and Belladonna", Pacific Coast Journal of Homeopathy, Vol. 8, No. 5, May 1905, pps. 101–103;
 "Hahnemann's Doctrine of Psora in the Treatment of Disease in Children", The Hahnemannian Monthly, Vol. 29, No. 32, August 1894, pps.500–504;
 "Homeopathy – A Specialty in Therapeutics", Pacific Coast Journal of Homeopathy, Vol. 3, No. 12, December 1895, pps. 451–456;
 "Pain and Its Homeopathic Treatment", North American Journal of Homeopathy, Vol. 46, No. 5, May 1898, pps. 1–7;

Notes

References

External links
 About the manuscript of Samuel Hahnemann's Organon der Heilkunst, Special Collections, University of California, San Francisco
 Materia Medica by <mask>e, full book

1849 births
1929 deaths
American homeopaths
American medical historians
Medical journalists
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American pharmacists
Drexel University alumni
Journalists from California
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<mask> (March 14, 1882 – May 10, 1931) was an American artist and founding president of the Charleston, South Carolina, branch of the National Association for the Advancement of Colored People. He was excluded from the whites-only artistic movement known as the Charleston Renaissance. Early life
He was born in Charleston, South Carolina, on March 14, 1882. He was one of five surviving children of <mask> and <mask>, a prosperous former coastal schooner captain who owned the Harleston Funeral Home. His mother traced her lineage through several generations of free people of color, while his father was descended from a white planter and one of his slaves. <mask> won a scholarship to study at the Avery Normal Institute, from which he graduated as valedictorian in 1900. He went on to Atlanta University, where he studied chemistry and sociology and took courses with W. E. B.Du Bois, who became a lifelong friend. After graduating in 1904, <mask> stayed on for a year as a teaching assistant in both sociology and chemistry while planning the next step in his education. Although he was admitted to Harvard University, he decided instead to attend the Boston Museum of Fine Art's school. There he studied under the painters William McGregor Paxton and Frank Weston Benson from 1905 to December 1912. <mask> also attended the Art Institute of Chicago over the summer. <mask> returned to South Carolina in 1913 to help his father run the funeral home, continuing to do so until 1931, the year both he and his father died. He became active in local civil rights groups and in 1917 rose to be president of Charleston's newly formed branch of the NAACP.One campaign he led succeeded in getting the local public school system to hire black teachers. Art career

<mask> painted in a realist style that was influenced by both his Boston training and his wife Elise Forrest <mask>'s photographic work. He mostly painted portraits, often on commission, and his sitters included notables such as Grace Towns, who later became the first African-American woman elected to the Georgia General Assembly; philanthropist Pierre S. du Pont; and Edward Twitchell Ware, a former president of Atlanta University. He also painted genre scenes of the daily life of Charleston's African-American citizens, especially its rising middle class, as well as landscapes of South Carolina Lowcountry. Out of step with the rising modernism of the 1920s, he saw himself as continuing in the tradition of Henry Ossawa Tanner by portraying black people and their lives realistically instead of as caricatures or stereotypes. <mask> was described by W. E. B. Du Bois as the "leading portrait painter of the race" even though his responsibility for helping to run the funeral home meant he could never devote himself to being a painter full-time.In 1920, <mask> married photographer Elise Forrest, with whom he opened a studio across the street from the funeral home. This studio, which had both workspace and a public gallery to promote their artwork, was the first such public art establishment for Charleston's African-American citizens. <mask> often used Elise's photographs as the basis of his paintings and drawings; one of his best-known works, Miss Sue Bailey with the African Shawl, is based on a photograph by Elise. A three-quarter length seated portrait in dark colors and muted light, the painting exemplifies <mask>'s commitment to portraying his sitters with dignity. <mask> was actually so pleased with the painting that he entered it in the 1930 Harmon Foundation Awards. Starting in 1930, <mask> helped artist Aaron Douglas paint his Symbolic Negro History murals for Fisk University; these are now considered among Douglas's most important works. This project was completed in 1930, the year before <mask> died.In 1930, <mask> painted Douglas's portrait with the unfinished mural in the background, typically emphasizing the sitter's profession and character while avoiding any suggestion of the picturesque. This mural is vastly different from his usual painting style, which consisted of muted colors like those seen in the painting of Miss Sue Bailey with the African Shawl. The colors he used in the mural showcase a much more vibrant range of shade, which display his range as an artist, and they way he could adjust to work with other artists. <mask> won a number of awards for his work, including the top prize in NAACP-sponsored contests in 1925 (A Colored Grand Army Man) and 1931 (Ouida) and the William E. Harmon Foundation's Alain Locke Prize for portrait painting, also in 1931 (The Old Servant). Despite this modest success, <mask> was largely excluded from the dominantly white artistic circles of the Charleston Renaissance with which his work is today associated. Only writer Julia Peterkin, who won a Pulitzer Prize for her writing about African-American life, appears to have visited Harleston. Although writer DuBose Heyward based a character on him in his novel Mamba's Daughters, it seems they never met in person.Racial prejudice and segregation thwarted several potential commissions and blocked a planned 1926 exhibition of his work at the Charleston Museum that had been organized by museum director Laura Bragg and promoted by the city's mayor, Thomas Porcher Stoney. By 1930, the funeral home business was suffering from the Great Depression. Harleston undertook a series of lectures at black colleges to earn money. In April 1931, <mask>'s father died of pneumonia, and <mask> himself (who is said to have kissed his dying father goodbye) succumbed to the same ailment less than a month later at the age of 49. Legacy
<mask>'s paintings are in the collections of the Gibbes Museum of Art (Charleston), the Avery Research Center for African American History and Culture (Charleston), the Savannah College of Art and Design Museum in Savannah, Georgia, and the California African American Museum. <mask>'s papers are held by the South Carolina Historical Society and Emory University's Stuart A. Rose Manuscript, Archives, and Rare Book Library.References

Further reading
 Ball, Edward. The Sweet Hell Inside: The Rise of an Elite Black Family in the Segregated South. William Morrow, 2001. Botsch, Carol Sears. "<mask> Harleston". University of South Carolina-Aiken. Harleston, <mask>. Painter of an Era, 1882-1931.Detroit: Your Heritage House, 1983. (Catalog with bibliography)
 McDaniel, Maurine Akua. <mask> <mask>, Portrait Painter, 1882–1931. Emory University, 1994. External links
 Stuart A. Rose Manuscript, Archives, and Rare Book Library

1882 births
1931 deaths
Charleston Renaissance
20th-century American painters
American male painters
20th-century African-American painters

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