texts:
<mask> (born 5 May 1981) is a former professional Australian rules footballer who played for North Melbourne and Carlton in the Australian Football League and was the senior coach of the Carlton Football Club, from 2019 to 2021. <mask> is an assistant coach with the Richmond Football Club. Playing career
In the 2000 AFL Draft, <mask> was recruited by the North Melbourne Football Club and made his AFL senior debut in 2001. He played a total of 33 senior games throughout 3 seasons for the Kangaroos. Following the end of the 2003 AFL season, <mask> was traded to the Carlton Football Club. In 2004, <mask> won Carlton's best and fairest award, the John Nicholls Medal. He was delisted from Carlton's playing list in 2007 after failing to be in their lineup for the entire season.Throughout his playing career, <mask> was well-regarded for his courage in defence. In 2004, he won the Robert Rose Award as the most courageous player in the league, as voted by the players. His style made him a dominant player in wet conditions. Coaching career

Carlton assistant development coach and Northern Bullants player-coach (2007-2010)
On 12 October 2007, it was announced that <mask> would continue with the Carlton Football Club as a development coach with Carlton and as playing-coach for the Northern Bullants (on the Bullants list as a VFL-listed player). In 2009, <mask> retired from playing with the Bullants, but retained his coaching roles and was able to coach the Bullants into the club's first grand final since 1984. They finished runners-up to North Ballarat. In 2010, he again coached the Bullants into the grand final (which they again lost to North Ballarat).West Coast Eagles assistant coach (2011-2013)
In 2011, <mask> was appointed as an assistant coach for the West Coast Eagles. <mask> was assistant coach for three seasons with the Eagles. St Kilda Football Club assistant coach (2013-2014)
<mask> joined St Kilda as an assistant coach in November 2013. Adelaide Football Club assistant coach (2014-2017)
In October 2014, <mask> was appointed assistant coach (forwards) with the Adelaide Crows under newly appointed senior coach Phil Walsh who he had previously worked with during his time at West Coast. Carlton Football Club assistant coach (2017-2019)
In October 2017, <mask> was appointed assistant coach (forwards) at Carlton, returning to the club after a long absence. Carlton Football Club senior coach (2019-2021)
On 3 June 2019, <mask> was announced as caretaker senior coach of Carlton Football Club, following the sacking of Brendon Bolton. Five days later, <mask> coached and won his first match as coach of the club with a 15-point win over the Brisbane Lions.<mask> led Carlton to win six games of the remaining eleven games of the 2019 season to finish sixteenth on the ladder. On 15 August 2019, following the club's improved results under his coaching, <mask> was permanently installed and re-appointed as full-time Carlton Football Club senior coach, signing an initial three-year deal. After <mask> was given the role of full-time Carlton Football Club senior coach, things did not improve for the club, when <mask> guided Carlton in the 2020 season to finish eleventh on the ladder with seven wins and ten losses. In the 2021 season, Carlton's on-field performance under <mask> further deteriorated. The situation at the club then worsened with the disappointment of the expectations that dropped in the on-field performance. <mask>'s job came under increased pressure after the team’s horror loss to Port Adelaide in a humiliating thrashing by 95 points In Round 22, 2021. After the final game of the 2021 season, when Carlton under <mask> lost to GWS by fourteen points, <mask> told reporters in a press conference after the game:
“I understand the club will make a decision.Let’s be honest, it doesn’t look like it’s going to go in my favour, but in terms of what I’ve done and what I’ve been able to control, I know who I am, I know the way I’ve done it and I’m really happy with it”. <mask> also stated that he "didn't have the full support of people from within the club". Carlton under <mask> finished the 2021 season in thirteenth place on the ladder with eight wins and fourteen losses. On 26 August 2021, <mask> was sacked as Carlton Football Club senior coach, at the end of the 2021 season. The club came to this decision after an extensive review of the club's football operations, due to a disappointing season with poor on-field results. The club review found that <mask>'s coaching methods and gameplan were supported by only 30 percent of the club's players and the club's staff. <mask> coached Carlton to a total of 50 games with 21 wins and 29 losses with a winning percentage of 44 percent.<mask> was replaced by Michael Voss as Carlton Football Club senior coach. Richmond Football Club assistant coach (2021-present)
Shortly after <mask> was sacked as Carlton senior coach, he made the move over to Punt Road, to join the Richmond Football Club as an assistant coach under senior coach Damien Hardwick for the 2022 season. Statistics

Playing statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2001
|style="text-align:center;"|
| 40 || 10 || 1 || 0 || 29 || 16 || 45 || 15 || 12 || 0.1 || 0.0|| 2.9 || 1.6 || 4.5 || 1.5 || 1.2
|-
! scope="row" style="text-align:center" | 2002
|style="text-align:center;"|
| 40 || 16 || 3 || 0 || 104 || 51 || 155 || 55 || 37 || 0.2 || 0.0 || 6.5 || 3.2 || 9.7 || 3.4 || 2.3
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2003
|style="text-align:center;"|
| 40 || 7 || 0 || 0 || 31 || 31 || 62 || 14 || 11 || 0.0 || 0.0 || 4.4 || 4.4 || 8.9 || 2.0 || 1.6
|-
! scope="row" style="text-align:center" | 2004
|style="text-align:center;"|
| 15 || 22 || 1 || 1 || 168 || 93 || 261 || 78 || 55 || 0.0 || 0.0 || 7.6 || 4.2 || 11.9 || 3.5 || 2.5
|- style="background-color: #EAEAEA"
!scope="row" style="text-align:center" | 2005
|style="text-align:center;"|
| 15 || 21 || 1 || 2 || 141 || 66 || 207 || 70 || 66 || 0.0 || 0.1 || 6.7 || 3.1 || 9.9 || 3.3 || 3.1
|-
! scope="row" style="text-align:center" | 2006
|style="text-align:center;"|
| 15 || 7 || 0 || 1 || 41 || 27 || 68 || 26 || 20 || 0.0 || 0.1 || 5.9 || 3.9 || 9.7 || 3.7 || 2.9
|- class="sortbottom"
! colspan=3| Career
! 83
! 6
! 4
! 514
!284
! 798
! 258
! 201
! 0.1
! 0.0
! 6.2
!3.4
! 9.6
! 3.1
! 2.4
|}

Coaching statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center; font-weight:normal" | 2019
|style="text-align:center;"|
| 11 || 6 || 5 || 0 || 54.54% || – || 18
|- style="background-color: #EAEAEA"
|- class="sortbottom"
! colspan=2| Career totals
! 11
!6
! 5
! 0
! 54.54%
! colspan=2|
|}

References

External links

<mask> profile in Blueseum

1981 births
Carlton Football Club players
Living people
North Melbourne Football Club players
John Nicholls Medal winners
Preston Football Club (VFA) players
Preston Football Club (VFA) coaches
Corowa-Rutherglen Football Club players
Australian rules footballers from Victoria (Australia)
Carlton Football Club coaches

masks:
David Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
Teague
David Teague


type: original

texts:
<mask> (24 July 1893 – 23 January 1964) was a French journalist and Radical politician who was a deputy from 1928 to 1942. He alternated between the posts of Minister of Justice and Minister of Health from 1936 to 1940. Although he was not pro-feminist he introduced changes that gave greater opportunity to women. He was anti-racist, and after the initial defeat of France in World War II he did not support the Vichy government, but participated in the National Council of the Resistance and then in the first Provisional Consultative Assembly . After the war he was a senator from 1947 to 1958. Early years (1893–1928)
<mask> was born on 24 July 1893 in Coulommiers, Seine-et-Marne. Rucart made his first journalistic efforts when he was aged 17.In 1914 he edited the Loiret Progrès. He moved to Paris where he contributed to the Le Radical, La Lanterne and Progrès civique. After returning to the province he became director of Paul Doumer's La Tribune, and then editor of the Vosges République. Inter-war politics (1928–37)
In 1928 Rucart ran for election as deputy in the Épinal constituency as candidate of the Radical Socialist party, and was elected in the first round. He was elected as deputy in the first round in 1932 and 1936. As deputy he was particularly interested in defense issues. He was also rapporteur of the inquiry into the Oustric Affair and general rapporteur of the inquiry into the 6 February 1934 crisis.He edited the report on the official investigation into the 6 February 1934 events, published by the Chamber on 17 May 1939. He helped defend the rights of Vietnamese who believed in Caodaism. Rucart appointed was Minister of Justice from 4 June 1936 to 21 June 1937 in the 1st cabinet of Léon Blum. Rucart helped accelerate the process of naturalizing immigrants from Eastern Europe and Germany. Rucart worked with Roger Salengro, Minister of the Interior, and Jean Lebas, Minister of Labor, to help refugees from Nazi Germany who had found their way into France. By decree of 17 September 1936 they were given identity certificates and protected from arbitrary expulsion from the country. In the fall of 1936 a report from Rucart's office drew attention to the delays in the process of granting citizenship and the resultant huge backlog.<mask> said this was "intolerable" given the low birthrate in France and the increasing vulnerability to attack. He obtained funding for additional staff to process the applications. <mask> said in the Spring of 1937 "I have wanted naturalization policy to take into account, above all else, the needs of national defense. I believe it is now time to facilitate the accession to French nationality of all able-bodied and perfectly honest adults under the age of 30 who have been suitable for military service." He reduced the role of the Confédération des Syndicats Médicaux in approving applications by doctors. He wrote in a circular to prefects that they should remind the professional associations that they should only be concerned with reviewing professional qualifications. The medical profession strongly resisted his efforts to streamline to process.Minister of Health (1937–40)
Rucart replaced the popular and energetic Henri Sellier as Minister of Health when the Blum cabinet resigned in June 1937. The change may in part have been to reduce the number of socialists in the government, but may also have been a reaction to Sellier's efforts to suppress regulated prostitution. Rucart was Minister of Health from 22 June 1937 to 10 March 1938 in the 3rd and 4th cabinets of Camille Chautemps, then briefly Minister of Justice from 13 March 1938 to 8 April 1938 in Léon Blum's second cabinet. He was again Minister of Health from 10 April 1938 to 20 March 1940 in the 3rd cabinet of Édouard Daladier. As Minister of Health Rucart instituted various reforms including regulations for the nursing profession, the general inspectorate for public health and the National Red Cross Council. He created national bonuses for births. In February 1938 Rucart stated that the Chautemps government favored greater efforts to encourage births, but its view was that creating prosperity was the best way to increase the birthrate.He said, "Our peoples are too advanced to agree happily to bring children into the world whose lives may be threatened by unemployment, poverty, sickness or war. The pro-natalist lobby objected to this position, since they felt the parents of large families should be favored over those who had none. In October 1937 Rucart created the Higher Council for the Protection of Children, with the mandate of coordinating public and private services, the different government agencies and the League of Nations commissions. With the imminent defeat of the Republican side in the Spanish Civil War (1936–39), refugees began to flood into France in January 1939. They received a charitable welcome. Rucart toured the border with Albert Sarraut, the Minister of Interior. They commented on "how the local authorities had met the challenge, and how they had coped with unprecedented difficulties."Rucart removed obstacles to women progressing from deputy inspectors to full inspecteurs in public assistance services. He said the performance of women as deputy inspectors had shown "the competence and authority required of a chef de service, this combination of qualities not depending in any way on the sex of the individual, but on moral and professional worth." He noted that women had "qualities of generosity and thoughtfulness which suit her particularly to work with children and especially unfortunate children." He dismissed the objection that women did not have the physical stamina for the job, since the automobile had removed that need, and dismissed the issue of the legal inferiority of women to men when acting as guardians designated by the prefect of a department on the basis that the guardianship was assigned to the inspecteur, not to the man or woman who held the post. Rucart was not committed to the feminist cause. The law of 9 April 1938 that allowed women to become inspecteurs imposed a ceiling of 50% of chief departmental inspectors. He was angered by the street demonstrations organized by Louise Weiss in the 1930s, and told her much later "The right to vote does away with the right of insurrection, Madame ... Had you not read Victor Hugo?"He was nonplussed when Weiss reminded him that at the time women in France did not have the right to vote. <mask> was known for being anti-racist. The Daladier cabinet did not introduce any laws that discriminated against Jews, but issued a decree banning incitement of religious or racial hatred. Marshal Philippe Pétain's government annulled the decree soon after taking power in Vichy. World War II (1939–45)

Rucart abstained from the vote to give Pétain full powers on 10 July 1940. He created a first cell of the French Resistance in Paris. In January 1941 he was arrested and imprisoned in Cherche-Midi and then in Fresnes.He was released for lack of evidence, and formed the Patriam Recuperare group. After being denounced he moved to the southern zone and helped organize the Resistance in Toulouse. In May 1943 he returned to Paris to represent the Radical Socialist party in the National Council of the Resistance. Rucart made his way  to London and then to Algiers, where in November 1943 he became a member of the provisional Consultative Assembly. Rucart was among the traditionalists who felt that it was imperative to maintain the rights of parliament, but this group did not have the weight to override the Gaullists, who did not want to impose and handicaps on General Charles de Gaulle as leader of Free France. The Consultative Assembly, as its name implied, did not have much power but could debate government proposals and often caused improvements to the wording. Rucart was outspoken, but would not undermine de Gaulle.<mask> chaired the Foreign Affairs Committee of the Consultative Assembly. In this capacity he attended the Colonial Conference on Brazzaville in January 1944. He was then president of the Radical Socialist party until the Liberation of France. When the Consultative Assembly first sat in Paris in November 1944, <mask> was founder and president of the group of the Democratic Radicals and Radical Socialists. Later career (1945–64)

<mask> had significant stakes in several French trading companies in French West Africa in the late 1940s. The governor-general made every effort to meet his needs. Rucart was elected Councilor of the Republic for Côte-d'Ivoire in the first round of votes on 13 January 1947 on the list of the Rally of Left Republicans.He became president of the committee on Overseas France. He was elected to the Senate for the newly formed constituency of French Upper Volta on 14 November 1948. He was reelected on 18 May 1952. He voted for the constitutional amendment on 2–3 June 1958 that was the basis for the French Fifth Republic. He failed to be reelected on 8 June 1958. Rucart became a high-grade Freemason. He was president of the professional union of editors in chief, and an honorary member of the central committee of the Human Rights League.He was a knight of the Legion of Honour. <mask> died on 23 January 1964 in Paris. Publications

Notes

Sources

1893 births
1964 deaths
People from Coulommiers
Politicians from Île-de-France
Radical Party (France) politicians
French Ministers of Justice
French Ministers of Health
Members of the 14th Chamber of Deputies of the French Third Republic
Members of the 15th Chamber of Deputies of the French Third Republic
Members of the 16th Chamber of Deputies of the French Third Republic
French Senators of the Fourth Republic
Senators of French West Africa
French Freemasons
French Resistance members
French prisoners and detainees
Prisoners and detainees of France
Chevaliers of the Légion d'honneur
Grand Crosses of the Order of the White Lion

masks:
Marc Émile Rucart
Marc Émile Rucart
Rucart
Rucart
Rucart
Rucart
Rucart
Marc Rucart
Marc Rucart


texts:
<mask> (born 28 July 1975 in Stavanger, Norway), also known by the mononym <mask>, is a Norwegian singer-songwriter, producer, film score composer and multi-instrumentalist. <mask>'s career spans a string of solo albums, motion picture soundtracks, high-profile collaborations with key players such as Mike Patton, as well as numerous live appearances at home and abroad. Discography

Kaada Recordings is a Norwegian label dedicated to releasing or licensing out the music of composer <mask>. Solo albums
 Thank You for Giving Me Your Valuable Time (2001 – re-released in 2003)
 MECD (2004)
 Music for Moviebikers (2006)
 Junkyard Nostalgias (2009)
 Kaada and the Late Bloomers in Concert (2012)
 Closing Statements (2018)

<mask>´s debut in a recorded format came with his 2001 solo album Thank You for Giving Me Your Valuable Time. A musical blend of woo-wop, show tunes and jungle rhythms into a coherent mix of live instrumentation and electronic elements, fusing elements of five decades of popular music. Thank You for Giving Me Your Valuable Time firmly established <mask> as a key voice on Norway´s blossoming music scene. The album was named as one of the ten most important releases of the year by Billboard.2006 saw the release of Music for Moviebikers (Ipecac Recordings), a collection of lush arrangements set as soundtracks for imaginary films. The album features an evocative quality as it sets out to bring the two musical worlds of <mask> together; the one of the recording artist with the cinematic film music one. The albums´s 22-strong ensemble consists of traditional instrumentation with strings, vocals and electric guitars as well as homemade instruments and some exotic folk music performers hailing from various corners of Europe. The strings were recorded in the Vigeland mausoleum in Oslo. 2009's outing Junkyard Nostalgias with its myriad sounds and instruments. The album was conceived as a self-proclaimed homage to the thousands of Polish workers that have come to Norway to earn a better living and to fuel the country´s economy with cheap labour. Junkyard Nostalgias featured <mask> playing all of the instruments on the album, solidifying his personal universe of sound.<mask> have said about the album that he made it to justify buying hundreds of instruments on eBay

Kaada/Patton albums
 Romances (2004)
 Bacteria Cult (2016)

A milestone in <mask>´s career came in 2004 with the release of the album Romances – a joint effort with Faith No More and Tomahawk vocalist Mike Patton An eerily addicting work with inspirations from classical music, Romances features the two composers working in tandem to create a slow-moving large piece based in late romanticism which again is made up of nine smaller pieces, resembling a symphony's compositional structure. In many ways, ‘Romances’ pays homage to <mask>'s musical upbringing that included classical training from age six to 20 and a repertoire spanning form Franz Liszt, Johannes Brahms, Gustav Mahler, Debussy, Maurice Ravel and Béla Bartók. The titles are lifted from old pieces from the Romantic period. 2007 saw the release of Kaada/Patton's Kaada/Patton Live DVD (Ipecac Recordings) – a live recording from the 2005 Roskilde Festival featuring a seven-piece ensemble playing mostly the repertoire of Romances . The outing features the full festival set as well as behind the scenes from the key event. <mask> and Patton have maintained their musical bond over the last decade. Spring 2016 sees the release of their new joint effort ´Bacteria Cult´.Cloroform albums
 Deconstruction (Kaada Records, 1998)
 All-Scars (Kaada Records, 1998)
 Do the Crawl (Kaada Records, 2000)
 Scrawl (Kaada Records, 2001)
 Hey You Let's Kiss (Kaada Records, 2003)
 Cracked Wide Open (Kaada Records, 2005)
 Clean (Kaada Records, 2007)
 Grrr (Kaada Records, 2016)

Another key arena for Kaada´s compositional as well as improvisational output has been the exploratory trio Cloroform. Highly active from 1998 to 2006, the trio released six critically acclaimed albums and toured extensively. Double bass, drums, keys and distorted vocals form the frame for Cloroform’s highly-charged live sets and studio recordings. The trio made the transition from an underground act on the domestic scene to a live favourite on European stages, earning them a loyal following all over Europe. DVD releases
2007 – Kaada/Patton Live – Live performance DVD Kaada/Patton Live is a DVD of the collaboration between Mike Patton and <mask> that was released on 20 November 2007. The DVD features a live performance of the music from the album Romances from Roskilde Festival 2005. The entire concert is in black & white.2008 – O' Horten DVD – interview together with director Bent Hamer
2012 – '<mask> and the Late Bloomers in Concert – live DVD

Film music
A core component of <mask>´s career has been composing film scores, beginning with 2000s low-budget domestic success Mongoland which generated considerable demand for his compositional skills. 2002 saw <mask> being bestowed with "the Golden Clapboard Prize" at the Amanda Award – the Norwegian equivalent to The Oscars at the time being the youngest film worker to receive the prestigious award. In the ensuing decade, <mask> went on to compose scores for some of the most successful domestic films as well as several international productions, earning him numerous awards for his distinct compositional style. One of <mask>´s most notable international film score successes came in 2014 with the French blockbuster La liste de mes envies. The motion picture, which featured a cast of major French actors, was box office hit in France and Belgium and resulted in a successful soundtrack released through Pathé. Composing for films was something that I took up rather coincidentally, relates <mask>. – "I had not intended to pursue that direction and had no formal training, but at some point, writing film scores was what I did.In the beginning it was quite stressful and made me nervous, but now I'm enjoying the work much more, thinking of it as a compositional playground. Orchestration and sonorous experimentation are the fields that I really enjoy delving into these days. Working on film scores enables me to create unconventional instrument ensembles. I'm also doing music for documentaries and television scores in between film scores. TV gigs is a great composers' workshop, because you have the opportunity to experiment with small ensembles and develop composing and arranging skills." Kaada´s TV-music works has been heard on CNN, CBS, Fox and in relation to shows such as Late Night With Jimmy Fallon, Oprah, The Super Bowl, Jay Leno, The Daily Show With Jon Stewart, 60 Minutes and NBA Tonight. Selected film scores

Soundtrack releases
 Music from the motionpicture Natural Born Star (2007)
 Music from the motionpicture O'Horten (2008)
 La liste de mes envies (2014)
 Diving into the unknown (Original motion picture soundtrack) (2016)

See also

 Mike Patton
 Ipecac Recordings
 Cloroform
 Kaada/Patton

References

External links

Cloroform – Kaadas rockband
Kaada at Ipecac Recordings
Soundcloud.com/kaada

1975 births
Living people
Norwegian pop musicians
Musicians from Stavanger
Norwegian film score composers
Male film score composers
Norwegian multi-instrumentalists
Ipecac Recordings artists

masks:
John Erik Kaada
Kaada
Kaada
John Erik Kaada
Kaada
Kaada
Kaada
Kaada
Kaada
Kaada
Kaada
Kaada
John Kaada
Kaada
Kaada
Kaada
Kaada
Kaada
Kaada


texts:
<mask>, Sr. (July 10, 1899 – February 21, 1967) was an American Christian clergyman and politician. Affiliated with the Democratic Party, his political career was focused in the city of Philadelphia. Born to an African American family in North Carolina, he came to Philadelphia to serve as pastor of Mount Olivet Tabernacle Baptist Church, a black Baptist congregation. He worked as pastor there for forty years and gained a national reputation as a preacher, rising to prominence within the denomination. <mask> also became involved in Democratic politics in Philadelphia. He was elected to three terms in the Pennsylvania General Assembly and three terms on the Philadelphia City Council, where he served until his death in 1967. Early life and education
<mask> was born July 10, 1899, in Oxford, North Carolina, the son of <mask> and <mask>.<mask> was born a slave and later became a Baptist minister and the superintendent of the Colored Orphanage Asylum of North Carolina. Pattie <mask> was also involved in charitable work and served as the head of the Women's Baptist Home Convention of North Carolina. <mask> followed his parents in joining the First Baptist Church of Oxford. He attended Slater State Normal School in Winston-Salem, North Carolina, then received his Doctor of Divinity in 1921 from Virginia Union University, a historically black university in Richmond, Virginia. After graduation, <mask> moved to New York City, where he received additional education at the City College of New York and the Union Theological Seminary. From 1922 to 1923, he served as secretary for religious work at the 135th Street branch of the YMCA in Harlem. In 1923, he married Willia <mask> Owens, with whom he had two sons.That same year, he was hired as assistant pastor at the Abyssinian Baptist Church in Harlem, of which Adam Clayton Powell Sr. was the pastor. Philadelphia pastor
In 1926, <mask> accepted the position of pastor at Mount Olivet Tabernacle Baptist Church in West Philadelphia, where he would remain for the rest of his life. The church struggled financially, especially after the onset of the Great Depression in 1929, and several congregation members mortgaged their homes to keep the church afloat. <mask>'s reputation as a minister grew, and he served as assistant secretary of the National Baptist Convention and associate editor of the National Baptist Voice. <mask> chaired the National Baptist Convention's Board of Foreign Missions for many years, and in 1947 he was a delegate to the World Baptist Alliance meeting in Copenhagen. Despite his growing renown, he remained dedicated to his Mount Olivet church. His Sunday morning sermons were especially celebrated, and his preaching style drew praise from many contemporaries,
including Gardner C. Taylor, who called him "the best extemporaneous preacher the Black race has produced."In 1960, he endorsed Senator John F. Kennedy for president and decried those Protestants who would oppose him based on their opposition to his Roman Catholic faith. Political career

<mask>'s congregation encouraged him to become involved in secular politics, and he held several offices over his lifetime. Running as a member of the Democratic Party, he was elected to the Pennsylvania House of Representatives in 1934 as one of three members from the 18th district, along with fellow Democrats Joseph Ominsky and John J. Finnerty. (House members at that time were chosen from multimember districts.) While in the legislature, he co-sponsored a bill that would have banned racial discrimination in state contracting. <mask> was chosen to offer a prayer at the 1936 Democratic National Convention, which was held in Philadelphia that year. The sight of a black minister on the podium led Ellison D. Smith, a segregationist Senator representing South Carolina, to storm out of the convention.<mask>'s response to the incident was to say "it was just a sign the good brother needs more prayer." In 1936, <mask>, Ominsky, and Finnerty were all reelected to the legislature. The following year, he was appointed to a commission charged with drafting a new city charter for Philadelphia, but the resulting document was rejected by the voters at the polls that November. He was not a candidate for reelection in 1938, but in 1940 he ran again and was elected along with Finnerty and Samuel Rose. After that term ended, President Franklin D. Roosevelt appointed <mask> recorder of deeds in Washington, D.C., a position he held until 1951. At that time, <mask> and <mask> Bethune were the only two black people in government service in the nation's capital. <mask> resigned from his federal post to run in the 1951 election in Philadelphia.The Democrats nominated him for the recorder of deeds post which, unlike the Washington position, was elected by the voters. He was victorious in the election, winning as a part of a Democratic wave that swept the Republican Party from power for the first time in 67 years. The job, a former county-level position, was eliminated and the department consolidated into city government in 1953. <mask> was named to the equivalent civil service position, Commissioner of Records, after the consolidation. In 1955, <mask> ran for an at-large seat on the Philadelphia City Council. By the rules of the limited voting system for the at-large seats, each political party could nominate five candidates and voters could only vote for five, with the result being that the majority party could only take five of the seven seats, leaving two for the minority party. <mask> won one of the five Democratic slots and was easily elected.On the council, he served as head of the public works committee. In 1956, charter amendments aimed at weakening civil service protections were proposed. <mask> initially opposed the change, but later voted in favor after party leaders promised him more black Democrats would get political appointments. The amendments found the required two-thirds vote in Council to make it on to the ballot for popular approval but failed in a vote that April. <mask> was reelected in 1959 and again in 1963. In February 1967, he underwent surgery to remove a brain tumor. Three weeks later, he died at the University of Pennsylvania Hospital at the age of 67.After a funeral at his church, he was buried in Oxford, North Carolina. His son, <mask>., went on to lead the Mount Olivet Church until his death in 2002. In 2008, the Philadelphia Housing Authority opened a new housing  development near the church, which they named after <mask>. References

Sources

Books

Journals

Newspapers

Websites

1899 births
1967 deaths
20th-century American politicians
African-American Baptist ministers
African-American state legislators in Pennsylvania
Baptist ministers from the United States
Members of the Pennsylvania House of Representatives
People from Oxford, North Carolina
Philadelphia City Council members
Pennsylvania Democrats
Winston-Salem State University alumni
Virginia Union University alumni
City College of New York alumni
Deaths from cancer in Pennsylvania
Deaths from brain tumor
Baptists from North Carolina
District of Columbia Recorders of Deeds
20th-century American clergy
20th-century African-American politicians
20th-century Baptist ministers

masks:
Marshall Lorenzo Shepard
Shepard
Shepard
Robert Shepard
Pattie Gilliam Shepard
Robert Shepard
Shepard
Marshall Shepard
Shepard
Lucille
Shepard
Shepard
Shepard
Shepard
Shepard
Shepard
Shepard
Shepard
Shepard
Mary McLeod
Shepard
Shepard
Shepard
Shepard
Shepard
Shepard
Marshall Jr
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<mask> (, surname also spelled Asaki; 1 March 1788 – 12 November 1869) was a Moldavian, later Romanian prose writer, poet, painter, historian, dramatist and translator. An Enlightenment-educated polymath and polyglot, he was one of the most influential people of his generation. <mask> was a respected journalist and political figure, as well as active in technical fields such as civil engineering and pedagogy, and, for long, the civil servant charged with overseeing all Moldavian schools. Among his leading achievements were the issuing of Albina Românească, a highly influential magazine, and the creation of Academia Mihăileană, which replaced Greek-language education with teaching in Romanian. His literary works combined a taste for Classicism with Romantic tenets, while his version of the literary language relied on archaisms and borrowings from the Moldavian dialect. A controversial political figure, <mask> endorsed the Imperial Russian presence in Moldavia and played a major part in establishing the Regulamentul Organic regime, while supporting the rule of Prince Mihail Sturdza. He thus came to clash with representatives of the liberal current, and opposed both the Moldavian revolution of 1848 and the country's union with Wallachia.Engaged in a long polemic with the liberal leader Mihail Kogălniceanu, he was, together with Nicolae Vogoride, involved in the unsuccessful attempt to block the unionist project through the means of an electoral fraud. <mask> was noted for his deep connections with the Western culture, which led him to support the employment of foreign experts in various fields and educational institutions. He cultivated a relationship with the French historian Edgar Quinet, whose father-in-law he became in 1852. Biography

Early life
<mask> was born in Hertsa, a small town which is now part of Ukraine. His family originated in Austrian-ruled Transylvania, where it was known under the name Asachievici. His father, Lazăr, was an Orthodox priest who kept close contacts with Metropolitan Veniamin Costachi; according to several sources, he was of Armenian descent. His mother Elena (née Niculau or Ardeleanu) was herself the daughter of a Transylvanian priest.The couple had another son, named Petru. Lazăr <mask> was his son's first educator, after which the young Gheorghe most likely enrolled in the Church-run primary school in Herţa. In summer 1795, after deciding not to send Gheorghe and Petru to Moldavian Greek-language school in the capital city of Iaşi, Lazăr <mask> opted to give them a more modern education in Austrian lands, sending them to Lemberg, where they attended gymnasium. After completing seven terms of education in Latin, Polish and German, <mask> <mask> entered university (the present-day Lviv University) at the age of 14. He studied at the Faculty of Letters, Philosophy and Sciences (attending lectures in logic, metaphysics, ethics, mathematics, physics, natural history, and architecture), but, in 1804, after two years of studies, he withdrew and returned to Moldavia. Despite this, his level of familiarity with Western culture was arguably unparalleled in his native country during the first half of the 19th century. Over the following decades, he designed several lodgings in both his native country and Galicia.His return followed the death of his mother and Lazăr <mask>'s appointment as First Protopope of the Moldavian Metropolitan Seat, and saw the family settling in Iaşi. In Napoleonic Europe

In early 1805, <mask> fell ill with malaria, and was helped by Metropolitan Veniamin to leave for Vienna, where doctors had advised him to seek treatment. As the recipient of a stately scholarship, <mask> studied mathematics and astronomy with Tobie Bürg, as well as pursuing training in the art of painting. His time in the city coincided with French Empire's successes in the Napoleonic Wars, and, most important, with the 1805 War of the Third Coalition, during which La Grande Armée occupied Vienna; this allowed <mask> to familiarize himself with French Revolutionary and liberal tenets, which he partly adopted in his political activities. In 1808, as the Russo-Turkish War erupted, Moldavia was occupied by the Russian Empire, First Protopope Lazăr contacted Pavel Chichagov to have his son appointed lieutenant and local head of the Corps of Engineers, but <mask> <mask> refused to assume office or even return from Vienna. Instead, he left for the Italian Peninsula in April 1808, aiming to complete his studies in Rome, but making long stops in other localities on the way (he notably visited Trieste, Venice, Padova, Ferrara, Bologna and Florence). Reaching the capital of the Papal States on 11 June, <mask> left on 19 August to visit Naples, Pompeii, and other locations in the Kingdom of Sicily.Upon reaching Mount Vesuvius, he descended unaccompanied into the volcanic crater, and was encouraged by a cheering audience. He soon after returned to Rome, where he focused on studying Renaissance Latin and Italian literature, as well as taking classes in archeology, painting and sculpture, and entering his most prolific phase in visual arts. In 1809, while visiting an art shop near the Spanish Steps, he met Bianca Milesi, the 19-year-old daughter of a wealthy merchant from Milan, with whom he fell in love. Despite her 1825 marriage to a French doctor, he was to remain her passionate admirer until her death from cholera in 1849. He later stressed that she had been a major source of inspiration for him, especially in allowing him the transition "from painter to poet", while the literary critic Eugen Lovinescu believed she inspired <mask>'s Romantic nationalism. At the time, he authored his first poems on Romanian nationalist subjects, which earned him an award presented by the Roman Literary Society. One of these was Viitorul ("The Future"), which voiced a call for national regeneration.Interested in the origin of the Romanians and the history of Roman Dacia, <mask> studied events depicted on Trajan's Column and searched the Vatican Library for documents regarding the history of Romania. It was during the latter research that he came across Dimitrie Cantemir's History of the Growth and Decay of the Ottoman Empire in its English-language edition. Through Bianca Milesi, <mask> met François Miollis, the French commander in Rome, who reportedly told him that Napoleon Bonaparte intended to emancipate Moldavia and Wallachia as a result of the expedition into Russia, and thus create a new "Dacian Kingdom" in the area of present-day Romania. Partly as a result of this encouragement, <mask> decided to travel back home on 22 June 1812, and, sailing down to Galaţi, arrived in Iaşi on 30 August. His designs regarding French protection over the Danubian Principalities were ended by Napoleon's retreat from Russia, and by the restoration of Ottoman suzerainty and Phanariote rules, when Sultan Mahmud II appointed Scarlat Callimachi as Prince. Early lectures and mission to Vienna

In reaction to these developments, <mask> <mask> centered his attention on cultural improvements, Westernization, and Enlightenment teachings, with support from Metropolitan Veniamin. In 1813, his expertise and familiarity with European languages led Prince Callimachi to appoint him Reviewer (Referandar) for the Department of Foreign Affairs.In 1814, increasingly opposed to the Greek-language teaching favored by the Phanariotes, <mask> proposed the first in a series of Romanian-language educational institutions, a course in engineering and topography to be held at the Princely Academy in Iaşi; once approved by the ruler and countersigned by Veniamin, the lectures attracted a number of young boyars (including the future Ottoman diplomat Alexandros Kallimachis, Scarlat's son, Teodor Balş (who was to serve as Moldavia's kaymakam in 1856–1857), Daniel Scavinschi, as well as <mask> <mask>'s brother Petru. He gave various lectures, and offered additional training in drawing and art history, as well as in Romanian history. He organized several exhibits of his students' work in technical drawing. Despite a favorable report from its inspectors, Asachi's facility soon met with opposition from Greek teachers at the Academy, which led it to be closed soon after its original students graduated (1819). Nevertheless, <mask> was not stripped of his professorship, and was allowed to maintain both his position as head of the Princely Library and his house on Academy grounds. Later in the same year, he was involved in reorganizing the Orthodox seminary at Iaşi's Socola Monastery, and traveled to Transylvania in order to enlist the help of scholars active there. His friendly relations with various leaders of the Transylvanian School helped in achieving this goal; in 1820, he returned to Moldavia accompanied by Vasile Fabian Bob, Ioan Costa, Ion Manfi and Vasile Pop, all of whom became teachers at the Academy.Early in 1821, <mask> <mask>'s activities were interrupted when the Greek Filiki Eteria forces crossed the Prut River and took over Moldavia on their way to Wallachia, during what constituted the earliest stage of the Greek War of Independence. Like his father (who died in 1825), Metropolitan Veniamin, and many other notable Moldavians, <mask> fled into Russian territory. He returned the following year, as the Ottoman Empire retook the region and put an end to Phanariote rules (a measure which attracted <mask>'s enthusiasm); the new prince, Ioan Sturdza, appointed him Moldavian representative to the Austrian Empire, an office which he held between 30 November 1822 and February 1827. With this, he was awarded the traditional rank of Great Comis, and thus joined the ranks of nobility. As a diplomat, <mask> was foremost noted for his contacts with nationalist intellectuals who represented various ethnicities subject to the Austrian Empire. While in Vienna, he met the Austrian woman Elena Tauber, former governess of the Sturdza children and widow of the merchant Kiriako Melirato; she was his concubine until 1827, when they were married in an Orthodox church in Iaşi. Tauber had three children from her marriage to Melirato — a girl, Hermiona, and two boys, Alexandru and Dimitrie (later, a mathematician); all of them were adopted by <mask>.Şcoala Vasiliană and Albina Românească

Soon after returning, <mask> was appointed caretaker of all Moldavian schools and Vel Agha. In March 1828, he succeeded in opening a multilingual upper school and gymnasium, connected to the Trei Ierarhi Church, named Şcoala Vasiliană or Gimnaziul Vasilian (in honor of the 17th-century prince Vasile Lupu, who had created the original education institution on that site). It was the first modern institution of its kind in Moldavia, and was soon supplemented by a college. Şcoala Vasiliană also continued the engineering course, taught by <mask> Filipescu, and had additional chairs in mathematics, architecture, applied mechanics and hydraulics; in 1834, it sent several of its alumni, including the architect Alexandru Costinescu, for further studies abroad. On 19 July 1827, a great fire in Iaşi's western quarter destroyed <mask>'s lodging, as well as the vast majority of his possessions and manuscripts. Upon the end of the Russo-Turkish War of 1828–1829, Moldavia and Wallachia again came under Russian administration. During that interval, <mask> decided to expand his educational goals and popularize new ideas through the means of press institutions, and requested approval from the Russian consul in Iaşi, Matvey Minciaky, to have these set up.In April 1829, Russia endorsed his project for a magazine titled Albina Românească, which first saw print in July of the same year. The first periodical to be published in Moldavia, it ran its own printing press, known as Institutul Albinei and originally housed in the Trei Ierarhi area. Alongside its stated goal (which involved generating a literary language), Albina Românească hosted pieces on current events, scientific essays, as well as articles offering practical advice. Over the following decades, it oversaw the publishing of several other magazines, which were originally designed as supplements; among these, Alăuta Românească (1837–1838) and Foaea Sătească a Prinţipatului Moldovei (1839) were initiated by the younger activist Mihail Kogălniceanu, who, through his influential publication Dacia Literară, become a vocal critic of <mask>'s political and cultural views. First and foremost, Kogălniceanu expressed his dissatisfaction over the fact that Albina Românească relied on publishing translations from foreign authors, instead of encouraging national specificity. In addition, Asachi also issued a large panel of related works, including a series of almanacs which ran between 1847 and 1870. Another magazine created by <mask>, the short-lived Spicuitorul Moldo-Român (1841–1842), was published in both Romanian and French, having a Frenchman named Gallice, who worked as a teacher, for its co-editor.Regulamentul Organic adoption
In late 1829, through a framework first outlined in the Akkerman Convention, Russian governor Peter Zheltukhin established a boards of experts from both countries, charged with drafting the constitutional project eventually known as Regulamentul Organic. The project was delayed by the ongoing war and epidemics of cholera and bubonic plague until 1831–1832, as Pavel Kiselyov took over for Zheltukhin; <mask> <mask> served as secretary of the Moldavian board — the body also comprised Mihail Sturdza, Iordache Catagiu, Constantin Cantacuzino-Paşcanu and Costache Conachi. The membership outlined for the Moldavian board scandalized the lesser boyars, who pointed out that the Akkerman treaties called for the new legislation to be adopted through a vote in a representative Boyar Divan, and who attempted to have <mask> and Conachi recalled. Despite the protests, the board continued its activities, being overseen by the former consul Minciaky; together with Mihail Sturdza and the Wallachian Alexandru Vilara, <mask> was dispatched to Saint Petersburg to obtain the approval of Emperor Nicholas I, which led to the document being enforced in both Principalities. In its final version, the Regulament endorsed his efforts as educator, regulating public education and transferring assets donated by Vasile Lupu to Şcoala Vasiliană. The trade regulations offered by the Regulament were welcomed with

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 enthusiasm by <mask>, prompting him to write an ode in their honor, titled Annul nou al moldo-românilor 1830, în care s-a lucrat Regulamentul organic, acel întâi cod administrativ al Moldovei ("The New Year of the Moldo-Romanians 1830, in Which Regulamentul Organic, the First Administrative Code of Moldavia, Was Completed"). In sharp contrast to his later advocacies, Asachi attempted to introduce provisions for the two Principalities' union, and some of his interventions in the text were meant to facilitate this project.At the time, he took a compassionate view in respect to peasants, denouncing the exploitation of their labor by the boyars. Under Mihail Sturdza
<mask> <mask> was heavily impressed by the institutions he saw functioning in the Russian capital, and did his best to replicate them in Moldavia. After his return from Russia, <mask> became head of the Moldavian National Archives, in which capacity he published the first collection of documents referring to the country's history. From early 1834 onwards, he was a main collaborator of the newly appointed prince and former colleague on the Moldavian board, Mihail Sturdza, receiving funds and benefiting from on order to prioritize education in "Moldavian" (Romanian). In July of the same year, <mask> visited the Wallachian capital of Bucharest, being charged by Minciaky with strengthening the common framework of the Regulament by ensuring that its two versions did not differ in content. By May 1833, he was able to move into a new house, which he designed and erected in the Muntenimea area of Copou Hill, on a large plot of land he had purchased from Lupu Balş; at around the same time, Institutul Albinei was also reopened on the new location. An 1852 survey showed that <mask> had a second, smaller, house in downtown Iaşi.In late 1834, on <mask>'s request, Sturdza gave approval for the first Moldavian girls' school to be opened in the capital. On 6 June 1835, following <mask>'s interventions, Academia Mihăileană, the first Romanian-language institution of higher education, was established in the city. A fundamental institution of higher learning, and the nucleus for the present-day University of Iaşi, it also hosted lectures by cultural figures from Moldavia, Transylvania and Wallachia alike, including some of <mask>'s young rivals; among the teachers were Mihail Kogălniceanu, Ion Ionescu de la Brad, Eftimie Murgu, Ion Ghica, and August Treboniu Laurian. In addition, <mask> presented a plan to create a school of agronomy, to function alongside the city's military academy, and, by 1848, created a school for further qualification in engineering. On 15 November 1836, he founded, alongside Vornic Ştefan Catargiu and Spătar Alecsandri (the father of poet Vasile Alecsandri), a conservatory, and, after 1837, was appointed head of the Moldavian Theater, among the first of its kind to showcase original pieces in Romanian. At the head of a committee, he took charge of translating a German-language dictionary into Romanian, stressing that this was a response to the Moldavians' need for knowledge. During the early 1840s, he became interested in organizing education for the non-emancipated Armenian and Jewish communities — in 1842, it was as a result of his efforts that an Armenian primary school was set up.In 1847, <mask>'s printing press issued an Armenian-language primer. He was also the person behind the creation of the Iaşi School of Arts and Crafts (January 1841), as well as helping establish the first public library, the paper mill near Piatra Neamţ, an Art Gallery and a National History Museum. In the meantime, Academia Mihăileană was disestablished and transformed into a French-language school (overseen by a teacher named Malgouverné). Over the same decade, <mask> moved towards Conservatism, defending Regulamentul Organic in front of the increasingly popular liberal current. He clashed with young activists who rejected Sturdza's rule, and, as early as 1839, noted with dissatisfaction that "a new people was born [...], with new wishes and ideas". His conflict with Kogălniceanu was transported to the field of politics, and <mask> joined in condemning the anti-Regulament failed rebellion of 1848. As most other press venues submitted to the minimal requirement of Russian officials and avoided publishing any material related to the revolution, Albina Românească criticized the revolutionaries for having discarded "their duty to the powers that be", and praised Russia for sending its troops to combat "anarchy".Despite this, Kogălniceanu later claimed that, on one occasion, he had seen <mask> sobbing over having been made to criticize the Romanian activists. The debate prolonged itself over the following years, and, coupled with <mask>'s unwavering support for Sturdza, saw him joining the separatist camp at a time the post-revolutionary group Partida Naţională began openly campaigning for Moldo-Wallachian unification. While supporting the interests of the middle class, <mask> stressed that these could compliment a feudal system, and rejected the revolutionary call for abolishing privilege. Also in 1848, <mask> lost his daughter, the 19-year-old Eufrosina, to the cholera outbreak. He published two poems written in her memory. 1850s
In January 1850, almost one year after the Convention of Balta Liman awarded the Moldavian throne to the reform-minded and revolutionary sympathizer Grigore Alexandru Ghica, Albina Românească changed its name to Gazeta de Moldavia, adopting an official tone. <mask>, who resigned his positions as inspector and archivist in 1849, was awarded a substantial pension.Between 1851 and 1854, he was head of censorship, using this position to award imprimatur for reformist ideas (with Prince Ghica's tacit approval). At the time, he gave endorsement to the Chronicle of Huru, a document which was claimed to trace a direct lineage between Roman Dacia and Moldavia, and to clarify the more mysterious aspects of the country's early medieval history — the document was used by separatists to emphasize Moldavia's tradition of independence, but was the subject to an inquiry and dismissed by Kogălniceanu (it was later established that the text was a forgery). During the political battles which followed Ghica's retirement and the Crimean War, Gazeta de Moldavia transformed itself into an official platform for the anti-unionist camp. After the retreat of Russian troops and an interval of Austrian administration, Moldavia and Wallachia's government came under the direct supervision of various European powers, and Kaymakam Teodor Balş ensured the interregnum in Iaşi. In this context, Ottoman authorities, through the voice of Fuat Pasha, gave their approval for relative freedom of the press to be legislated. With Costache Negruzzi, <mask> again became an official censor, while again assuming the offices of archivist and inspector of Moldavian schools. As the Treaty of Paris imposed the creation of ad hoc Divans, through which the two countries' inhabitants were allowed to decide their future, the unionist camp saw a chance for fulfilling its goals; <mask> and his associates reacted vehemently, and, in May 1857, complained to the Porte that unification would bring about various perils.One month later, the government of Kaymakam Nicolae Vogoride carried out an electoral fraud to yield a separatist majority in the ad hoc Divan — <mask>, who supported Sturdza's bid for the throne, is thought to have played a major part in bringing this about, and, together with Vogoride himself, Nicolae Istrati, and the Austrian consul Oskar von Gödel-Lannoy, to have drawn up falsified the electoral lists. He was himself a candidate in the Iaşi electoral college, receiving 197 votes and placing himself second among the representatives it sent to the Divan. His magazine stood alone in claiming that the regime had acted impartially. The suffrage was hotly contested and annulled through an agreement between the Second French Empire and the United Kingdom of Great Britain and Ireland; <mask> himself was thus forced to note that the new elections in August managed to overturn the previous results. He was no longer elected a deputy, and his candidature for the position of secretary of the electoral board was awarded just one vote. In 1858, Gazeta de Moldavia was entirely dedicated to political subjects and support for Vogoride's policies, and ceased print in October, as the Kaymakam ended his mandate. In late November, it reemerged under the title Patria, which continued to criticize Partida Naţională from a conservative position, notably hosting articles by the anti-unionist Istrati.As a new regency of three was preparing elections, the magazine rallied with Ştefan Catargiu, <mask>'s lifelong collaborator and the separatist representative in the body of kaymakams, against the two unionists (Vasile Sturdza and Anastasie Panu), before Catargiu was replaced with I. A. Cantacuzino. In November 1837, <mask> and another 36 separatist boyars issued a memorandum unsuccessfully asking the Ottoman Grand Vizier Aali Pasha to intervene against the unionist kaymakams, restore censorship, and to narrow down the electoral lists. Final years

The situation changed in January 1859, when Partida Naţională was able to ensure the election of Alexandru Ioan Cuza as both Prince of Moldavia and Prince of Wallachia, in what was the de facto union of the two countries. After congratulating Cuza on his accomplishment, <mask> authored a pome titled Odă la Dumnezeu ("An Ode to God"), which proclaimed the brotherhood of Romanians and the notion that "power resides in Unity". Patria drastically reduced its articles in support of separation, while allocating most of its space to reprinting official papers. Nevertheless, as Domnitor Cuza was deposed and the election of a foreign ruler over the Romanian Principality was being assessed, it is probable that <mask> <mask> again switched to a separatist stance: on 14 April 1866, after an incident during which Iaşi crowds protested the prolongation of unification beyond Cuza's reign, he was the subject of an inquiry on charges of sedition.This remains a mysterious aspect of his political career, and it is certain that <mask> eventually rallied with Carol later in the year. It is likely, however, that his inconsistent views prompted other intellectuals to reject his participation in founding the Romanian Academy. The various projects also involved <mask>'s own financial reserves, which led him to become indebted and mortgage his assets on several occasions: in 1862, after <mask> was declared insolvent, the Copou house was put up for auction, but the writer was able to come up with the money before the sale was perfected. He continued to depend on debts in order to feed his family, and unsuccessfully offered Institutul Albinei to be purchased by the state. In February 1869, the Dimitrie Ghica government awarded <mask> a yearly pension of 8,888 lei, "for the important services he has brought to the country from 1813 to 1862". He died several months later in Iaşi, and was buried at the Patruzeci de Sfinţi Church. His printing press ceased its activity in 1867.Literature

Style and subjects
During his youth, <mask> was one of the most representative members of an idealist generation of Moldavian intellectuals. In the context of early Romanian literature, where Romanticism and delayed Classicism coexisted, <mask>, like Grigore Alexandrescu, George Baronzi and others, tended to side with the latter, at a time when his counterpart in Bucharest, Ion Heliade Rădulescu, bridged the gap between the two schools. The literary critic Garabet Ibrăileanu concluded that <mask>'s literature signified a transition between a Classicist stage exemplified by Costache Conachi and younger Romantics such as Vasile Alecsandri and Dimitrie Bolintineanu (he also concluded that the casual comparisons made between Heliade Rădulescu and <mask> had failed to note that the former was not a conservative). <mask> <mask> recommended his students to study Italian literature, and would frown upon models inspired by French literature. His creation comprised poems, the first of which were written in Italian, as well as vast array of short stories and novellas, through which <mask> attempted to create a legendary history partly mirroring Romanian mythology. The major influences on his work were Renaissance authors such as Petrarch, Ludovico Ariosto, and Torquato Tasso, but he also accommodated more modern influences, such as Salvator Rosa, Thomas Gray, Gottfried August Bürger, Vasily Zhukovsky, Lord Byron and Friedrich Schiller. Thus, <mask> created himself a fictional location, called Dochia — a reference to both Dacia and the myth of Baba Dochia, which houses the Ceahlău Massif under the name of Pion.<mask> was also the first person to mention Baba Dochia in connection to the Roman Emperor Trajan and the Dacian Wars — the vague and unprecedented references make it likely that he actually invented the original story as well. References to this universe are also present in an eponymous novella about Dragoş, the first Prince of Moldavia, which partly drew on old chronicles, and partly displayed <mask>'s own fictional devices. The story centers on Harboe, a chivalrous Tatar ruler who resides in the Cumanian town of Romidava, who falls in love with Branda, the daughter of a Moesian lord and would-be wife of Dragoş. Dochia's hidden altar, referred to as "a simulacrum", is guarded by a Vestal-like priestess and a deer hind. <mask>'s other prose works on historical subjects take similar liberties with their subjects (they notably describe large Gothic monuments and tournaments in medieval Moldavia, as well as improbable details from the lives of 14th–16th century Princes Bogdan I, Stephen the Great, and Petru Rareş). <mask>'s works also include romanticized accounts of a journey made by the Cossack Hetman Ivan Mazepa into Moldavia (Mazepa în Moldova) and the life of Ruxandra, daughter of Vasile Lupu and wife of Tymofiy Khmelnytsky (Rucsandra Doamna), as well as Jijia, where a captured fairy recounts her previous existence as a Christian martyr, and Sirena lacului, where a dishonored maiden, who has turned into a siren, takes revenge on boyar. In connection with Nicolae Vogoride's policies, <mask> drew on historical subject to counter the calls for unity voiced by

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 Partida Naţională; in addition to the endorsement he gave to the Chronicle of Huru, he emphasized, in an article of June 1857, the campaign led by Stephen the Great into Wallachia, calling for a landmark to be raised in honor of "the vanquisher of the Wallachians".This mirrored the earlier comments made by the Wallachian anti-unionist Dimitrie Papazoglu, who proposed a celebration and monument honoring the 1653 Battle of Finta (during which the Wallachian forces of Matei Basarab had defeated an army of Moldavians and Cossacks). <mask> <mask>'s style has been criticized from the time of his debate with other intellectuals of his age, when Mihail Kogălniceanu argued that his lyrical works were mere replicas of foreign models. Several influential literary historians of the 20th century expressed similar views: George Călinescu indicated that, in general, poems by <mask> sounded "banal"; in one of his essays, Paul Zarifopol commented that <mask> and his generation, from Iancu Văcărescu to Vasile Cârlova, Alexandru Hrisoverghi, and Heliade Rădulescu, were "semi-cultured" and "amateurs". Both Călinescu and Zarifopol stressed that, in his best work, <mask> announced the poetic language of Mihai Eminescu, the most influential author of the late 19th century. Language
Present at the forefront during debates regarding the shape of literary language, <mask> drew criticism for introducing archaisms and marginally used neologisms to the Romanian lexis, as well as for the forms of spelling he encouraged. Commenting on a series of words which are nowhere used outside his novellas and poems, George Călinescu called them "impossible [...], presently seeming bizarre, mostly Romantic, lacking in historical perception". In essence, <mask> called for the modern language to reflect as much as possible the one used by the folk — in this respect, he came closer to Kogălniceanu's views than to those of Heliade Rădulescu (at a time when the latter favored using the dialects employed by the Romanian Orthodox and Greek-Catholic churches).One of the first to discover old Moldavian chronicles and recommend them for reading, he came to propose that the Moldavian dialect, as reflected in these, could be used as a template for the modern speech. Nevertheless, his views fluctuated, and he was noted for proposing himself that the Church language be used as a template, while contrasting the support he gave to Westernization in general with his distaste for popular French-sounding neologisms. In an article he published in 1847, <mask> defined himself as a partisan of "the juste milieu" on language matters, and recommended adopting words and rules of grammar with moderation, and from all sources available. According to the literary critic Garabet Ibrăileanu, "[...] anybody who has ever read anything of what this writer has authored knows that he has a language of his own, a characteristic one, resembling those of many writers, without resemblig that of anyone else to the point where we could place him in any category." The same commentator nonetheless noted that there were clear similarities between the way in which <mask> used Romanian and the language favored by Costache Conachi. His enduring aversion towards Western neologisms, as well as towards the Latin-based linguistic purism favored by many Transylvanian scholars, made <mask> a predecessor of the Bukovinian academic Aron Pumnul. However, in his later years, <mask> came to praise and uphold Heliade Rădulescu's controversial advocacy in favor of modifying Romanian on the basis of Italian (with its claim that the two languages were in fact closely related dialects of Latin).<mask>'s experimentations with the Romanian Latin alphabet were noted for their inconsistencies, and criticized as such by Kogălniceanu (who, as an example, pointed out that <mask> had alternatively used "tch", "tz", "c", and "cz" to mark the voiceless postalveolar affricate). <mask> and the Romanian theater
Considered, together with the Wallachian Heliade Rădulescu, the founder of early Romanian theater, <mask> produced the first staging of a Romanian-language play, first performed for the public on 27 December 1816, at the Ghica family manor. The work was his own adaptation of Myrtil et Chloé, a pastoral theme authored by Solomon Gessner and retaken by Jean-Pierre Claris de Florian; in its printed version, the text also featured illustrations drawn by his own hand. Extremely popular, <mask>'s play was celebrated for helping to counter the perceived xenophily of the early 19th century Moldavian cultural environment. Two Ghicas and a Sturdza were assigned parts in the first staging, and Veniamin Costachi was present in the audience. In early 1837, his conservatory began functioning regularly, which coincided with <mask>'s leadership of the National Theatre. Before and after this moment, the writer contributed translations from various prestigious dramatists and playwrights, August von Kotzebue, Voltaire, Jean Racine and Nikolai Gogol among them.In parallel, he published librettos for popular operas, thus lending a hand to the development of local operatic theater. Contribution to visual arts

As a teacher, <mask> assisted and encouraged the development of Romanian art. Before he came to exercise his influence, Moldavian art was essentially dependent on boyar patronage, and, by the turn of the 18th century, had come to focus on portrait painting. <mask> centered his energies on introducing Romantic nationalist themes and popularizing new trends. He integrated painting, architecture, and drawing and oil painting in classes taught at Academia Mihăileană (called class de zugrăvie, an antiquated version of "painting course"), and introduced lithography through the means of his printing press. In the 1830s and 1840s, he encouraged artists the copying and publishing of paintings and drawings with historical themes. <mask> emphasized the educational aspects of  ("history painting in oil"), and intended its creations to reach as wide an audience as possible.In this respect as well, his contributions were equivalent to those of Heliade Rădulescu, who opened the first museum in Wallachia (1837). The resulting works are generally naïve in quality, and inaccurate in their reconstruction of historical scenes. <mask> Panaiteanu Bardasare, the recipient of a scholarship to the Akademie der Bildenden Künste in Munich, was the only one of his many disciples to remain under the influence of <mask>'s tenets for the rest of his life, developing these into academic art. <mask>'s disciples also included <mask> Lemeni, who studied in Munich and Rome, and the minor artist <mask> Năstăseanu. Arguably, <mask>'s most important contribution to the artistic field was his involvement in attracting foreign painters to the Moldavian scene, by offering them commissions or educational assignments; among these were the Polish Ludwik Stawski and Mauriciu Loeffler, the Italian Giovanni Schiavoni, as well as the Austrian Josef Adler (noted for authoring an 1833 manual for landscape painting and still life works) and Ioan Müller (who taught figurative art). Of them, <mask> reportedly considered Schiavoni to be the most competent, while he tended to replace most others after reexamining their skills. Another important Italian artist who arrived in Iaşi during that period was the former Carboneria revolutionary Niccolò Livaditti, to whom <mask> did not, however, assign a teaching post.In 1843, four years before the Iaşi Academia was radically transformed, the art classes were disestablished due to the protest of various boyars (who objected to the fact that members of all social groups could attend them). <mask> <mask>'s own works, many of which date back to the time he spent in Rome, show the influence of Classicism. Noted for their rigorous use of artistic conventions and nature study, they are nonetheless considered inferior to both their creator's contributions to other cultural fields and the works of many other painters active in Moldavia at the time. <mask> himself is known to have sketched out works which were completed by his foreign collaborators or students (among these is a since-lost painting of Stephen the Great facing his mother, signed by the Italian artist Giani, and an 1845 painting of Moldavians in the battle of Malbork Castle). A series of Classicist drawings from the early decades of the 19th century have only tentatively been attributed to <mask>. Descendants
Elena, <mask> <mask>'s widow, died in 1877. Of his adopted children, Dimitrie <mask> was to be the most famous: a pupil of his stepfather's, he was to author the first original book on mathematics in his country (1841).Alexandru <mask>, who joined the Romanian Army and became an officer, was himself known as an artist: a lithographer and author of historical works, he published several albums of hand-colored prints during the 1850s. In 1835, Hermiona <mask> (whose given name was often Francised as Hermione)  fell in love with Alexandru, the underage son of former Prince Alexander Mourousis, who soon after moved into <mask>'s house; this scandalized other members of the Mourousis family, and the conflict was ended only when the two youths agreed to marry. They had a son, George Moruzi, who died in 1856. In 1843, Hermiona translated and published Silvio Pellico's collection of maxims, Dei doveri degli uomini. She got married a second time, in 1852, to the well-known French historian Edgar Quinet (between 1841 and 1845, she had attended Quinet's lectures at the Collège de France); five years later, <mask> translated and Quinet's collected works into Romanian — according to historian Nicolae Iorga, the edition was toned-down and censored. The Quinets did not have any children. Landmarks and portrayals

In autumn 1890, a statue of <mask> was erected in front of the Trei Ierarhi Church school complex, an initiative taken by a group of his conservative collaborators.On the same occasion, <mask>'s remains, together with those of his wife Elena, were placed in the monument's base. The courtyard of <mask>'s house on Copou Hill hosts a small monument, which he raised to the memory of his daughter Eufrosina and his grandson George. <mask> laid out the plan for a monument honoring Regulamentul Organic, completed by the Russian artist Sungurov with workforce hired from Galicia, and raised on Copou as the first structure of its kind in Moldavia. He is also noted for having proposed, in 1853, to create a modern cemetery in Iaşi on Galata Hill — his project was never used, but in 1871, Eternitatea, a cemetery corresponding to his requirements, was set up on land donated to the city. The Copou house itself was taken over by Malvina Czapkai, a creditor of <mask> and his son Alexandru; it served as a boarding school, and, during the Russo-Turkish War of 1877–1878, as a Russian military hospital. In 1892, Marie of Edinburgh, who had just married the Romanian heir apparent, Ferdinand Hohenzollern, purchased it for 52,000 lei. It was subsequently the Principesa Maria School for Arts and Crafts, destined to women's education, and, during World War I, served as a home for orphaned girls.In 1937, Queen Marie transformed into an institute for welfare, which notably hosted the practice of sociologist and psychologist Mihai Ralea. The house was again a hospital in World War II, when it was taken over by the Romanian Air Force; in 1948, when the Communist regime was established, it was nationalized (together with all other Royal property), and served as the headquarters of the Romanian Land Forces 4th Corps, and was later rented for private use. Since 1976, it has housed two institutes of the Romanian Academy (the Alexandru Philippide Institute of Philology and the Gheorghe Zane Institute of Economic and Social Research). Among the artists two have depicted <mask> during his lifetime were his associate Giovanni Schiavoni (whose painting shows the young writer surrounded by objects illustrating his many interests) and Constantin Daniel Stahi (a pupil of Panaiteanu Berdasare). In December 1937, a section of the University of Iaşi was created into an institute of technology, with the name of Gheorghe Asachi Polytechnic School (the present-day Gheorghe Asachi Technical University of Iaşi). A public library in the city also bears his name, as do a school erected in 1900 on the site previously occupied by Şcoala Vasiliană and high schools in the Romanian cities of Botoşani and Sibiu, as well as in the Moldovan capital Chişinău. References

Cited sources
Călinescu, George (1983) Istoria literaturii române.Compendiu, Editura Minerva, Bucharest. Cărăbuş, <mask> Gabriel (2004)"Asachi – un separatist avant la lettre", in Codrul Cosminului, Nr.10, at the Ştefan cel Mare University of Suceava; retrieved 3 July 2007
Djuvara, Neagu (1995) Între Orient şi Occident. Ţările române la începutul epocii moderne, Humanitas, Bucharest. Drăguţ, Vasile; Florea, Vasile; Grigorescu, Dan and Mihalache, Marin  (1970) Pictura românească în imagini, Editura Meridiane, Bucharest. Măciucă, Constantin (1978) "Prefaţă", p. V-XXXV, in Ion Heliade Rădulescu, Scrieri alese, Editura Albatros, Bucharest. Oprescu, George (ed.) (1958) Scurtă istorie a artelor plastice în R.P.R., Editura Academiei RPR, Bucharest.External links

 Gheorghe Asachi House
 Gheorghe Asachi Library in Iaşi

1788 births
1869 deaths
Romantic poets
Romanian academics
Romanian architects
Romanian activists
Romanian civil servants
19th-century Romanian dramatists and playwrights
Romanian educational theorists
Romanian engineers
Romanian essayists
19th-century Romanian historians
Romanian illustrators
Romanian magazine editors
Romanian magazine founders
Romanian theatre managers and producers
Romanian painters
Romanian male poets
Romanian printers
Romanian nobility
Romanian schoolteachers
Romanian male short story writers
Romanian short story writers
Romanian translators
Neoclassical writers
Romanian historical novelists
Lithographers
Writers who illustrated their own writing
People from Hertsa
Romanian people of Armenian descent
Members of the Romanian Orthodox Church
People of the Revolutions of 1848
Members of the Ad hoc Divans
Male dramatists and playwrights
Male essayists
19th-century Romanian poets
19th-century short story writers
19th-century male writers
19th-century essayists
19th-century lithographers
19th-century

masks: Gheorghe Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Gheorghe Asachi Asachi Gheorghe Gheorghe Asachi Asachi Asachi Gheorghe Asachi Asachi Asachi Gheorghe Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Asachi Gheorghe


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<mask> (20 September 1899 – 18 January 1972) was the professional name of <mask>, a naturalized Italian photographer, born in Hungary, who came to prominence between 1930 and 1950. Noted for her portraiture, she was a favored photographer among the aristocracy and despite her Jewish heritage she helped build the imagery used in Fascist propaganda. After the fall of Mussolini, she remained in Italy, though her field of influence was greatly diminished. At the end of the 1960s, she immigrated to Israel, where she died in obscurity. Her archives, preserved by the 3M Foundation, have widely toured throughout Europe and a revival of interest in evaluating her skill as a technician has developed in the 21st century. Early life
<mask>, was born on 20 September 1899 in Szatmár County, Hungary to Lotti Sonnenberg and Ignác Klein. Her father was a Jewish shoe factory owner, and her mother was a housewife.She may have studied with the photographer  and then traveled to Vienna and Leipzig to further her training, or she may have simply informally have studied such masters of photography as Székely, Ergy Landau, Olga Máté, Nickolas Muray, , and Ilka Révai. Her early biographical record has sparse information and was likely embellished with details of having descended from a wealthy industrial family, prestigious apprenticeships, and her "discovery" after arriving in Italy on vacation and shooting a mythical photograph of a baby which appeared all over Italy on a Fascist propaganda poster. Career
In 1924, Klein moved to Italy and quickly became involved with the group of Hungarian artists and intellectuals living in Florence. She became known for portraiture, typically using orthochromatic plates to mute reddish skin tones and softened the image further employing diffusion techniques. A skilled retoucher she went to great lengths to conceal her improvements to images, such as sharpening details, increasing the light contrast, and employing airbrush. After she learned Italian, she opened a studio at #13 Viale Milton, in Florence around 1927 and from this time, her portraits of aristocrats began to appear. Her work from 1927, includes likenesses of Countess Anna Boutourline and Teresa Martini Marescotti and from 1928, is a portrait of Baroness Bonacorsa Alliotti.She began publishing images in fashion magazines under the name of <mask> <mask> competing with the British photographer Eva Barrett, for space in publications like . Another possible exaggeration was an often told tale that after taking a photograph of Sophia, Queen Consort of Greece, wrapped in an ermine jacket with a black veil encircling her, Carell was encouraged to go to Rome, by Sophia, who introduced her to court. In Rome, <mask> became the photographer for the Italian royal family after her photograph of Mafalda di Savoia, taken in 1928, was published in the March 1929 edition of Le Carnet Mondain, the social register. Around 1930, she met and photographed two of the architects of Fascist propaganda, Margherita Sarfatti and Marcello Piacentini. Sarfatti and Piacentini were key figures in crafting both the political identity of Benito Mussolini and his cultural policies. She took photographs which were collected in an album of the family members of both Sarfatti and Piacentini. Then in 1931, Carell took photographs of Queen Marie José and Mussolini, which were featured alongside photographs taken by Barrett in Le Carnet Mondain.Though she continued to maintain a studio in Florence, by 1930, <mask> was firmly established in Rome and opened a new studio there in 1932, located at #3 Piazza del Popolo. In 1933, she produced the wedding photographs for Sarfatti's daughter Fiammetta to Livio Gaetani, and two years later shot photographs of their first child, Roberto. For several years thereafter, until Barrett retired in 1937, the two women were known to be rivals for the same clients. That year, <mask> shot a series of portraits of Mussolini, which were quite different than previous images of him in a militaristic stance with a decisive profile. In <mask>'s photographs, he was portrayed in almost Hollywood-like glamor, as a refined intellectual, with the only reference to politics being a National Fascist Party badge in his buttonhole. By this time, Carell was fully established as one of the most sought-after photographers in Rome. At the beginning of World War II, in 1938, Carell came under the scrutiny of the police, but her high-powered relationships allowed her to remain in the country, despite her Jewish heritage.After the war ended, she continued to make photographs of high-powered society figures and in 1959, renounced her Hungarian citizenship to become a naturalized Italian. Her last official portrait was of Pope John XXIII in 1960. In 1969, she donated around 50,000 negatives of her archives to the Ferrania Information Center, which were later consolidated into the 3M Foundation Italia in Milan and moved to Israel. Death and legacy
<mask> died on 8 January 1972 in Haifa and was largely forgotten or dismissed as an ideological photographer until the 21st century, when critical analysis of her techniques renewed. In 2011, a biography, <mask> <mask> was published in Hungarian and followed in 2013, Roberto Dulio published a biography, Un ritratto mondano. Fotografie di <mask> Carell re-examining her life. After each book was released, an exhibition of her works was presented.The 2011 exhibition which was also shown Geneva, began with a presentation at the Hungarian National Museum, marking the first time <mask>'s works had been shown in her native land. The 2013 exhibition in Rome, evaluated the influences of Walt Disney and Hollywood on <mask>'s body of work. References

Citations

Bibliography

Further reading

1899 births
1972 deaths
Hungarian women photographers
Photographers from Florence
Italian women photographers
Jewish women artists
20th-century photographers
People with acquired Italian citizenship
People who lost Hungarian citizenship
Italian emigrants to Israel
Hungarian emigrants to Israel
Hungarian Jews
Hungarian expatriates in Italy
20th-century Italian Jews
20th-century Italian women artists
20th-century Hungarian women artists
People from Szabolcs-Szatmár-Bereg County
20th-century women photographers

masks:
Ghitta Carell
Ghitta Klein
Ghitta Klein
Ghitta
Carell
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<mask> (August 8, 1925 – August 1, 1970) was an American graphic designer known for blending formal graphic design concepts with wit and 1960s pop culture. He is best known for his motion picture title sequences, especially From Russia with Love and Goldfinger. Early life
He was born to British parents on August 8, 1925 in Newark, New Jersey, where his father was a bus driver. In 1937, at age 12, his father died. Despite the comparative disinclination of his family, Brownjohn showed early artistic promise. After attending the Pratt Institute in nearby Brooklyn, New York for a year, he earned a place at the Institute of Design in Chicago, Illinois, formerly known as the New Bauhaus by founder László Moholy-Nagy, in 1944. Regarded as a prodigy by his peers, Brownjohn became a protégé of Moholy-Nagy and his successor, Serge Chermayeff; much of the structural quality in <mask>'s graphic design can be traced to the former's important influence.In his spare time, he experimented with marijuana and heroin (culminating in an early rehabilitation stint at the behest of Chermayeff) and often frequented the city's jazz clubs with Chermayeff and Buckminster Fuller, then an Institute faculty member. Because of his proclivities, Brownjohn became intimately acquainted with Charlie Parker, Billie Holiday and other musicians of the era. After receiving a nonprofessional B.A. in architecture in May 1948, Brownjohn initially worked as an architectural planner in Chicago before returning to the Institute (which had been absorbed as a unit of the Illinois Institute of Technology in 1949) to assist Chermayeff and teach his own courses in the school's evening division. He also worked as a freelance designer for several magazines, including Esquire and Coronet. New York career
In 1951, Brownjohn returned to New York City in order to further his graphic design career. Continuing to work freelance for the next five years, he completed projects for a wide variety of clients, including Columbia Records.Brownjohn's effusive personality and fondness for jazz music allowed his friendships with Parker and Miles Davis, among others, to blossom as he became a part of the bohemian social scene in the city. Brownjohn also became addicted to heroin in earnest during this period. He was never to conquer this affliction and it contributed to his untimely death at the age of 44. In 1956, Brownjohn married Donna Walters. The couple went on to have a daughter, Eliza. The following year, Brownjohn formed Brownjohn, Chermayeff & Geismar (BCG) with fellow designers Ivan Chermayeff (a son of Brownjohn's mentor) and Tom Geismar. BCG designed for print initially, producing experiments in typographical design as well as taking on commercial projects.Amongst the experimental work was the booklet, Watching Words Move, in which words were redesigned to suggest their meaning in graphical as well as literal terms, e.g. "+dd", "-tract" and "sexxx". In 1958 BCG won the commission to design the United States' stand at the Brussels World's Fair. BCG also counted the Pepsi-Cola Company amongst its largest clients at this time. In addition to designing the company magazine, it also created the widely hailed Christmas decorations for Pepsi's New York headquarters. During this period, he also taught advanced advertising design as an adjunct professor at Pratt and Cooper Union. The end of 1959 saw the end of BCG.Brownjohn's drug use had escalated and he moved to London with his family in order, he hoped, to take advantage of the UK's more liberal attitude to drug use. Following Brownjohn's departure, the company (known as Chermayeff & Geismar & Haviv today) became known for its seminal corporate identity programs. London career
As one of the most fêted and socially connected designers from New York, Brownjohn fitted into the Swinging London scene effortlessly. He initially worked at the J. Walter Thompson advertising agency before leaving the firm to join McCann Erickson in 1962. It was in this year that Donna left Brownjohn, taking daughter Eliza, and moved to Ibiza. Brownjohn's career began to shift to working primarily with moving images. In 1963, the producers of the James Bond films approached Brownjohn after disagreements with film title designer Maurice Binder.Harry Saltzman asked Brownjohn to design the title sequence for the second James Bond film, From Russia with Love. Movie title sequences
<mask>'s work on two James Bond title sequences, From Russia with Love and Goldfinger, is probably his most widely known achievement. In these he used the technique of projecting moving footage onto the bodies of models and filming the results. The idea of filming projections is one gleaned from the Bauhaus and was used by László Maholy-Nagy in his early constructivist films of the 1920s. The combination of this artistic technique with the style and glamour of the 1960s typify <mask>'s work. The use of wit and risqué humour, for example the deliberate lining up of a projected shot of a golf putt so that the ball appears to roll down gold painted model Margaret Nolan's cleavage, are also classic Brownjohn devices. Goldfinger'''s title design, photographed by David Watkin cost £5000.Brownjohn also designed the British posters for the film featuring Sean Connery and Honor Blackman over a gold painted Margaret Nolan. A second poster, featuring the characters in a golden hand, was designed for Ireland. Eventually Saltzman and <mask> fell out, and Brownjohn worked on no other Bond films. In all, <mask> designed four title sequences:From Russia with Love (1963)Goldfinger (1964)Where the Spies Are (1965)The Night of the Generals (1967)

 Later career and death
The most notable work from Brownjohn's post-Bond career is probably the cover for the 1969 Rolling Stones album Let It Bleed. He also created moving graphics for Midland Bank and Pirelli between 1966 and 1970. His final piece of graphic design was a poster for the New York Peace Campaign in 1969: an ace of spades playing card is laid on a plain white background with the letters "PE" hastily scribbled to the left of it and a question mark to the right. Brownjohn also had a small role as a fur coat-clad heavy in Dick Clement's film Otley.<mask> died from a heart attack in London on August 1, 1970, seven days shy of his 45th birthday. See also
 List of AIGA medalists

 References

 Further reading
 King, Emily, <mask>hn: Sex and Typography, Laurence King Publishing, 2005
 Chermayeff, Ivan and Geismar, Tom, watching words move'', Chronicle Books, 2006

External links

 Art Directors Club biography, portrait and images of work

1925 births
1970 deaths
AIGA medalists
American graphic designers
American typographers and type designers
Film and television title designers
Artists from Newark, New Jersey
American expatriates in the United Kingdom

masks:
Robert Brownjohn
Brownjohn
Robert Brownjohn
Brownjohn
Brownjohn
Robert Brownjohn
Robert Brownjohn
Robert Brownjo


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<mask>  (born 11 August 1923) is a former English amateur golfer. She won the English Women's Amateur Championship three times, in 1951, 1953 and 1957 and played in the Curtis Cup three times, in 1950, 1952 and 1954. Early life
<mask> was born on 11 August 1923, the daughter of the <mask> and Dorothy Cundall, who were married in 1922. <mask> had played cricket for Somerset, becoming the first Somerset cricketer to score a century on debut. He was also a badminton international for Ireland. Dorothy was also a noted badminton player, winning three doubles titles at the All England Open Badminton Championships. She had previously married in 1912, to Major Douglas Harvey, who was killed in Mesopotamia in 1917, and with whom she had a son Ian Harvey who became a Conservative MP.Golf career
As a 15-year-old, <mask> played in the 1938 Girls Amateur Championship at Stoke Poges, losing 5&4 to Sheila Stroyan in the second round. In August 1945, she won the Daily Graphic Cup, an 18-hole stroke-play event at Royal Mid-Surrey, with a score of 75. In 1948 she reached the quarter-finals of the English Women's Amateur Championship. In 1949, <mask> played for England in the Women's Home Internationals for the first time, winning her singles match as England won narrowly 5–4 against Scotland. In the Womens Amateur Championship she beat the American Grace Lenczyk in the third round but then lost to Clarrie Reddan. Following the championship she was selected for the British team to play Belgium and then France in the Vagliano Trophy. <mask> reached the quarter-finals of the 1950 Womens Amateur Championship, losing 3&2 to Jessie Valentine, a performance good enough to see her selected for the Curtis Cup team  at the Country Club of Buffalo in September.She represented England in a match against a team of visiting Australian women, winning her singles match. In the 1950 Curtis Cup, the Americans won 8 matches to 1, with one match halved, <mask> losing both her matches. The team later played a Canadian team, <mask> winning both her matches in an 8–2 victory. In 1951 <mask> reached the semi-finals of the Womens Amateur Championship at Broadstone Golf Club, losing at the 22nd hole to Catherine MacCann. She had beaten Beverly Hanson in the quarter-finals. The following week she again played for Britain against Belgium and then France, the British team winning both matches. In July she won the Daily Graphic women's national tournament at Wentworth, scoring 80 on the west course and then 69 on the east course.In October she won the English Women's Amateur Championship at St Annes Old Links, beating Gabrielle Keiller 2&1 in the 36-hole final. <mask> was selected for the Curtis Cup team at Muirfield. The British team took a 2–1 lead on the first day, <mask> not being selected for these foursomes match. The singles match were tied 3–3, to give Britain their first Curtis Cup win. Playing in the fourth singles match, <mask> beat Mae Murray 6&5. The following week, the pair met again in the quarter-finals of the Womens Amateur Championship, Murray winning this time at the 19th hole. In her defence of the English Women's Amateur Championship she lost to Frances Stephens in the third round.<mask> was part of the British team that won the Commonwealth tournament at Formby in early July 1953. The other teams were Canada, New Zealand and a British juniors team. The New Zelanders and Canadians also played matches against England, <mask> playing both matches. She also competed in the Sunday Graphic 72-hole stroke-play tournament at Sunningdale. She finished third, behind Frances Stephens and Jean Donald. In September at Prince’s she won the English Women's Amateur Championship for the second time, beating Jean McIntyre 6&5 in the final. In November 1953, <mask> was one of the first three women selected for the 1954 Curtis Cup team at Merion Golf Club.In late June 1954 she reached the quarter-finals of the Womens Amateur Championship, losing by one hole to Frances Stephens. In the Curtis Cup, the Americans won 6 matches to 3. <mask> did not play in the foursomes and lost her singles match. The team had earlier won a match against a Canadian team, <mask> winning both her matches. <mask> won a number of open championships on the continent. She was the Swedish champion in 1952, the German and Italian champion in 1953, the Portuguese champion in 1954 and the Norwegian champion in 1955. In 1957 she won the English Women's Amateur Championship for the third time, beating Margaret Nichol 10&8 in the final.The event was held at Queens' Park in Bournemouth. She represented England eight times in Women's Home Internationals being on the winning team four times, in 1949, 1953, 1954 and 1958. <mask> was the non-playing captain of the Curtis Cup team in 1970. She was the first lady president of Parkstone Golf Club and has been a member for over 80 years. Personal life
<mask>'s family moved from London to the Bournemouth area in 1940. She studied History at the University of Oxford in 1941, but left after a year to join the Women's Royal Naval Service. She worked at Stanmore, an outstation of Bletchley Park, which housed over 50 Enigma code-breaking machines.After the wat she didn't return to Oxford but trained as a barrister, passing her final examination in 1947. After her mother's death in 1954, she returned to Poole. She joined Poole Council in 1955 and was active in the education area. She was also a magistrate. Honours
<mask> was appointed a Commander of the Order of the British Empire (CBE) in the 1982 Birthday Honours as chairman of the Dorset Education Committee. She was given an honorary Doctor of Education at Bournemouth University in 2018. Team appearances
Curtis Cup (representing Great Britain & Ireland): 1950, 1952 (winners), 1954, 1970 (non-playing captain)
Canada–Great Britain match (representing Great Britain & Ireland): 1950 (winners), 1954 (winners)
Commonwealth tournament (representing Great Britain & Ireland): 1953 (winners)
Vagliano Trophy (representing Great Britain & Ireland): 1949 (winners), 1951 (winners)
Belgium–Great Britain match (representing Great Britain & Ireland): 1949 (winners), 1951 (winners)
Women's Home Internationals (representing England): 1949 (winners), 1950, 1951, 1952, 1953 (winners), 1954 (winners), 1956, 1958 (winners)
England–New Zealand match (representing England): 1953 (winners)
England–Canada match (representing England): 1953 (winners)

References

English female golfers
Amateur golfers
Commanders of the Order of the British Empire
1923 births
Living people

masks:
Jeanne Mary Bisgood
Bisgood
Bert Bisgood
Bert Bisgood
Bisgood
Bisgood
Bisgood
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Bisgood
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