texts:
 Dutch.The truce did not stop the commercial and colonial expansion of the Dutch into the Caribbean and the East-Indies, although Spain had tried to impose the liquidation of the Dutch East India Company as a treaty condition. Minor concessions of the Dutch Republic were the scrapping of the plan to create a Dutch West India Company and to stop the harassment of the Portuguese in Asia. Both concessions were temporary as the Dutch soon recommenced preying upon Portuguese interests, which had already led to the Dutch-Portuguese War in 1602 and would continue till 1654. At least with peace in Europe, the Twelve Year's truce gave <mask>'s regime an opportunity to begin to recover its financial position. With the death of Henry IV of France – a supporter of the war against Spain – a period of instability commenced in the Kingdom of France. In a sequence of aggressive policy moves, and largely without firm direction from <mask>, his regional proconsuls of the Duke of Osuna, viceroy of Naples and the Marquess of Villafranca, the Governor of Milan, directed the Spanish policy in Italy that encountered resistance from the Duchy of Savoy and the Republic of Venice. To secure the connection between Milan and the Netherlands a new route was opened through Valtellina, then part of the independent state of the Three Leagues (the present day canton of Graubünden, Switzerland), and in 1618 the plot of Venice occurred in which the authorities engaged in the persecution of pro-Spanish agents.Entry to the Thirty Years' War
In the final years of <mask>'s reign, Spain entered the initial part of the conflict that would become known as the Thirty Years' War (1618–48). The result was a decisive Spanish victory in the Holy Roman Empire that would lead to a recommencement of the war with the Dutch shortly after <mask>'s death. Europe was anticipating a fresh election for the position of Emperor upon the likely death of Matthias, who was heirless. Spain and Austria's common Habsburg ancestry influenced Spain's involvement in the convoluted politics of the Empire: on the one hand, <mask> had a vested interest in the success of his cousin Ferdinand of Bohemia, who intended to follow Matthias to the throne; on the other, <mask> had hopes of appointing one of his own family, such as Prince <mask>, to the Imperial throne and worried that a failed bid by Ferdinand might reduce collective Habsburg prestige. <mask> finally chose to intervene behind Ferdinand. Prince <mask> had been rejected as unacceptable to the German nobility. <mask> had also been increasingly influenced over the years by first Queen Margaret, and later the other, powerful Habsburg women at court, whilst the incoming set of advisors that replaced de Lerma, especially de Zúñiga, also saw Spain's future as part of a strong alliance with a Habsburg Holy Roman Empire.Finally, by the Oñate treaty of 29 July 1617, Ferdinand made a successful appeal to <mask>'s self-interest by promising Spain the Habsburg lands in Alsace in return for Spanish support for his election. Crisis broke out in Ferdinand's kingdom of Bohemia during 1618–19, with a confrontation between Catholic and Protestant factions. Ferdinand asked Spain for help to put down the rebellion; the Protestant rebels turned to Frederick V of the Palatinate as a new ruler and Emperor. The situation in the Empire was in many ways auspicious for Spanish strategy; in the Spanish Netherlands Ambrosio Spinola had been conspiring to find an opportunity to intervene with the Army of Flanders into the Electorate of the Palatinate. The Palatinate was a vital, Protestant set of territories along the Rhine guarding the most obvious route for reinforcements from other Spanish territories to arrive into the rebellious Dutch provinces (through Genoa). France, assumed bound to support Frederick against Ferdinand, was in fact inclined to remain neutral. The Spanish troops headed by Spinola in the Palatinate and by Johann Tserclaes, Count of Tilly in Bohemia achieved a decisive victory against the Czechs in the Battle of White Mountain in 1620.With the Dutch now vulnerable to a strike through the Rhine valley, a renewed war against the Provinces, with the aim of forcing the Dutch to a more suitable permanent peace, appeared inevitable. <mask> died in 1621 shortly before the recommencement of war – his son, <mask>, retained his chief foreign policy advisor, de Zúñiga, and an initially highly successful campaign against the Dutch began the same year. Colonial policy

Chile
In the Americas <mask> inherited a difficult situation in Chile, where the Arauco War raged and the local Mapuche succeeded in razing seven Spanish cities (1598–1604). An estimate by  Alonso González de Nájera put the toll at 3000 Spanish settlers killed and 500 Spanish women taken into captivity by Mapuche. In retaliation the proscription against enslaving Indians captured in war was lifted by <mask> in 1608. This decree was abused when Spanish settlers in Chiloé Archipelago used it to justify slave raids against groups such as the Chono of northwestern Patagonia who had never been under Spanish rule and never rebelled. Jesuit missionary Luis de Valdivia believed the Mapuche could be voluntarily converted to Christianity only if there was peace.To diminish hostilities Valdivia proposed a Defensive War in a letter to <mask>. The king supported the idea, issuing a decree that established the Defensive War as an official policy in 1612. By the time Defensive War was established war between Spanish and Mapuche had been going on for 70 years. These policies were not without criticism. Maestre de campo and corregidor of Concepción Santiago de Tesillo claimed the Defensive War gave the Mapuche a much needed respite to replenish their forces that should have been denied. The Real Audiencia of Santiago opined in the 1650s that slavery of Mapuches was one of the reasons for constant state of war between the Spanish and the Mapuche. Legacy

<mask> died in Madrid on 31 March 1621, and was succeeded by his son, <mask>, who rapidly completed the process of removing the last elements of the Sandoval family regime from court.The story told in the memoirs of the French ambassador Bassompierre, that he was killed by the heat of a brasero (a pan of hot charcoal), because the proper official to take it away was not at hand, is a humorous exaggeration of the formal etiquette of the court. <mask> has generally left a poor legacy with historians. Three major historians of the period have described an 'undistinguished and insignificant man', a 'miserable monarch', whose 'only virtue appeared to reside in a total absence of vice'. More generally, <mask> has largely retained the reputation of 'a weak, dim-witted monarch who preferred hunting and traveling to governing'. Unlike <mask>, whose reputation has improved significantly in the light of recent analysis, <mask>'s reign has been relatively unstudied, possibly because of the negative interpretation given to the role of <mask> and Lerma during the period. Traditionally, the decline of Spain has been placed from the 1590s onwards; revisionist historians from the 1960s, however, presented an alternative analysis, arguing that in many ways <mask>'s Spain of 1621 – reinforced with new territories in Alsace, at peace with France, dominant in the Holy Roman Empire, and about to begin a successful campaign against the Dutch – was in a much stronger position than in 1598, despite the poor personal performance of her king during the period. <mask>'s use of Lerma as his valido has formed one of the key historical and contemporary criticisms against him; recent work has perhaps begun to present a more nuanced picture of the relationship and the institution that survived for the next forty years in Spanish royal government.Titles and styles

In the 1604 Treaty of London, <mask> was styled "<mask> the Third, by the grace of God, king of Castile, Leon, Aragon and the Two Sicilies, Jerusalem, Portugal, Navarre, Granada, Toledo, Valencia, Galicia, the Majorcas, Seville, Cordoba, Corsica, Murcia, Guinea, Algarve, Gibraltar, the Canary Islands, also of the Eastern and Western Indies, and the islands and terra firma of the Ocean Sea, archduke of Austria, duke of Burgundy and Milan, count of Habsburg, Barcelona, and Biscay, and lord of Molina, etc." in full and "<mask> III, King of the Spains" for short. Family tree
Like many Habsburgs, <mask> was the product of extensive inbreeding. His father, <mask>, a product of marriage between first cousins, married his niece, Anna of Austria, herself the product of a cousin couple. <mask> in turn married his first cousin once removed, Margaret of Austria. This pattern would continue in the next generation, ultimately culminating in the end of the Spanish Habsburg line in the person of <mask>'s feeble grandson, Charles II. |-
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Family
<mask> married Margaret of Austria, his second cousin.They had the following children:

Anne (22 September 1601 – 20 January 1666), queen of France
Maria (1 February 1603 – 2 February 1603)
<mask> of Spain (8 April 1605 – 17 September 1665)
Maria Anna (18 August 1606 – 13 May 1646), empress of the Holy Roman Empire
Charles (14 September 1607 – 30 July 1632)
Ferdinand (16 May 1609 – 9 November 1641), a cardinal and military commander
Margaret (24 May 1610 – 11 March 1617)
Alonso (22 September 1611 – 16 September 1612)

See also
Palacio de la Ribera

References

Bibliography
 Carter, Charles H. "The Nature of Spanish Government After Philip II." Historian 26#1 (1963): 1-18. online. Cipolla, Carlo M. (ed) The Fontana Economic History of Europe: The Sixteenth and Seventeenth Centuries. London: Fontana. (1974)
Cruz, Anne J. Discourses of Poverty: Social Reform and the Picaresque Novel. Toronto: University of Toronto Press. (1999)
Davenport, Frances G. European Treaties Bearing on the History of the United States and Its Dependencies.The Lawbook Exchange, Ltd. (2004)
Elliott, J. H. Imperial Spain: 1469–1716. London: Penguin. (1963)
Feros, Antonio. Kingship and Favouritism in the Spain of <mask> III, 1598–1621. Cambridge: Cambridge University Press. (2006)
Goodman, David. Spanish Naval Power, 1589–1665: Reconstruction and Defeat.Cambridge: Cambridge University Press. (2002)
Kamen, Henry. Spain, 1469–1714: A Society of Conflict. Harlow: Pearson Education. (2005)
Harvey, Leonard Patrick. Muslims in Spain, 1500–1614. Chicago: University of Chicago Press.(2005)
<mask>, <mask>. and Kathyrn Norberg (eds). Fiscal Crises, Liberty, and Representative Government 1450–1789. (Stanford University Press, 2001)
 Lynch, John. Spain Under the Habsburgs: vol 2 Spain and America (1959) online pp 14–61. De Maddalena, Aldo. Rural Europe, 1500–1750. in Cipolla (ed) 1974.Mattingly, Garrett. The Armada. New York: Mariner Books. (2005)
Munck, Thomas. Seventeenth Century Europe, 1598–1700. London: Macmillan. (1990)
Parker, <mask>.Europe in Crisis, 1598–1648. London: Fontana. (1984)
Parker, <mask>. The Dutch Revolt. London: Pelican Books. (1985)
Parker, <mask>. The Army of Flanders and the Spanish Road, 1567–1659.Cambridge: Cambridge University Press. (2004)
Perry, Mary Elizabeth. The Handless Maiden: Moriscos and the politics of religion in early modern Spain. Princeton: Princeton University Press. (2005)
Polisensky, J. V. The Thirty Years War. London: NEL. (1971)
Ringrose, David.Spain, Europe and the "Spanish Miracle", 1700–1900. Cambridge: Cambridge University Press. (1998)
Sánchez, Magdalena S. Pious and Political Images of a Habsburg Woman at the Court of <mask> (1598–1621). in Sánchez and Saint-Saëns (eds) 1996. Sánchez, Magdalena S. and Alain Saint-Saëns (eds). Spanish women in the golden age: images and realities. Greenwood Publishing Group.(1996)
Stradling, R. A. <mask> IV and the Government of Spain, 1621–1665. Cambridge: Cambridge University Press. (1988)
Thompson, I. A. A. Castile, Constitionalism and Liberty. in <mask> and Norburg (eds) 2001. Wedgwood, C. V. The Thirty Years War.London: Methuen. (1981)
Williams, Patrick. The Great Favourite: the Duke of Lerma and the court and government of <mask> of Spain, 1598–1621. Manchester: Manchester University Press. (2006)
Zagorin, Perez. Rebels and Rulers, 1500–1660. Volume II: Provincial rebellion: Revolutionary civil wars, 1560–1660.Cambridge: Cambridge University Press. (1992)

Further reading

See also Paul C. Allen, <mask> III and the Pax Hispanica: The Failure of Grand Strategy'' (Yale UP: 2000) for an extensive discussion of the foreign policy of <mask> III. Allen's is a revisionist work that also argues for a greater role played in international affairs by the Council of State and its leaders in this period rather than by Lerma. |-

Philippine dynasty
1578 births
1621 deaths
16th-century Spanish monarchs
17th-century Spanish monarchs
16th-century Portuguese monarchs
17th-century Portuguese monarchs
16th-century Castilian monarchs
17th-century Castilian monarchs
16th-century Aragonese monarchs
17th-century Aragonese monarchs
16th-century Kings of Sicily
17th-century Kings of Sicily
16th-century monarchs of Naples
17th-century monarchs of Naples
16th-century Navarrese monarchs
17th-century Navarrese monarchs
Spanish Baroque people
Spanish people of the Eighty Years' War
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Grand Masters of the Order of the Golden Fleece
Children of Philip II

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Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip
Philip IV
Philip
Philip
Philip
Philip III
Philip IV
Philip
Philip
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Philip III
Philip
Philip III
Philip
Philip
Philip
Philip
Philip III
Philip II
Philip III
Philip
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Philip IV
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type: original

texts:
<mask>'Malley (born 1942 in Dublin, Ireland) is an Irish international peacemaker, author, and professor. O'Malley specializes in the problems of divided societies, such as South Africa and Northern Ireland. He has written extensively on these subjects and has been actively involved in promoting dialogue among representatives of differing factions. He's currently the John Joseph Moakley Distinguished Professor of Peace and Reconciliation at the University of Massachusetts Boston. Early life and education
O'Malley was born in Dublin. He was educated at University College, Dublin, and at Yale, Tufts and Harvard universities in the United States. Peace activism

Northern Ireland

O'Malley spent 20 years involved with the conflict in Northern Ireland.Working with all the political parties to the conflict, he convened the Amherst Conference on Northern Ireland (Massachusetts, 1975), the Airlie House Conference (Virginia, 1985), and co–convened the Arniston Conference with the government of South Africa (Western Cape, 1997). In 1992, he participated in bringing some of the South African figures to Boston, Massachusetts for a meeting with representatives of the factions in Northern Ireland. In 1996, he helped arrange a second such meeting, in Belfast, attended by South Africans Cyril Ramaphosa of the African National Congress and Roelf Meyer of the white National Party. In 1997, the Arniston Conference (also known as The Great Indaba) convened all the key parties of The Northern Irish peace process in South Africa to meet with Nelson Mandela. Included in the meeting from Northern Ireland were Martin McGuinness, David Trimble and Peter Robinson. "The outcome of the Indaba (the Zulu word for "gathering of the minds") was a series of historic events. Seven weeks after the conference, Sinn Féin declared a cease fire that paved the way for negotiations and ultimately the fragile Good Friday Agreement to share power, still in place today.A year later, Trimble and John Hume, leader of the Social Democratic and Labour Party, were awarded the Nobel prize for peace. And most recently, in fall 2001, the IRA mustered the courage to destroy its weapons to further the cause of peace. That stunning announcement came two weeks after Gerry Adams of Sinn Féin once again visited former president Mandela in South Africa." O'Malley was also a member of the Opshal Commission, which authored the report "Northern Ireland: A Citizens' Inquiry" (Belfast, 1993)

South Africa

Between 1989-1999, O'Malley conducted 2,000 hours of interviews tracking South Africa's transition to democracy. His work is archived in written transcription and on audio tape at the Robben Island Museum/Mayibuye Archives [University of the Western Cape]. His assiduous work of recording the different perspectives and developing attitudes within South Africa during the ten-year period had earned Nelson Mandela's highest regard. What particularly impressed Mr. Mandela was O'Malley's determination to face the greatest challenge posed once upon a time by W.B.Yeats, namely 'to hold in a single thought reality and justice'. Iraq

In 2007, based on his philosophy that cultures in conflict are in the best position to help other cultures in conflict, O'Malley became involved in working toward reconciliation within Iraq. He helped arrange a conference at a resort in Finland, where 16 Iraqis met senior negotiators from South Africa (SA), including Cyril Ramaphosa, chief negotiator for the African National Congress (ANC) under the leadership of Nelson Mandela; Roelf Meyer, chief negotiator for South Africa's last whites- only government and Mac Maharaj, who was co. secretary of the South African negotiating process. Senior negotiators from Northern Ireland (NI), including Martin McGuinness from Sinn Féin, currently Deputy First Minister of NI, Jeffrey Donaldson from the Democratic Unionist Party (DUP). O'Malley's role included recruiting the Iraqi participants, then roaming around Baghdad with $40,000 in cash and covertly procuring their airline tickets. The Iraqis concluded the meeting by agreeing among themselves on a statement based partly on the Mitchell Principles developed during the Northern Ireland peace process. The Boston Globe reported:

There would be two meetings, Helsinki I and Helsinki II."The participants in what O'Malley calls "Helsinki II" are an even more senior influential group than those who drafted the Helsinki principles. They include senior members of parliament and prominent tribal leaders. Among them is the head of the Iraqi Constitutional Review Committee, Sheik Humam Hamoudi, whose participation was endorsed by the speaker of the Iraqi parliament. The ethnic representation of the 36 at the meeting roughly reflects that of the Iraqi population, with 25 percent Sunni, 25 percent Kurdish, and 50 percent Shi'ite participation." Additional professional life
<mask> has owned the Plough and Stars pub in Cambridge, Massachusetts since the early 1970s. His brother Peter O'Malley, with DeWitt Henry, started the renowned literary magazine Ploughshares, publishing it at first, out of the back of the bar. O'Malley has monitored elections in South Africa, Mozambique, and the Philippines on behalf of the National Democratic Institute for International Affairs.He is also a frequent contributor to The Boston Globe. At the University of Massachusetts Boston, he is the John Joseph Moakley Professor of International Peace and Reconciliation at the John W. McCormack Graduate School of Policy Studies; a Senior Fellow in the Center for Development and Democracy; and the founder and editor of the New England Journal of Public Policy, a semiannual publication of the McCormack Graduate School. He is also a Visiting Professor of Political Studies at the University of the Western Cape in South Africa. O'Malley was honored with the Peace Abbey Foundation Courage of Conscience Award at the Community Church of Boston in 2018 for playing a major role in breaking the gridlock and promoting peace in South Africa, Northern Ireland, and the Middle East. Video of talk given at Boston University's Institute for Philosophy and Religion, 21 March 2009

Living people
1942 births
Irish emigrants to the United States
Writers from Dublin (city)
University of Massachusetts Boston faculty
Alumni of University College Dublin
Yale University alumni
Tufts University alumni
Harvard University alumni
University of the Western Cape faculty
Christopher Ewart-Biggs Memorial Prize recipients

masks:
Padraig O
Padraig


texts:
<mask>, S.J. (; 19 July 1688 – 17 July 1766), was an Italian Jesuit brother and missionary in China, where he served as an artist at the imperial court of three Qing emperors – the Kangxi, Yongzheng and Qianlong emperors. He painted in a style that is a fusion of European and Chinese traditions. Early life
Castiglione was born in Milan's San Marcellino district on 19 July 1688. He was educated at home with a private tutor, then a common practice among wealthy families. He also learned to paint under the guidance of a master. In 1707, he entered the Society of Jesus in Genoa aged 19.Although a Jesuit, he was never ordained as a priest, instead joining as a lay brother. Works

Paintings
In the late 17th century, a number of European Jesuit painters served in the Qing court of the Kangxi Emperor who was interested in employing European Jesuits trained in various fields, including painting. In the early 18th century, Jesuits in China made a request for a painter to be sent to the imperial court in Beijing. Castiglione was identified as a promising candidate and he accepted the post. In 1710, on the way to Lisbon, he passed through Coimbra where he stayed for several years to decorate the chapel of St. Francis Borgia in the Church of the novitiate, today the New Cathedral of Coimbra. He painted several panels in the chapel and a Circumcision of Jesus for the main altar of the same church. In August 1715, Castiglione arrived in Macau, China, and reached Beijing later in the year.He stayed at a Jesuit church called St Joseph Mission or Eastern Hall (Dong Tang) in Chinese. He was presented to the Kangxi Emperor who viewed his painting of a dog, another source said a bird was also painted on the spot on Kangxi's request. He was assigned a few disciples, but was placed to work as an artisan in the palace enameling workshop. While in China, Castiglione took the name Lang Shining (郞世寧). Castiglione adapted his European painting style to Chinese themes and taste. His earliest surviving painting created in such style was from the first year of Yongzheng's reign in 1723. He was permitted to leave the enamel workshop by Yongzheng as it was affecting his eyesight.Although Castaglione was favored by Yongzheng who commissioned a number of works by him, Yongzheng's reign was a difficult period for the Jesuits as Christianity was suppressed and those missionaries not working for the emperor were expelled. His skill as an artist was appreciated by the Qianlong Emperor, and Castiglione served the Emperor for three decades and was granted increasingly higher official rank within the Qing court. He spent many years in the court painting various subjects, including the portraits of the emperor and empress. Qianlong showed particularly interest in paintings of tribute horses presented to the Emperor on which Castiglione painted a series, such as the Four Afghan Steeds. In 1765, Castiglione and other Jesuit painters also created a series of "Battle Copper Prints" commissioned by the Emperor to commemorate his military campaigns. Small-scale copies of his paintings were shipped to Paris and rendered into engravings with etching before being returned to China. This series of sixteen prints by Castiglione (who contributed two) and his contemporaries Jean-Denis Attiret, Ignatius Sichelbart and Jean-Damascène Sallusti were created in this way.Castiglione died in Beijing in 17 July 1766. An obituary was personally penned by Qianlong, who also erected a special stone in Castiglione's memory. He was buried in the Jesuits' Zhalan Cemetery in Beijing. Architecture
In addition to his skill as a painter, he was also in charge of designing the Western-Style Palaces in the imperial gardens of the Old Summer Palace with assistance from other Jesuits such as Jean-Denis Attiret. The project was initiated by Qianlong in 1747 in a garden once used by Yongzheng, with the construction of European-style palaces and gardens, aviaries, a maze, and perspective paintings organized as an outdoor theatrical stage, as well as fountains and waterworks designed by Michel Benoist. Castiglione also created trompe-l'œil paintings on the walls of the palaces. The buildings, however, were destroyed in 1860 during the Second Opium War.Castiglione's architectural works were lost, although influences of his trompe-l'œil murals survive in paintings on walls and ceilings which were executed by his assistant in Juanqinzhai in Qianlong Garden in the Forbidden City. Style and techniques

Castiglione's style of painting is a unique blend of European and Chinese compositional sensibility, technique and themes. He adjusted the European style he was trained in to suit Chinese taste; for example, strong shadows used in chiaroscuro techniques were unacceptable in portraiture as the Qianlong Emperor thought that shadows looked like dirt, therefore when Castiglione painted the Emperor, the intensity of the light was reduced so that there was no shadow on the face, and the features were distinct. Emperors also preferred to have their portraits painted full face with a frontal posture; therefore, the royal portraits are usually painted in such a manner. The paintings were done on silk, and unlike European painting where mistakes can be reworked, in Chinese painting, where brushwork on silk is almost impossible to be removed, it requires careful and precise painting. The painting needed to be worked out in detail beforehand, which Castiglione did in a preparatory drawing on paper before he traced the design onto silk. An example is the most important early work by Castiglione, One Hundred Horses in a Landscape (百駿圖), for which the preparatory drawings survive.It was painted in 1728 for the Yongzheng emperor. Some of the horses are in a 'flying gallop' pose, which had not been done before by European painters. The painting was executed using tempera on silk in the form of a Chinese handscroll of nearly eight meters in length. It was largely done in a European style in accordance with the rules of perspective, and with a consistent light source. However, the dramatic chiaroscuro shading typical of Baroque paintings is reduced and there are only traces of shadow under the hooves of the horses. Castiglione was assisted in many of his paintings by a number of court painters. For example, in the painting Deer Hunting Patrol (哨鹿圖, Shaolutu), he would be responsible for painting the portraits of the emperor and other officials on horseback.Other members of the hunting party, the trees and landscape however would be painted by other court painters in a Chinese style that is distinctly different from Castiglione's. Legacy
Due to Castiglione's work Qing court paintings began to show a clear Western influence. Other European painters followed and a new school of painting was created that combined Chinese and Western methods. The influence of Western art on the Qing court paintings is particularly evident in the light, shade, perspective, as well as the priority given to recording contemporary events. In 2005, Castiglione became the subject of the television series Palace Artist in China, played by Canadian-Chinese actor Dashan (Mark Rowswell), and broadcast by China Central Television (CCTV).. He is briefly portrayed at the end of the 48th episode of Ruyi's Royal Love in the Palace, painting the emperor and the empress together in one of the few happy episode of the TV series. Gallery

See also

Jean Denis Attiret
Louis Antoine de Poirot
<mask>
Matteo Ricci
Ignaz Sichelbarth

Bibliography
 Robert Loehr, <mask> (1688–1766) pittore di corte di Ch’ien-Lun, imperatore della Cina (Rome: ISMEO, 1940).George Robert Loehr, “European Artists at the Chinese Court,” in The Westward Influence of the Chinese Arts from the 14th to the 18th Century, ed. William Watson, Colloquies on Art & Archaeology in Asia, no. 3 (London: Percival David Foundation, 1972): 333–42. Joseph Deheregne, Répertoire des Jésuites de Chine de 1552 à 1800 (Rome: Institutum Historicum S. I., 1973), 95. Willard Peterson, “Learning from Heaven: the introduction of Christianity and other Western ideas into late Ming China,” in The Cambridge History of China, ed. Denis Twitchett and Frederick W. Mote, 15 vols. (Cambridge: Cambridge Univ.Press, 1988), 8:789–839. Cécile Beurdeley and Michel Beurdeley, <mask>e: A Jesuit Painter at the Court of the Chinese Emperors (London: Lund Humphrey, 1972). Hongxing Zhang, ed., The Qianlong Emperor: Treasures from the Forbidden City (Edinburgh: NMS, 2002). Evelyn Rawski and Jessica Rawson, China: The Three Emperors 1662–1795 (London: Royal Academy of Arts, 2005). John W. O’Malley et al., eds., The Jesuits: Cultures, Sciences, and the Arts 1540–1773, (Toronto: Univ. of Toronto Press, 1999). Ho Wai-kam, ed., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art (Bloomington: Indiana Univ.Press, 1980), 355. Memoria Postuma Fratris Josephi Castiglione, Bras. 28, ff. 92r–93v, Archivum Romanum Societatis Iesu (ARSI), Rome. Georg Pray, ed., Imposturae CCXVIII. in dissertatione R. P. Benedicto Cetto, Clerici Regularis e Scholis Piis de Sinensium Importuris Detectae et convulsae. Accedunt Epistolae Anecdotae R. P. Augustini e Comitibus Hallerstain ex China scriptae (Buda: Typis Regiae Universitatis, 1791).Marco Musillo, “La famille de <mask>e (1688–1766)”, (Paris: Thalia Edition, 2007). Marco Musillo, “Les peintures génoises de <mask>lione”, (Paris: Thalia Edition, 2007). Michèle Pirazzoli-t’Serstevens, <mask>e 1688-1766: Peintre et architecte à la cour de Chine (Paris: Thalia Edition, 2007), 18–25. Marco Musillo, “Bridging Europe and China: The Professional Life of <mask> (1688–1766)” tesi di dottorato (University of East Anglia, 2006). Marco Musillo: "Reconciling two careers: the Jesuit Memoir of <mask>e lay brother and Qing imperial painter" in Eighteenth-Century Studies, vol. 42, no. 1 (2008) Pp.45–59. Antonio Franco, Synopsis Annalium Societatis Jesu in Lusitania ab anno 1540 usque ad annum 1725 (Lisbon: Real collegio das artes da Companhia de Jesus, 1760), 441; e Imagem da Virtude em o Noviciado da Companhia de Jesus do Real Collegio do Espirito Santo de Evora (Lisbon: Real collegio das artes da Companhia de Jesus, 1714), 57. Relazione scritta da Monsignor Vescovo di Pechino al P. <mask>rù, in ordine alla Publicazione de Decreti apostolici (1715), ms. 1630, ff. 146r–152v, f. 149r. Biblioteca Casanatense, Rome. Copie manoscritte di vari scritti del Servo di Dio Matteo Ripa (1874), Cina e Regni Adiacenti Miscellanea 16, f. 21r, 26 December 1715, APF, Roma. Yang Boda, “The Development of the Ch’ien-lung Painting Academy,” in Words and Images, ed.Alfreda Murck and Wen C.Fong (New York: Princeton Univ. Press, 1991), 333–56, 345. George Robert Loehr, “<mask>,” Dizionario Biografico degli Italiani (Roma: Istituto della Enciclopedia Italiana, 1970), 22:92–94, 93. Father Jean Sylvain de Neu-vialle (Newielhe, 1696–1764) Relaçao da jornada, que fez ao Imperio da China, e sumamria noticia da embaixada, que deo na Corte de Pekim Em o primeiro de Mayo de 1753, o Senhor Francisco Xavier Assiz Pacheco e Sampayo (Lisbon: Officina dos Herd. De Antonio Pedrozo Galram, 1754), 8. Edward J. Malatesta and Gao Zhiyu, eds., Departed, yet Present. Zhalan the Oldest Christian Cemetery in Beijing (Macau and San Francisco: Instituto Cultural de Macau and Ricci Institute, 1995), 217.Lo-shu Fu, A Documentary Chronicle of Sino-Western Relations (1644–1820), 2 vols. (Tucson: Univ. of Arizona Press, 1966), 1:188–89. Ishida Mikinosuke, “A Biographical Study of <mask> (Lang Shih ning) a Jesuit Painter in the Court of Peking under the Ch’ing Dynasty,” Memoirs of the Research Department of the Toyo Bunko, no. 19 (1960): 79–121, 88–90. Lang Shining xiaozhuan (Short biography of Lang Shining) in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 3–26, 91-95.Aimé -Martin, M. L. (ed.) Lettres édifiantes et curieuses concernant l'Asie, l'Afrique et l'Amérique, avec quelques relations nouvelles des missions, et des notes géographiques et historiques, Paris 1838-1843, vol. II, III, IV. Beurdeley, C. et M., Castiglione, peintre jesuite a la cour de Chine, Fribourg 1971. Chayet, A., Une description tibétaine de Yuanmingyuan, in Le "Yuanmingyuan". Jeux d'eau et palais européens du XVIIIe siecle a la cour de Chine, Paris 1987.Cheng, T. K., Chinese Nature Painting, in "Renditions", n. 9, spring 1978, pp. 5–29. Durand, A., Restitution des palais européens du Yuanmingyuan, in "Arts Asiatiques", vol. XLIII, 1988, pp. 123–133. Hou Jinlang- Pirazzoli, M., Les chasses d'automne de l'empereur Qianlong à Mulan, in "T'oung Pao", vol. LXV, 1-3, pp.13–50. Hucker, C., A Dictionary of Official Titles in Imperial China, Stanford 1985. Jonathan, P.-Durant, A., La promenade occidentale de l'empereur Qianlong, in Le "Yuanmingyuan". Jeux d'eau et palais européens du XVIIIe siecle a la cour de Chine, Paris 1987, pp. 19–33. Ju Deyuan-Tian Jieyi-Ding Qiong, Qing gongtong huajia Lang Shining, in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 27–28.Kao Mayching, M., China's Response to the West Art: 1898-1937, Ann Arbor, Mich. 1972. Lettres édifiantes et curieuses, écrites des Missions Etrangères, Nouvelle edition, Paris 1781, vol. XXII, XXIII, XXIV. Liu Pinsan, Huama he Lang Shining "Bajuntu" in "Gugong bowuyuan yuankan", n. 2, 1988, pp. 88–90. Nie Chongzheng, Lang Shining, Beijing 1984. References

External links

Lang Shining and his Painting Gallery at China Online Museum
National Palace Museum Taiwan
Palace Artist on Mark Rowswell's website
'Immortal Blossoms in an Everlasting Spring'

1688 births
1766 deaths
Artists from Milan
Qing dynasty painters
18th-century Italian painters
Italian male painters
Botanical illustrators
18th-century Italian Jesuits
Roman Catholic religious brothers
Jesuit missionaries in China
Jesuit missionaries
Italian Roman Catholic missionaries
Roman Catholic missionaries in China
Italian expatriates in China
Qianlong Emperor

masks:
Giuseppe Castiglione
Giuseppe Panzi
Giuseppe Castiglione
Giuseppe Castlion
Giuseppe Castiglion
Giuseppe Castig
Giuseppe Castiglion
Giuseppe Castiglione
Giuseppe Castiglion
Giuseppe Ce
Giuseppe Castiglione
Giuseppe Castiglione


texts:
<mask> (born October 25, 1959) is an American artist, writer, and filmmaker. Her pluralistic practice spans a broad range of media including sculpture, architecture, photography, prints, video, film, websites, and sound, which normally converge in highly layered and complex installations. She works to draw on cultural anthropology as well as social history, making her works well-researched and many times involving collaborators. Some of the topics she has covered include Sarah Baartman, the African slave trade, and hip hop in Germany. In 2014, <mask> published Other Planes of There: Selected Writings with Duke University Press, a work that compiles a substantial collection of her work written between 1981 and 2010. Early life and education
<mask> studied art at Wesleyan University, with an intermediary year at the School of Visual Arts in New York. <mask> also attended the Radcliffe Publishing Procedures Course at Harvard University, Cambridge, Massachusetts.In 1989 she was a participant in the Whitney Museum of American Art Independent Study Program (ISP). <mask> wrote Discourse on Afro-American Art as her graduating thesis from Wesleyan University, a "textual analysis of criticisms, which were written by both Black and White critics from the 1920s and the 1960s." A seminal influence was <mask>'s participation in cataloging Sol LeWitt's donated collection to Wadsworth Atheneum. <mask> wrote the catalog entries for Adrian Piper, and Lawrence Weiner. Her brother is <mask>, frontman of the Brazilian heavy metal band Sepultura. <mask>'s work adopts the form of complex and highly formalized installations in which ideas, historical events and narratives, as well as cultural artifacts, are examined from myriad perspectives. <mask>'s work investigates the shifts and gaps in what lives in private and public impressions as well as what has been envisioned and formulated.Her videos, exhibitions, and films have been presented and viewed in biennales, museums, and festivals across the world. As scholar Alexander Alberro notes, <mask>'s attempt is not a didactic one, rather an invitation to participate in the construction of knowledge, as well as shifting perception: "<mask> consistently gives the spectator a central role in the process of deconstructing genealogical discourses and assuming subject positions. Indeed, a feature that recurs in her installations is the production of interactive environments that galvanize the viewer into the role of an equal participant in the construction of meaning." <mask> explains in her own words the impetus behind this activity of collecting and exhibiting different data and materials: "I wanted to begin by examining an artifact, a text, a painting or a group of paintings, a decorative object, an image, a novel, a poem, a garden, a palace, a house. By beginning with these objects or places, and the contexts in which they appeared, it was possible to detect the intricate working of certain ideologies which were being put forth [...] and to attempt to decipher the contradictory pleasure which might accompany them." In 1992, <mask> collaborated with the Fabric Workshop in Philadelphia to create Mise-en-Scene: Commemorative Toile. This work encapsulates her use of appropriation to reevaluate history and claim attention to its type of presentation.In order to produce this work, <mask> incorporated “traditional bucolic scenes typical of eighteenth-century upholstery fabric with violent scenes of enslavement and uprisings. Benign floral garlands frame images of the lynching of a Frenchman during the Haitian revolution and of an enchained and unclothed black man kneeling by the desk of a sumptuously dressed white man. Using this fabric, <mask> constructs installations reminiscent of museum period rooms, with chairs, settees, drapes, and wallpaper crafted from the pinkish-red toile. She subverts the toile and period room as historical types to tell alternative histories.”

A lot of the materials collected for her projects come from the immense repository already in existence in our culture, but her work can not be considered as a mere assemblage of cultural artifacts, nor an appropriationist practice. In each of her projects, <mask> produces works of art in different mediums like photography [Secret (1994–2006)], prints [Code: Survey], films [Some Chance Operations (1999); Wavelinks (2002), Elsewhere? (2002], and sound [Vanished Gardens (2004), Muriel's Words (2004)], which are integrated in highly designed installations or environments. Due to the selective accumulation of materials <mask>'s work has been labeled in some instances as archival.As a result of the complex web of relations and conceptual links among the materials and projects, these normally take place during a duration of time, and in different locations, in which the same theme is presented in different formats. For example, Import/Export Funk Office (1992), was presented as an installation in Cologne and Los Angeles, and exists also as Cd-Rom (1996); or Code: Survey (2005–2006) takes the form of a permanent public work installed at the Caltrans Headquarters in Downtown Los Angeles, and as a website, which can be accessed worldwide. Due to the density and formal complexity of her different projects, <mask> uses the standard catalogue published alongside her exhibitions, as a part of her work. These books function in a variety of levels: as an exhibition catalogue, as an artist's book, as a repository of documents, as transcripts of conversations and scripts of the films and videos produced for the different projects . In 1997 <mask> was chosen by the American Federation of the Arts to design Artist/Author: Contemporary Artist's Books. <mask> has also written extensively, and her work has been published in different publications from United States and Europe. Among the publications are October, Texte zur Kunst, Transition, Sarai Reader, Multitudes, and Collapse.Indeed, <mask> <mask>'s video works tend to be more formally subtle. Her video, Climates and Paradoxes (2005), considers the centenary of Albert Einstein's theory of relativity via an excavation of the history of a high-rise apartment building in Berlin that <mask> once lived in and that occupies the former site of the pacifist organization Bund Neues Vaterland, of which, the video's associative narration informs us, Einstein was the twenty-ninth member. Walking in NYL (2016), follows from <mask>'s long-standing interest in Lisbon and the broader Portuguese sphere of influence. Since her arrival at MIT in 2011, <mask> has had numerous solo exhibitions, including: Lumiar Cité, Lisbon; Museum of Modern Art, New York; MAK Center for Art and Architecture at the Schindler House, Los Angeles; Fondazione Antonio Ratti, Como, Italy; Galerie Nagel Draxler, Berlin; Carpenter Center for Visual Arts, Harvard University, Cambridge, MA; and Prefix Institute for Contemporary Art, Toronto. She has also been involved in many group exhibitions: Hammer Museum, and Museum of Contemporary Art, both in Los Angeles; Whitney Museum, New Museum, and the Studio Museum in Harlem, New York; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Museum Moderner Kunst, Vienna; Institute of Contemporary Art, Philadelphia; Museum der Moderner, Salzburg; Centro Andaluz de Arte Contemporáneo, Seville; and numerous others. <mask> has assembled numerous books and writings over the years, including: Other Planes of There: Selected Writings (2014), published by Duke University Press; Endless Dreams and Time-Based Streams (2010), produced in the Yerba Buena Center for the Arts, San Francisco; Ongoing Becomings (2009) represents 20 years of Green's work, and was organized by the Musée Cantonal des Beaux-Arts, Lausanne; Negotiations in the Contact Zone (2003); Between and Including (2001); Shadows and Signals (2000); Artist/Author: Contemporary Artists’ Books; Certain Miscellanies: Some Documents (1996); After the Ten Thousand Things (1994); Camino Road (1994); and World Tour (1993). Green has also submitted many published essays and fictions in magazines and journals, including: Transition; October; Frieze; Texte zur Kunst; Spex; Multitudes; Sarai Reader; Collapse; among other magazines and journals, and an assortment of international cultural and scholarly books.Projects
A brief description of selected projects by <mask>. <mask> reflected on the historical display of black women's bodies in a number of her early artworks, above all the display of the "Hottentot Venus": Sarah Baartman, a South African woman exhibited as a sideshow in London and then Paris in the early Nineteenth Century, and who was thought at the time to be of the "Hottentot" tribe. Three of these artworks, Permitted (1989), Sa Main Charmante (1989), and Seen (1990) were shown together at <mask>'s 1990 Anatomies of Escape exhibition, held at the P.S. 1 Contemporary Art Center's Clocktower Gallery. Permitted (1989). This artwork, one of the first in which <mask> combined texts and images, attempted to evoke the position of early nineteenth-century audiences vis-a-vis bodies put on display. <mask> enlarged an engraving of Sarah Baartman's body to life-size and overlaid it with wooden slats stamped with Sir Francis Galton's description of measuring the buttocks of a "Hottentot" woman.<mask> highlighted the simultaneously "objective" and "subjective" character of this text by signaling each element with distinct typefaces, either capitalized Times Roman or cursive script. The artwork also involved a peephole through which viewers could see an image of Baartman standing on a crate, therefore aligning this kind of sideshow with pornography. Sa Main Charmante (Her Charming Hand, 1989). The central features of this artwork are a soapbox marked with two footprints and placed in front of a wall-mounted, ladder-like construction whose slats are stamped with two texts describing Sarah Baartman. These texts, one describing Baartman's performance as the Hottentot Venus, and the other written by Georges Cuvier after his postmortem dissection of Baartman, are interspersed and thus

masks:
Renée Green
Green
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Green
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Derrick Green
Work Green
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texts:
 interrupt and disrupt one another. Cuvier's text provides the title for the work: though he aligned Baartman with animals, he also noted "her charming hand." The soapbox and slatted structure are flanked by a klieg light and a peepbox containing a reproduction of an early nineteenth-century French print showing European viewers ogling the "Hottentot Venus."The klieg light simultaneously provides the light for this print and spotlights the viewer peeking into the box, highlighting their complicity in such degrading displays. Seen (1990). This artwork builds on several features of Sa Main Charmante: it uses interspersed texts that reference the sideshow/stage entrance of Sarah Baartman, as well as, this time, that of the celebrated dancer, singer, and actress Josephine Baker—Baker's voice, singing "Voulez-vous de la canne" ("Would you like some sugar cane? "), plays in a loop in the background. The artwork also involved a peephole through which viewers could see an image of Baartman standing on a crate, therefore aligning this kind of sideshow with pornography. These texts can be read on the slats of a wooden platform, reminiscent of the crude constructions used to display and sell slaves, that the viewer accesses via a short stair. Once there, the viewer finds themselves spotlit, their shadow thrown against an attached scrim, and looked at through an illuminated hole in the floor by a pair of motorized, spectacled eyes that wink.Rather than observing performing black female bodies transformed into eroticized spectacle, it is the viewers themselves that become the performance/spectacle. Import-Export Funk Office (1992) is a subjective map of the flow of hip hop music and related culture between New York City, Los Angeles and Cologne. The work explored "the process of information gathering and the international, national and local transfer of cultural products (specifically hip-hop music, various material produced as a result of the African diaspora… [and] other forms of cultural commerce)." <mask> positioned herself as an artist-ethnographer, studying the "import/export" of Hip Hop culture through German cultural critic Diedrich Diederichsen, whom <mask> treats as a "native informant" while he assessed that state of Hip Hop in the United States through German magazines. <mask> confronted ideologies surrounding cultural economy and pointed to disparities between the production and economy of culture. The archive of cultural fragments she displayed challenged the ethics of cultural appropriation without historical context; images of Angela Davis and Theodore Adorno serve to further confuse the contexts of social translation. Mise-en-Scène (1992), an investigation of the role in which French cities like Clisson and Nantes played in the Atlantic slave trade.She juxtaposes traditional scenes seen on toile and depictions of violence against Haitian slaves.Secret (1994). <mask> inhabited an apartment at Le Corbusier's Firminy Unité d'Habitation, and documented her stay via photographs and video. Partially Buried in Three Parts (1995–1997). Robert Smithson's land art work Partially Buried Woodshed (1970) functions as the starting point in <mask>'s examination of student's protest movements in the United States, which focuses in the Kent State shootings, as well as in Kwangju's student's massacre which took place in Korea in 1981, also known as Gwangju Democratization Movement. In its installation form, the work presents an examination of the year 1970 from different perspectives. Some Chance Operations (1999). An essay-film about Italian filmmaker Elvira Notari.Elsewhere? (2002–2004). The film Elsewhere? was created for an installation located in a garden setting in Kassel, for Documenta 11, Standardized Octagonal Units for Imagined and Existing Systems (2002). The film explores the idea of imaginary places, as well as the history of gardens and garden architecture or follies. In 2003 Elsewhere? was presented as an installation at Portikus, Frankfurt where 1400 colored imaginary place names covered the spaced walls .Muriel's Words (2004) Andrew McNeely describes this fifty-minute, single-channel sound installation, "In a soft and scarcely audible voice, <mask> gently whispers a series of discontinuous excerpts from the work of the U.S. poet and activist Muriel Rukeyser (a continual source of fascination for the artist). Cryptic passages such as "it is their violence" and "land, allow me to stand" are read under the breath. The hushed tone leaves one with the sensation of rudely eavesdropping on someone secretly reciting journal entries." Endless Dreams and Water Between (2009). In this project commissioned by the National Maritime Museum, Greenwich, <mask> created an immersive environment in which through drawings, sound, banners and films, ideas of islands, physical or mental, are explored. In a film bearing the same title as the exhibition, fictional characters write to each other reflecting on a different range of subjects, among these historical figures like George Sand, Laura Riding, Frédéric Chopin, Robert Graves, and Llorenç Villalonga; the characters also investigate longer histories of the three locations that they inhabit: Mallorca, Manhattan, and the San Francisco Bay Area. Endless Dreams and Water Between.Begin Again, Begin Again (2015). This exhibition took place at one of the MAK Center for Art and Architecture's site: the former Los Angeles home of Viennese modernist architect R.M. Schindler (1887–1953). This exhibition was composed of ten years' worth of old and new artworks by <mask> that trace the movement of multiple bodies through time and space. An exhibition statement describes the various installations as a "circulatory experience," where all facets—material and immaterial—combine to "perform" the Schindler House through "converging contrapuntal points." Begin Again, Begin Again (Circulatory Sound)(2015) features a baritone voice (that of the artist's brother, <mask>, a frontman for the heavy metal group Sepultura) that utters "begin again, begin again." The show's centerpiece is Begin Again, Begin Again I.1887–1929  (2015), a single channel forty-five-minute video montage interweaving images of the house with historic footage, oceanic tidal scenes, and various architectural sites. <mask> <mask> later displayed twenty-eight small fabric banners from the Begin Again, Begin Again exhibition in a 2016 exhibition at the Nagel Draxler Galerie. Nagel Draxler writes, "Combining aspects of continuity and rupture, the installation served as a relatively immediate illustration of what <mask>—borrowing a term from literary theorist Mary Louise Pratt—has called the "contact zone," referring to the encounter staged in her practice between disparate people, cultures, and events. In the contact zone, discrete genealogies become entwined." Begin Again, Begin Again (Years) (2018). <mask> exhibited Begin Again, Begin Again at New York's FRIEZE exhibit in 2018. Cinematic Migrations Project (2014).From March 6–7, 2014 <mask> presented her two-year collaboration project with John Akomfrah, OBE, and Lina Gopaul called Cinematic Migrations. This presentation was a symposium. This project "poses the notion of “migrations" in relation to "the cinematic" in an intentionally porous juxtaposition, conceived to allow a wide range of questions, interpretations and permutations to emerge. On September 24, 2019, Pacing, her two-year project at Harvard University's Carpenter Center for Visual Arts, focused on the building's iconic design by Le Corbusier. <mask> acknowledges conditions of displacement and residency, institutional memory, subjective experience, architectural modernism, notions of progress, and the certainty of decay, all the while reevaluating how time is manifested. <mask> consistently seeks to expand the likelihood of working within institutions. Educator
Working as an educator has been an important facet of <mask>'s career.She has been guest faculty at the Whitney Museum of American Art Independent Study Program (ISP) since 1991, and became the Director of the Studio Program in 1996–1997. From 1997 to 2002 she was Professor at the Akademie der bildenden Künste in Vienna. In 2003 she moved back to the United States to become Distinguished Artist Professor at the University of California, Santa Barbara. From 2005 to June 30, 2011, <mask> was Professor and Dean of Graduate Studies at the San Francisco Art Institute. During her tenure as Dean she directed Spheres of Interest, the Graduate Lecture Series. Since 200, she has been a guest faculty at the Maumaus School of Visual Arts in Lisbon. She is currently a Professor at the Art, Culture and Technology (ACT) Program, School of Architecture and Planning, Massachusetts Institute of Technology.Other teaching venues as guest professor have included Yale University, Vermont College, Hochschule der Kunst in Berlin, and the Hochschule für Angewandte Kunst, Vienna. Awards
In 2010, <mask> won a United States Artists Fellow award. References

External links
 Code: Survey
 <mask> <mask>'s Free Agent Media Website
 <mask> <mask> Fundació Antoni Tàpies

1959 births
Living people
American installation artists
American multimedia artists
American art writers
American art educators
African-American contemporary artists
African-American women artists
American women installation artists
American women photographers
American women video artists
American video artists
MIT School of Humanities, Arts, and Social Sciences faculty
Wesleyan University alumni
Harvard University alumni
Artists from Cleveland
20th-century American educators
21st-century American educators
20th-century American women artists
21st-century American women artists
20th-century American women writers
21st-century American women writers
American women non-fiction writers
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century women photographers
21st-century women photographers
20th-century African-American women
20th-century African-American artists
21st-century African-American women
21st-century African-American

masks:
Green
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Derrick Green
Renée
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texts:
<mask> (born October 6, 1939) is an American retired politician from the state of Nebraska in the Midwestern United States. He served in the United States House of Representatives from 1979 until 2004. He also served as the president and CEO of The Asia Foundation from 2004 to 2011 and is a member of the ReFormers Caucus at Issue One. <mask> is a member of the Republican Party. Early life and education
<mask>, a fifth generation Nebraskan, was born in York, Nebraska, and was reared in Utica, Nebraska, attended its Lutheran and public schools before graduating from Utica High School in 1957. He attended the University of Nebraska in Lincoln, where he was a member of Sigma Alpha Epsilon, with election to Phi Beta Kappa, and Sigma Xi, before graduating in 1961 with a B.A. and as a Distinguished Military Graduate.He attended the Harvard Graduate School of Design from 1961 to 1963, receiving its M.C.P. degree. From 1963 to 1965 he served as an counter-intelligence officer in the U.S. Army, with the 1st Infantry Division. After intervening public and private sector employment, from 1972-1973 he attended Harvard’s Kennedy School of Government, receiving the M.P.A. degree. Career
Bereuter worked as an urban planner with the U.S. Department of Housing and Urban Development from 1965 to 1966. He was a division director for the Nebraska Department of Economic Development from 1967 to 1968, and from 1968 to 1970 he was director of the Nebraska Office of Planning & Programming and the State’s Federal-State Relations Coordinator.After the 1970 election defeat of Nebraska’s Republican governor, Norbert T. Tiemann, Bereuter worked as an independent city and regional planning consultant in the Great Plains and Rocky Mountain West and as a part-time associate professor in the graduate planning programs of both Kansas State University and the University of Nebraska. After his congressional service, <mask> was active in public service as a long term board member of the Arbor Day Foundation and the Nebraska Community Foundation, on supporting food security and agricultural development in Sub-Saharan Africa and South Asia with the Chicago Council on Global Affairs, where he is a Distinguished Fellow, and for seven years as a member of the State Department’s International Security Advisory Board. He is a member of the Council on Foreign Affairs and the World Affairs Council of Northern California. Political career

After defeating an incumbent state senator in his home district, <mask> served in the Nebraska Legislature from 1975 to 1979. He was a member of the Nebraska Legislature's appropriations committee. As a Republican congressional candidate in the 1978 General Election, <mask> received 58.13% of the vote and was elected to serve Nebraska's 1st Congressional District in the U.S. House of Representatives. He was subsequently re-elected 12 times, never winning less than 59% of the vote.His 26 years in the House was the longest for a Nebraska congressman, exceeded only by the combined House and Senate service of both George W. Norris and Carl Curtis. He announced that he would not seek re-election for a 14th term, and retired from the U.S. House of Representatives on August 31, 2004 to immediately become the president and CEO of The Asia Foundation, where he served until retirement at the beginning of 2011. After his initial assignments on the House Interior & Insular Affairs Committee and the Small Business Committee, Bereuter served 22 years on both the House Foreign Affairs and Banking or Financial Services Committees. As a leading member of the Foreign Affairs Committee, he served as its Vice Chairman and as Chairman of its Asia-Pacific and Europe Subcommittees. He also served on the Economic Policy & Trade and Human Rights Subcommittees of the Foreign Affairs Committee. On the Banking Committee, he served for 16 years as Chairman or ranking minority member of its International Financial Institutions Subcommittee. <mask> also served a total of nearly 10 years on the House Permanent Select Committee on Intelligence, retiring as its Vice Chairman.Additionally, <mask> served his last three terms on the Transportation & Infrastructure Committee; and he served on the House Select Committee on Hunger for the entire period of its existence. Some of <mask>'s additional congressional responsibilities included service as a congressional delegate to the United Nation’s 42nd General Assembly, as the founding Co-Chairman of the Congressional-Executive Commission on China, and as Chairman of the Speaker’s Task Force to Monitor and Report on the Transition Hong Kong (1996-2002). Additionally, he served on the U.S. Presidential Commission on Security and Economic Assistance (1983-1984) and on the U.S. Presidential Commission on Agricultural Trade and Export Policy (1985-1986). <mask> also chaired the House delegation to the NATO Parliamentary Assembly for ten years, retiring after two years as its president. For his work on European and NATO expansion issues, he was the recipient of decorations from the governments of Bulgaria, Lithuania, and Romania. He also had leadership roles in parliamentary exchanges with the European Parliament, Japan, Korea, China, and the United Kingdom. Among the bills that Bereuter authored was the Bunning-Bereuter-Blumenauer Flood Insurance Reform Act of 2004.He also was co-author of the Bereuter-Levin Amendment, which made possible the passage of the act granting Permanent Normal Trading Relations with China. He was also responsible for starting the USAID Farmer-to-Farmer technical assistance program, which has taken thousands of American volunteers abroad. At the end of his congressional service, that program was named for him, along with a Farmers Home Administration program he authored to provide a home loan guarantee program for residents of small communities. <mask> generally had a moderate voting record. His lifetime American Conservative Union rating was 63. His speech at a Nebraska Republican Party meeting in 1998 underscored his moderate political approach and drew national attention when he urged the party to adopt a big tent policy by welcoming membership to people of any religious background through its practices and policies. In 2004, <mask> endorsed state Senator Curt Bromm, Speaker of the Nebraska Legislature, as his successor in the U.S. House of Representatives.From a field of seven Republican candidates in Nebraska's Primary Election, Senator Bromm came in second behind Jeff Fortenberry after the Club for Growth made a large, last minute campaign contribution to defeat him. Shortly before he left Congress, <mask> released a statement calling the Iraq War, which he had previously supported, "a mistake," and strongly criticized a "massive failure" of pre-war intelligence. References

External links

 Voting record maintained by the Washington Post
 President of the Asia Foundation

1939 births
Cooperative organizers
Living people
People from York, Nebraska
Members of the United States House of Representatives from Nebraska
Military personnel from Nebraska
Nebraska state senators
Nebraska Republicans
University of Nebraska–Lincoln alumni
American Lutherans
United States Army officers
Republican Party members of the United States House of Representatives
Harvard Kennedy School alumni
21st-century American politicians
People from Seward County, Nebraska

masks:
Douglas Kent Bereuter
Bereuter
Bereuter
Doug Bereuter
Bereuter
Bereuter
Bereuter
Bereuter
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texts:
<mask> (December 14, 1891 – June 19, 1951), also known as <mask>, was a printmaker and painter. Born and educated in Poland, he made Paris his base from 1920. Trained in classical engraving techniques, <mask> was a founder of "Atelier 17", and had a profound influence on 20th-century printmakers. Career
Born in Łódź, Poland, in 1891, <mask> studied at the Art Academy of Kraków from 1909 to 1914. On completion of his studies in Kraków, <mask> visited museums throughout Europe. The outbreak of World War I found him in Berlin. Due to the fact that he had done his studies in the Austrian zone in Poland and thanks to prizes obtained at the Académie des Beaux-Arts, <mask> was given the option of going to neutral Norway, where he lived from 1914 to 1919.Immediately following the armistice, <mask> traveled to Italy; and two years later to Paris, where he maintained his studio until his death. At this time <mask> became a member of the Salon d'Automne, thereby gaining an entrée into the Parisian art world and a chance to exhibit his work on a regular basis. At his Paris studio, he taught burin-engraving - the classic copper-engraving technique - to many artists, including British surrealist painter and printmaker Stanley William Hayter, South African-born British painter and printmaker Dolf Rieser. The year 1926 was a turning point in <mask>'s career and heralded the most successful period of his life. He published his first suite of six prints, l'Arche de Noë, which included a preface by the French symbolist Gustave Kahn and was exhibited in December that year at the Paris gallery Le nouvel essor. <mask>'s future collaborator, mystical narrator André Suarès, wrote a laudatory catalogue article. The images that Hecht developed at this time found renewed vigor in 1928 when Suarès and <mask> collaborated on the folio, Atlas.In Atlas <mask> began to re-combine images and forms he had previously studied—a working method that he refined throughout his life. In 1927 <mask>'s encouragement of Hayter's printmaking activities led to the establishment of Atelier 17, a cooperative printmaking studio,  which endures to this day in Paris as Atelier Contrepoint. The "Atelier" influenced artists Pablo Picasso, Marc Chagall, Alberto Giacometti and others. In 1929 <mask> became a founding member of the group, La Jeune Gravure Contemporaine, which staged annual group shows and was influential in keeping the spirit of printmaking alive. Hecht also associated with members of Les Peintres-Graveurs Indépendants, founded in 1923 by J. E. Laboureur and Raoul Dufy. It is doubtful that Hecht knew each member of these groups, but it is probable that he was familiar with their work and they with his, and that this provided an opportunity for the exchange of techniques, subjects, and ideas. Hecht was an intermediary between the avant-garde artists of Atelier 17 and more traditional printmakers.Between 1926 and 1938 <mask>'s engravings were published in various collections (see Chronology), his work was widely shown, and it gained critical acclaim. <mask> won two gold medals at the 1937 Paris World's Fair. Later career and death
Of Jewish descent, <mask> left Paris before the start of World War II to live in the Savoy region near the Swiss-Italian border, where he worked as an agricultural laborer. After the war <mask> returned to Paris. Hayter, who had moved Atelier 17 to New York City for the duration of the war, returned to Paris and found his old friend in poor health and out of work. To encourage <mask> to take up engraving again, Hayter brought a large copper plate to <mask>'s studio and began working on it. <mask> could not resist, and together they produced the collaborative print, "La Noyee".With renewed enthusiasm, <mask> began producing numerous engravings, while also developing new methods for printing in relief. <mask> died of a heart attack in his Paris studio on 19 June 1951. Chronology
1891	Born on 14 December in Lodz, Poland. 1909	Enters the Académie des Beaux-Arts in Kraków, Poland. 1914	Graduates from the Académie des Beaux-Arts. Following graduation, travels in Europe, visiting museums, spends a brief period studying in Berlin, then goes to Norway at the outbreak of World War I. 1917	Exhibition at Christiania, Norway.1918	Exhibitions in Oslo and Bergen, Norway. 1919	Travels to Italy. 1920	Moves to Paris. Becomes a member of the Salon d'Automne and begins to exhibit with them. 1921	Begins to exhibit at the Salon des Indépendents. Exhibition at Washington, D.C.
1923	Exhibitions in Philadelphia, at the Salon des Tuileries and the Galerie Le Nouvel Essor, Paris. 1926	Publishes l'Arche de Noë, a suite of six engravings with a preface by Gustave Kahn; l'Eubage aux Antipodes de l'Unité, five engravings with prose by Blaise Cendrars.Exhibitions at Galere Berthe Weil, Paris, and at Galerie Le Nouvel Essor, Paris. Meets Stanley William Hayter. 1927	Helps Hayter establish Atelier 17, Paris. Writes an unpublished treatise on engraving. 1928	Publishes Atlas, a suite of six engravings with a poem by André Suarès. Exhibitions in The Wanamaker Galleries, New York, and at Lodz, Poland. 1929	Publishes Croquis d'Animaux, ten engravings.Exhibition at Gallery Georges, London. Founding member of La Jeune Gravure Contemporaine. 1930	Exhibition at Galerie Berthe Weil, Paris. 1931 	Exhibition of La Jeune Gravure Contemporaine. 1932 	Exhibition of La Jeune Gravure Contemporaine. 1933 	Publishes Paris, a suite of eleven engravings. Exhibition of La Jeune Gravure Contemporaine.Exhibition in San Francisco. 1934	Exhibition of La Jeune Gravure Contemporaine. 1935 	Exhibition of La Jeune Gravure Contemporaine. 1936 	Exhibition of La Jeune Gravure Contemporaine. 1937 	Wins two gold medals at the International Exposition, Paris. 1938 	Publishes Nouveaux Croquis d'Animaux, ten engravings. Begins work on London suite while visiting his sisters.Exhibitions in Johannesburg and Pretoria, South Africa. 1939 	Exhibits in group show at Petit-Palais, Paris. 1941	Exhibition in Paris. 1941–1945 Works as an agricultural laborer in the Savoy region of France. Without access to a press, all work takes the form of drawings or paintings. 1944 	Exhibition at Galerie Denise René, Paris. 1946 	Resumes printmaking at the urging of Hayter.1949 	Invents a new relief printing process. 1950 	Publishes Quelques Aventures de Maitre Renart, with engravings. 1951 	Dies of a heart attack in his studio in Paris, 19 June. Posthumous Exhibitions
1952 La Jeune Gravure Contemporaine, Paris. 1959 Bazalel Museum, Jerusalem. 1966 Galerie Berie, Paris. 1968 Municipal Library, Mulhouse, France.1969 Lumley Cazalet, Gallery, London. 1985 Dolan/Maxell Gallery, Philadelphia. 1998 Arsène Bonafous-Murat, Paris. Public Collections
Bibliothèque Doucet;
Bibliothèque Nationale;
British Museum;
Brooklyn Museum;
Cabinet d' Amsterdam;
Caterby Jones Collection;
Chalcographie du Louvre;
Cincinnati Museum of Art;
Delft Museum;
Hague Museum;
Leeds Museum;
Leyde Museum;
Library of Congress;
Metropolitan Museum of Art;
Musée d'Amiens;
Musée des Ars Décoratifs, Paris;
Musée de Belfort;
Musée Carnavalet;
Musée de Céret;
Museum of Copenhagen;
Musée du Luxembourg;
Musée de Montpelier;
Musée de Mulhouse;
Musée de Nantes;
Musée du Petit-Palais;
Museum of Tel-Aviv;
National Gallery of Art, Washington;
New York Public Library;
Philadelphia Museum of Art;
University of Warsaw;
Victoria and Albert Museum. Bibliography
Books:
 Adhémar, Jean; Lethève, Jacques; and Gardey Fraçoise. Inventaire du Fonds Françis après 1800-Vol. 10.Paris: Bibliothèque Nationale, 1958. Bersier, Jean-Eugène. La Gravure. Paris: Berger-Levrault, 1963. Black, Peter; and Moorhead, Desiree, The Prints of Stanley William Hayter: A Complete Catalogue. Mount Kisco, NY: Moyer Bell Ltd., 1992. Gross, Anthony.Etching, Engraving and Intaglio Printing. London: Oxford University
Press, 1973. Hayter, Stanley William. New Ways of Gravure. London: Oxford University Press, 1966. Hayter, Stanley William. About Prints.London: Oxford University Press, 1962. Tonneau-Ryckelynck, Dominique; and Plumart, Roland, <mask> 1891-1951: Catalogue Raisonné de l’Oeuvre Gravé. Paris: Editions de Musée de Gravelines, 1992. Roger-Marx, Claude. French Original Engravings from Manet to the Present Time. New
York: Hyperion Press, 1939. Periodicals:
Hopkinson, Martin."Two Bookplates by <mask>", Print Quarterly, XXVIII, 2011, 448-50. Buckand-Wright, John. "Modern French Engraving," Studio, CXXXVIII (December,
1949), 177-181. Descargues, Pierre. "<mask>," Evidences, (September–October, 1951), 39-41. Descargues, Pierre. "Contemporary Artists-<mask>," ARTS, (15 September 1951)."<mask> à la galerie Bernier," Les nouvelles de la Bibliothèque Nationale, (1985). Kahn, Gusrave. "Les arts-<mask>," Menorah, (1926), 286. Laboureur, J. E. "The Revival of the Burin in France," Creative Art, V (December,
1929), 881-84. Lévy-Gurman, Anny. "Le Animaux de Joseph Hecht," Art et Décoration, LXI
(February, 1934), 44-48. Roger-Marx, Claude."Contemporary French Prints," Parnassus, IX (February 1937),
15+. Schwab, Raymond. "Souvenirs sur Hecht," ARTS, (7 December 1951). Suarès, André. "Atlas-Gravure de Joseph Hecht," Montparnasse, No. 52 (July–August,
1928), 1, 3. Catalogues:
 Bonafous-Murat, Anne.<mask> 1891-1951 Gravures. Paris: Arsène Bonafous-Murat, 1998. Gravures et Livres de <mask>. Mulhouse: Bibliothèque Municipale de Mulhouse,
1968. Moser, Joan. Atelier 17. Madison: University of Wisconsin, 1977.Roosevelt, Michael A. <mask>. Philadelphia: Dolan/Maxwell Gallery, 1985. Suarès, André. l'Ymagier de l'Arche. Paris: Le Nouvel Essor, 1926. Notes

External links
Reuben and Edith Hecht Museum, University of Haifa
History of Engraving, Museum of Modern Art
Artists Who Have Worked at Atelier 17 (1927-1955)

1891 births
1951 deaths
20th-century engravers
Polish engravers
Jan Matejko Academy of Fine Arts alumni
20th-century printmakers
Atelier 17 alumni

masks:
Józef Hecht
Joseph Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht
Joseph Hecht


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<mask> (11 May 1926 – 29 December 1994) was an Australian character actor in radio, stage, television and film; as well as a theatre director. His early career started in London in theatre productions, before he starred in Hollywood film, where he became best known for roles in Ben-Hur in 1959 and King of Kings in 1961. He was known for always wearing black and styling his home in black decor. Early life

<mask> was born in Melbourne. Although sometimes referred to as <mask>., he was actually <mask> (or <mask>) IV. His forbears were Francis William Thring - 1812-1887, <mask> (known as <mask>) - 1858-1920; <mask> (known as <mask> or F.W<mask>) - 1882-1936.Thring was the son of F.W<mask> and Olive (née Kreitmeyer), and was educated at the Melbourne Grammar School. His father was the head of the theatrical firm J. C. Williamson's in the 1920s, and subsequently founded the theatre film production studio Efftee Studios in the 1930s, in Melbourne, Australia. He has been anachronistically claimed to have been the inventor of the clapperboard. <mask> Sr. was also a noted film producer (The Sentimental Bloke), and partner in the nationwide Australian theatre circuit Hoyts. <mask> Sr. died in July 1936 at the age of 53, when <mask> Jnr was 10 years old. <mask> said his earliest memory is of his mother standing on a stepladder in the foyer of the Regent Theatre in Melbourne, and arranging gladioli in the vases attached to the pillars.Career
His career spanned more than 45 years, much of it spent alternating between stage, film and television. Perhaps his most famous role was that of Pontius Pilate in Ben-Hur (1959) and Herod Antipas in King of Kings (1961). Radio
Thring's family operated Melbourne radio station 3XY, from the opening of the station in 1935. He commenced working at 3XY as both a thespian and radio announcer in 1941, as a young man of 15. His numerous jobs at the microphone included being Uncle <mask> in the children's session. Stage
He began acting in professional stage roles after his discharge from the Royal Australian Air Force in 1945. He made his British theatrical debut performing as Herod in Oscar Wilde's play Salome in 1954.Two years later, he played Sir Lancelot Spratt in Doctor in the House, which ran for 240 performances at the Victoria Palace in London. He was Saturninus in the Royal Shakespeare Theatre production of Titus Andronicus with Laurence Olivier, Vivien Leigh and Anthony Quayle. He also played Captain Hook opposite Peggy Cummins' Peter Pan. Among his other acclaimed stage roles were George Bernard Shaw's Arms and the Man, Captain Ahab in Orson Welles's Moby-Dick, Falstaff in Henry IV, Part 1, and Bertolt Brecht's Life of Galileo. Another stage role was in the musical Robert and Elizabeth opposite June Bronhill and Denis Quilley. Later in life he returned to the stage playing the butler in the Melbourne Theatre Company's production of The Importance of Being Earnest in 1988. His final stage appearance was in Humorists Read the Humorists at the Melbourne International Comedy Festival in 1992.Film
<mask> first appeared on screen as a child in the 1932 Australian film The Sentimental Bloke, directed by his father F.W<mask>. One of <mask>'s most well-known screen roles was as Pontius Pilate in Ben Hur (1959). He also appeared as Al-Kadir, Emir of Valencia in El Cid (1961). Thring was also awarded the Erik Kuttner Award for Acting (1965). In addition to these roles, Thring played a barrister in The Case of Mrs. Loring (1958), the usurping king Aella (Ælla of Northumbria) in The Vikings (1958) and Herod Antipas in King of Kings (1961). Thring is the only actor to portray on film both of the historical figures directly responsible for authorizing the crucifixion of Christ according to the Gospels.He played numerous glowering bad guys in Hollywood epics of the 1950s and 1960s. Back in Australia, he starred opposite James Mason and a young Helen Mirren in Michael Powell's film Age of Consent (1969), and appeared in two biographical films about famous bushrangers: Ned Kelly (1970) and Mad Dog Morgan (1976). He played suave gangsters in Alvin Rides Again (1974) and The Man from Hong Kong (1975). In his later years, his screen roles included the devilish Collector in Mad Max Beyond Thunderdome (1985), and a comedic role as an Alfred Hitchcock-like film director in the horror movie spoof, Howling III (1987). Television
Thring's television credits include the Australian miniseries Against the Wind and Bodyline. He was also the recurring villain Doctor Stark who would use mischievous means in attempts to steal Skippy and other animals out of Waratah National Park in several episodes of Skippy the Bush Kangaroo. He also acted in commercials, particularly one in which he would glare at the camera saying "You do have your television licence.Don't you?". He had the lead roles in the 1959 ABC TV play Treason, and the 1962 ABC play Light Me A Lucifer. Personal life
Off-screen, <mask> was known for his flamboyant, often waspish, persona. He was featured in numerous TV commercials and guest-starring roles on popular weekly series, variety programs and quiz shows, often dressed in black funereal attire and other sinister costumes. However, his acting career was interrupted by bouts of alcoholism and periods of ill health. The interior of his house was featured in an Australian TV program and the walls were also black. <mask> was appointed 1982 King of Moomba, "this doyenne [sic] of film and theatre looked nothing short of majestic in his regal garb and riding on a thespian-inspired float".Thring was briefly married to actress Joan Cunliffe during the 1950s. The marriage ended in divorce. Joan lived in London, and was manager of both Rudolf Nureyev and Dame Margot Fonteyn. Thring was flamboyantly gay, but he wanted children and was greatly distressed when his marriage ended without issue. In 1994, <mask> died from oesophageal cancer, aged 68. He was cremated and his ashes scattered off the coast of Queenscliff, Victoria. A celebration of his life was held at the Victorian Arts Centre, Melbourne, in 1995.Filmography
The Vikings (1958) - Aella
A Question of Adultery (1958) - Mr. Stanley
The Flaming Sword (1958) - Gar
Dick and the Duchess -The Courtroom (1958 TV series) - Wembler
Treason (1959) - Karl Albrecht
Ben Hur (1959) - Pontius Pilate
King of Kings (1961) - Herod Antipas
El Cid (1961) - Al Kadir
Light Me a Lucifer (1962, TV Movie) - The Devil
Photo Finish (1965 TV movie) - Sam Kinsale
Hey You! Film . Radio . Television – Volume 1 – Ann Atkinson, Linsay Knight, Margaret McPhee – Allen & Unwin Pty. Ltd., 1996. The Australian Film and Television Companion – compiled by Tony Harrison – Simon & Schuster Australia, 1994. The Two Frank Thrings - Peter Fitzpatrick - Monash University Publishing, 2012.References

External links
 The <mask> Collection, at the Performing Arts Collection, Arts Centre Melbourne
 <mask>ing at liveperformance

1926 births
1994 deaths
Australian male film actors
Australian male television actors
Male actors from Melbourne
People educated at Melbourne Grammar School
Australian gay actors
Deaths from cancer in Victoria (Australia)
20th-century Australian male actors
Australian people of German descent
Royal Australian Air Force personnel of World War II
20th-century LGBT people
Eccentrics

masks:
Francis William Thring
Thring
Frank Thring Jr
Francis William Thring
William Francis Thring
Francis William Thring
William Thring
William Frank Thring
Francis William Thring
. Thring
. Thring
Thring
Thring
Frank
Frank
Frankie
Thring
. Thring
Thring
Thring
Thring
Thring
Frank Ting
Frank Thr


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Marc Shemer, (born November 5, 1977), better known by his stage name <mask>, is a producer, DJ and rapper from New Rochelle, New York. He has produced music for Raekwon, Ghostface Killah, Styles P, Tragedy Khadafi, Jadakiss, Saigon, Dipset and Troy Ave. He has been featured in The Source magazine's "Unsigned Hype" column. <mask> is jewish. Career

Working as a DJ
After teaching himself how to scratch, mix, and blend, <mask> won second place in the 2003 East Coast Finals of Guitar Center's DJ Battles. <mask> then went on to receive three consecutive nominations for Best Mixtape Producer at the respected Justo Mixtape Awards. He also hosted his own weekly radio show called "The Chop Shop" for 4 years on the WICB radio station in New York.<mask> has since been DJing for Raekwon of Wu-Tang Clan, Kool G Rap, N.O.R.E., and Saigon. He has also performed in various clubs around the world and in New York. Working as a record producer
<mask>'s first break as a producer came with rapper Tragedy Khadafi. He served as A&R director for Tragedy's album Still Reporting and produced 4 tracks on the project, two featuring Havoc from Mobb Deep. He then went on to produce Jae Millz's first single "No, No, No" and its remix with rappers Cam'Ron and T.I., the Terror Squad single "Yeah, Yeah, Yeah" and Black Rob's single "Ready". He also produced Remy Ma's buzz single "Lights, Camera, Action". Other notable tracks include: Lloyd Banks' song "Work Magic" featuring Young Buck and The Notorious B.I.G.'s "Just a Memory" featuring Clipse. <mask> <mask> was nominated for a Grammy award for his production on the song "Your Girl" from Mariah Carey's multi-platinum album The Emancipation of Mimi. Working as an MC
As an emcee, <mask> released his first record "Liquid Heat" which gained underground buzz in 1999. In 2000, he helped start the first weekly open-mic show in NYC: "End of the Weak", where he performed on stage as both an MC and DJ. In 2001, <mask> won first place in Tommy Hilfiger's National Demo Contest. Hilfiger launched a national campaign featuring <mask> <mask>, providing a platform to promote his music. In 2002, <mask> was featured in The Source magazine's "Unsigned Hype".<mask> <mask> has appeared in various hip-hop magazines, such as XXL, Vibe, and Scratch Magazine. Additionally, he has worked with Pharrell on Latin artist Sergio Veneno's project. <mask> is currently managing Veneno and has helped to earn him a deal with Star Trak and Interscope. <mask> has also performed and collaborated with the multi-platinum Latin group Aventura. Discography (as lead artist)

Mixtapes
 2004: Loose Cannons
 2011: The Hat Trick
 2013: Dead Giveaway

Singles
 1999: "Liquid Heat"
 1999: "Shady 380 Lady"
 2004: "Bang Bang"
 2005: "Speed Demons"
 2005: "Speed Demons"
 2005: "12 Years Ago"
 2005: "64 Bit"
 2011: "Back in the Park"
 2011: "One September Day"
 2011: "Boom Bap Jones"
 2017: "NYC Driveby" (Feat. Uncle Murda, Dave East & Styles P)

Production discography

2003
Mareko - White Sunday
"Don't Need Protection" (featuring <mask> <mask> & Sadat X)

Tragedy Khadafi - Still Reportin'...
"Neva Die Alone Pt.2"
"The Code" (featuring Havoc of Mobb Deep & Littles)
"Fall Back" (featuring Havoc of Mobb Deep)
"Crying On The Inside"

2004
Lloyd Banks - The Hunger For More
"Work Magic" (featuring Young Buck)

X-Ecutioners - Revolutions
"Back To Back" (featuring <mask> <mask> & Saigon)

Terror Squad - True Story
"Yeah Yeah Yeah"

2005
Mariah Carey - The Emancipation of Mimi
"Your Girl"

Dipset - More Than Music, Vol. 1
"40th Boys"
"If Only You Believe"

Ras Kass - Institutionalized
"Shine" (featuring Vis A Vis)

Black Rob - The Black Rob Report
"Ready"

The Notorious B.I.G.- Duets: The Final Chapter
"Just A Memory" (featuring The Clipse)

2006
Remy Ma - There's Something About Remy
"Lights, Camera, Action"

Capone - Menace 2 Society
"No Problem"

Dipset - The Movement Moves On
"Yall Can't Live His Life"

N.O.R.E. 1
"Intro"

2011
Raekwon - Shaolin vs. Wu-Tang
"Last Train To Scotland" (featuring Lloyd Banks)
"Crane Style" (featuring Busta Rhymes)
"Kiss the Ring" (featuring Inspectah Deck & Masta Killa)

CF - Storm Mode
"Walk With Me" (CF Version)

2013
Raekwon - Lost Jewlry
"Prince of Thieves"
"Young Boy Penalties"
"Came Up"

Styles P - Float
All tracks

Raekwon & <mask> <mask> - The Chef vs The Beast
All tracks

Troy Ave - New York City: The Album
"Cigar Smoke" (featuring King Sevin)
"Hot Out"

2014
Sammy Adams - WIZZY
"Plate It"

Dave East - "Straight Outta Harlem"
Make A Dolla*

2015
Raekwon - "F.I.L.A. (Fly International Luxurious Art)"
"Nautilus"
"F.I.L.A. World" (Feat. 2 Chainz)
"4 In The Morning" (Feat. Ghostface Killah)
"Internationalism"

Jadakiss - "Top 5 Dead or Alive"
Rain* (Feat. Nas & Styles P)
Baby* (Feat.Dyce Payne)

Capone-N-Noreaga - "Lessons"
Foul 120* (Feat. Tragedy Khadafi & Raekwon)

2016
Termanology - Cameo King III
 "Labor Day" (featuring Action Bronson, Chace Infinite, Wais P, Rob White, & Freddie Gibbs) (* as rapper. Song was produced by Statik Selektah)

2017
Eminem - Revival
 "In Your Head"

2020
The Lox - Living Off Xperience
 "Bout Shit" (featuring DMX)

Unknown
Other songs:
Freeway - "Stand Up"
Peedi Crakk - "It Don't Stop"
Rhymefest - "Coming For You"
Kool G Rap - "This is How We Do NYC"
Ray Cash - "E-Room"

References

American DJs
Living people
Musicians from New Rochelle, New York
Scram Jones
Scram <mask>
1977 births
21st-century American Jews

masks:
Scram Jones
Scram Jones
Scram Jones
Scram
Scram
Scram
Scram
Jones
Scram
Scram
Scram
Jones
Scram
Scram
Jones
Scram
Scram
Scram
Jones
Scram
Jones
Scram
Jones
Jones


texts:
<mask>'Dea ( ; born 1 November 1952) is an Irish Fianna Fáil politician who has been a Teachta Dála (TD) for the Limerick City constituency since 2011, and previously from 1982 to 2011 for the Limerick East constituency. He has served as Minister for Defence from 2004 to 2010, and was a Minister of State in different departments from 1992 to 1994, and again from 1997 to 2004. He resigned as Minister for Defence due to a controversy over a defamation case. Early and private life
O'Dea was born in Limerick in 1952, but he was raised in Kilteely, County Limerick. He was educated at the Patrician Brothers College in Ballyfin, County Laois, and University College Dublin where he studied law. He qualified as a barrister at King's Inns, Dublin and as an accountant from the Institute of Certified Accountants. He worked as both a barrister and as an accountant before embarking on a career in politics.He also lectured in the law faculties of both University College Dublin and the National Institute of Higher Education, Limerick (now the University of Limerick). As a lecturer, he taught future cabinet colleague and Taoiseach Brian Cowen. O'Dea is married to Geraldine Kennedy. He writes regularly for the Sunday Independent and occasionally for other national newspapers. Early political career
O'Dea first held political office as a Fianna Fáil member of Limerick County Council. He served on that authority until 1992. He first stood for election to Dáil Éireann in Limerick East at the 1981 general election, but was unsuccessful.He was elected to the Dáil on his second attempt at the February 1982 general election, capturing Fianna Fáil's second seat. Like his former constituency colleague Desmond O'Malley, O'Dea was opposed to Charles Haughey's leadership throughout the 1980s, becoming a member of the so-called Gang of 22. When O'Malley founded Progressive Democrats in 1985 and left Fianna Fáil, O'Dea became the only Fianna Fáil TD in the five-seat Limerick East constituency. Ministerial career
In 1992, Albert Reynolds succeeded Charles Haughey as Taoiseach and Leader of Fianna Fáil, following a widespread cabinet reshuffle, O'Dea, became a Minister of State at the Department of Justice. Following the collapse of the Fianna Fáil-Labour Party coalition government in 1994, O'Dea found himself on the opposition benches. After the 1997 general election, Fianna Fáil were back in government in coalition with the Progressive Democrats and O'Dea was appointed a Minister of State at the Department of Education and Science. Here he had responsibility for Adult Education and the School Transport Scheme.He oversaw reform and increased investment in adult education and back to school initiatives, starting with the launch of Green Paper in November 1998. Following the 2002 general election, O'Dea was appointed Minister of State at the Department of Justice, Equality and Law Reform with special responsibility for Equality and Disability Issues. His main responsibility during this period was the passage of the Disabilities Bill, which the government had been forced to withdraw in early 2002 in the teeth of opposition from the disability sector. After a number of changes, including a form of the independent assessment of needs demanded by the disability organisations, O'Dea reintroduced the Bill in September 2004 along with an implementation package. In September 2004, O'Dea was appointed Minister for Defence in a cabinet reshuffle. His tenure commenced as the army deafness compensation issue was starting to come to an end. In November 2005, O'Dea was photographed during a media event at the Curragh Camp pointing an automatic pistol at a photographer.The photo appeared on the front page of The Irish Times the following day. O'Dea apologised saying that it was not his intention to glamorise gun crime. As Minister for Defence, O'Dea prioritised two particular issues: the recruitment of more women to the Defence Forces and the promotion of more serving non-commissioned members to the commissioned ranks, often called "promotion from the ranks". He also presided over Ireland's second tour in Lebanon in late 2006, as part of UNIFIL 2 and participation in the EUFOR mission to Chad. O'Dea and Limerick
O'Dea is highly identified with his native Limerick. Three main issues have dominated his recent pronouncements on Limerick: Shannon Airport, Dell and gangland crime. In August 2007, he broke ranks with cabinet colleagues to speak out against Aer Lingus's decision to cease London Heathrow Airport flights from Shannon.In December 2008, O'Dea and Tánaiste Mary Coughlan flew to Dell's Corporate HQ in Texas, in a last-ditch and ultimately futile attempt to stop the closure of Dell's manufacturing plant in Raheen, Limerick. Manufacturing was moved to Poland, with the loss of about two thirds of the jobs at Dell's Limerick operation. The murder of two innocent men in Limerick within months of each other: Shane Geoghegan and Roy Collins increased pressure on O'Dea locally, as a member of the cabinet, to secure changes to the law and greater resources to tackle Limerick city's gangland crime. On 5 February 2010, O'Dea announced that the government would not deliver its commitments to fund the Limerick Regeneration project. The €1.7bn funds (between 2009 and 2018) promised by the government will no longer be delivered. In October 2017, <mask>'Dea accused Johnny Depp of libel after calling Limerick 'Stab City', a term once linked with the city. Defamation case and resignation

On 10 March 2009, O'Dea alleged in an interview with the Limerick Leader that a brothel had been operating in a house owned by Nessan Quinlivan, brother of Maurice Quinlivan who at the time was a Sinn Féin candidate in Limerick for the upcoming June 2009 local elections.On 14 April 2009, O'Dea signed an affidavit to the courts, denying making such allegations. Quinlivan sought an injunction under the Prevention of Electoral Abuses Act 1923: under section 11 of the act it is a criminal offence to make or publish a false statement of fact in relation to an election candidate. In December 2009, O'Dea settled the case out of court and apologised to Quinlivan for making "false and defamatory statements" during the interview, after a tape recording of the interview emerged. O'Dea also paid an undisclosed sum in damages to Quinlivan. A settlement agreement was read out in the High Court. On 16 February 2010, Fine Gael announced it intended to table a motion of no confidence in O'Dea, however, the government responded with a motion of confidence. The government won the confidence motion in O'Dea in the Dáil on 17 February 2010.The Green Party, coalition partners in government with O'Dea's party, voted with Fianna Fáil on the motion. However, Green Party Chairman Senator Dan Boyle wrote on Twitter, that he has "no confidence" in O'Dea and declaring him to be "compromised". On 18 February 2010, O'Dea resigned as Minister for Defence. In his resignation letter, he said that he had come to the conclusion: "that my continuing in office would distract from the important and vital work of the Government". O'Dea said he decided to resign when it became clear that the Green Party would no longer support the Government if he was to stay in office. Reappointment to front bench
O'Dea was appointed to Micheál Martin's frontbench as Spokesperson for Communications, as part of the Fianna Fáil campaign for the 2011 general election. In the 2011 election he was re-elected to the newly formed Limerick City constituency, polling 16% of the vote, down from the 39% he polled four years previously.He was the Fianna Fáil Spokesperson on Enterprise, Jobs and Innovation from April 2011 to July 2012. In July 2012, he was appointed as Spokesperson on Social Protection and Social Equality. In the 2016 general election, O'Dea almost doubled his primary vote share from 16 to 27.8%. He was re-elected on the first count. He was re-elected again in 2020, with a reduced vote share. References

External links

<mask>'Dea's page on the Fianna Fáil website
<mask>'Dea in 'Politicians' file at Limerick City Library

1952 births
Living people
Academics of the University of Limerick
Academics of University College Dublin
Alumni of King's Inns
Alumni of University College Dublin
Fianna Fáil TDs
Local councillors in County Limerick
Members of the 23rd Dáil
Members of the 24th Dáil
Members of the 25th Dáil
Members of the 26th Dáil
Members of the 27th Dáil
Members of the 28th Dáil
Members of the 29th Dáil
Members of the 30th Dáil
Members of the 31st Dáil
Members of the 32nd Dáil
Members of the 33rd Dáil
Ministers for Defence (Ireland)
Ministers of State of the 26th Dáil
Ministers of State of the 27th Dáil
Ministers of State of the 28th Dáil
Ministers of State of the 29th Dáil
Politicians from County Limerick

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Willie O
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