texts:
 city.Shortly after it was incorporated, he gave permission for city residents to use part of his land near the Wabash River as a "commons" for livestock. <mask>, Beauchamp and McDowell were granted permission by the legislature to establish a ferry on <mask>'s land at the river. During this time <mask> did the primary survey work for the Grand Rapids Dam on the river. According to a local history published in 1883, he was believed to reside in a house located on the "bluff" in Mount Carmel. In letters to Congress written in the 1820s, <mask> said that he resided near the Grand Rapids Dam. He wrote a poem about Mount Carmel and had it published in Ohio. Originally, Mount Carmel was located in Edwards County.After a drought in 1820 killed a majority of the settlers, the county seat was moved from Palmyra, Illinois to Albion. At that time Albion was settled primarily by English immigrants. The Americans from Mount Carmel and surrounding settlements were resentful and tried to return the county seat to Mount Carmel by force. During the bickering for the county seat location, <mask> ran for county commissioner in 1821 against John Buckles, receiving only two votes against Buckles' 151. In 1822 Hinde ran for the office of Illinois House of Representatives and narrowly lost to Gilbert T. Pell. On December 24, 1824 the Illinois Legislature resolved the county seat issue by creating Wabash County from the eastern half of Edwards County. Based on newspaper accounts, the lots held by Hinde did not sell quickly.More than 27 years after having developed the plans for Mount Carmel, <mask> was still advertising lots for sale there in national newspapers. In one advertisement <mask> said, "The place I offer is midway between St. Louis and Louisville and the next improvement will be the completion of the railroad connecting the two places, and a dam across the Great Wabash, at the Grand Rapids, at the junction of the White, Patoka, and Wabash, giving the greatest water power in the great West." Another source notes that <mask> and other founders "...may have been over zealous and puritanical in the construction of their laws... no theater or play-house shall ever be built within the boundary of the city; no person shall be guilty of drunkenness, profanity, sabbath-breaking, and many other offenses of greater magnitude, etc., he shall be subject to trial by the court of Mayor and on conviction, was disqualified from holding any office in the city, or the bank; was disqualified to vote; ostracism was to continue for three years after the commission of the so-called crimes." Around 1825, <mask> settled in Mount Carmel, leaving the Methodist circuit to focus on religious and historical writing, and business. He founded one of the first churches in the town and occasionally held Methodist gatherings at his home. On September 20, 1827 more than 27 Methodist ministers met in the upper room of his house. It was one of the largest gatherings of the time.Real estate disputes
After his father died in 1828, <mask> inherited real estate in Kentucky. Shortly thereafter, he began investing in real estate in Ohio. Property titles were frequently complicated in this period due to turnover of military lands, as well as issues related to acquisition of former Native American lands. Several of his Ohio property disputes reached the Supreme Court of the United States, including <mask> v. Vattier and Mallow v. Hinde. Johnson v. M'Intosh
William M'Intosh was a former Revolutionary War veteran who had become a fur trader and investor in military lands along the Wabash River. <mask> and M'Intosh lived on adjoining tracts of land near what would become the site of the Grand Rapids Dam. M'Intosh became associated with the Supreme Court Case of Johnson v. M'Intosh.Chief Justice John Marshall, an acquaintance of <mask> and his father, used the case to establish the "Discovery Doctrine," which ruled that the discovering people gain title over the indigenous peoples in respect to land title. <mask> also knew Associate Justice <mask>, a justice of the Kentucky Court of Appeals when <mask> served as the court's clerk. In the case, in which Johnson and M'Intosh were claiming title to the same property, the Supreme Court ruled that private citizens could not purchase land from Native Americans, and therefore the plaintiff Johnson's land purchases were invalid. M'Intosh's land purchases from the Federal government were affirmed as legal. <mask> purchased a portion of M'Intosh's litigated property not long after the litigation. Correspondence between <mask> and M'Intosh discussing land sales form part of the Hinde documents at the Lyman Draper Manuscripts Collection in the Wisconsin Historical Society. Due to the favorable ruling in the case, <mask> benefited greatly because of his large land holdings in the area.After the ruling had settled ownership issues between the Indians and settlers, <mask> founded the towns of Mt. Carmel, Powhaten, and Selima in the Illinois territory. <mask> v. Vattier
One of <mask>'s own real estate disputes was based on property he owned in Cincinnati. The dispute was between the <mask> family and Charles Vattier. Vattier was a known scam artist and underworld giant in Cincinnati. One source described Vattier as owning "...a gambling empire, including grog shops, Bawdy houses and taverns." Vattier was involved in a number of other fraudulent real estate schemes with other people in Ohio.In 1807 Vattier was convicted of burglary and larceny for stealing large sums of money from James Findlay, Receiver of Public Monies for the District of Cincinnati. <mask> knew Findlay since they were both involved in exposing the Burr conspiracy and both were prominent in Ohio. Allegedly, Vattier had tried to take title to a piece of property in Cincinnati already owned by the <mask> family. <mask> challenged Vattier in court. Henry Clay represented Hinde in the Ohio State Court proceedings. <mask> claimed that Vattier tried to use the lot to pay Findlay by claiming to have a bill of sale and title that was superior to the <mask> family. After more than fifteen years, the case reached the United States Supreme Court in 1833.The Court ruled that Vattier took title to the property illegally and that the property belonged to <mask> and his children. Originally owned by <mask>'s father-in-law, James Bradford, after his death the property passed to <mask>'s wife, Belinda (Bradford) <mask>. Wabash Navigation Company

In 1825, Hinde joined the Wabash Navigation Company. Seventeen members of the company came from prominent families in Indiana and Illinois. The company had capital of more than $1 million. <mask> was one of the company's first nine directors and remained active until his death. The company charter was eventually approved by both the Illinois and Indiana legislatures.The company built a dam next to land <mask> owned. In a letter to Congress in 1842, <mask> stated that his goal was to connect the Wabash River with the Maumee River that flowed to Lake Erie. He cited in support the opinion of unnamed hunters and traders and George Washington's hope of connecting the waters of the east with the Ohio and Mississippi rivers. <mask> also declared, "...I have seen the whole wilderness of the West subdued and savages and wild beasts or prey receding before civilization and enterprise." He said that, on the Wabash from the Grand Rapids to Terre Haute, steamboats could navigate almost all year; therefore it was essential to connect the river to the Ohio. He also suggested that an armory should be built by the U.S. Government next to the proposed dam. Dr. John Lescher was a business partner and friend of <mask><mask>.Both men invested in the Wabash Navigation Company. Lescher later joined <mask>'s children in a lawsuit against the company. Not long after the death of <mask>, his son James and his son-in-law Charles H. Constable joined with Lescher and sued the company for entering their land and taking timber and other materials for the construction of dam. But, the company's charter permitted them to enter the land and take construction material without the owner's consent, forcing the owner to seek legal redress. The court ordered compensation. A letter written by Jacob Lescher in 1841 and submitted to Congress in support of the Grand Rapids Dam project and the building of a U.S. Armory, stated that he and <mask> owned more than  acres of land around the proposed dam site. Additional information submitted to Congress stated that the town of Powhatan was owned by <mask> and Lescher and was a "river addition" to Mount Carmel.The location of the town of Selima was not clearly stated, but was near the dam. <mask> did the original surveying for Grand Rapids Dam. The wooden timber dam deteriorated and needed to be replaced in the late nineteenth century. On September 19, 1890, Congress appropriated money for the construction of a new dam, to be built by the Army Corps of Engineers. The report stated that the old dam had partially washed away and that the new dam would raise the water level by 11.5 feet. According to an annual report to the Secretary of War in 1908, the mid-19th century lock and dam were "...not of a substantial character....," and "...rapidly deteriorated and became useless." The same report said that by March 31, 1881 expenditures for the dam were $317,845.44 and the government was forced to pay the Wabash Navigation Company an additional $7,000 to extinguish their franchise and purchase their property.Later years and legacy

<mask> settled in Mount Carmel toward the end of his life. During <mask>'s final years, he was an active letter writer and watched over his many business and real estate interests. <mask> was prominent in church and Illinois society and compiled many documents and interviews. During his later years, he shared much of this information with various writers and publications. In his later writings, <mask> espoused some questionable theories such as the Hollow Earth theory and the Madoc tradition. <mask> was published in the Methodist Magazine, the "Short Sketches of Revivals of Religion in the Western Country" (incomplete), the Advocate and Journal (New York) and the Western Christian Advocate (Cincinnati). His writings have been described as, "...abound[ing] in vague philosophical and religious reflections-- this is especially true of his diaries-- thus making them of slight value...."

<mask> dedicated a substantial amount of time to investigating the Madoc Tradition in North America.Madoc or Madog ab Owain Gwynedd was, according to folklore, a Welsh prince who sailed to America in 1170, more than 300 years before Christopher Columbus's voyage in 1492. <mask> interviewed hundreds of individuals on the topic. In 1824, <mask> wrote a letter to John S. Williams, editor of The American Pioneer regarding the Madoc Tradition. He claimed to have testimony from numerous sources that said Welsh people under Owen Ap Zuinch had come to America in the twelfth century, over 300 years before Christopher Columbus. <mask> claimed that in 1799, the remains of six soldiers had been dug up near Jeffersonville, Indiana with breastplates containing Welsh coats of arms. In 1799, <mask>, the first governor of Tennessee, also wrote of the alleged discovery of six skeletons in brass armor bearing Welsh coat-of-arms. <mask> claimed that M'Intosh recounted that American Indians and Welshmen living on the Mississippi River were conversing in Welsh in the late 1700s.In an 1842 letter <mask> stated, "I have just returned from the East, having visited the Atlantic cities generally for the first time, after forty-five years pioneering in the wilderness of the West. I have been three time a citizen of Kentucky, twice of Ohio, and twice of Illinois." After returning from the visit, <mask> claimed that eastern ministers were unsuccessful because they underrated the people of the West. He said,

A large collection of <mask>'s diaries are held among the Lyman Draper Manuscripts in the Wisconsin Historical Society. In his diaries <mask> stated that he supported the Hollow Earth theory. Throughout his life Hinde maintained correspondence with many of the prominent men of the day. His correspondents included James Madison, George Madison, <mask>, Henry Clay, <mask>, Daniel Boone, and John Marshall.Death
<mask> was sick a few days before dying from "winter fever." <mask> is buried in Sandhill Cemetery in Mount Carmel next to his daughter Belinda and his second wife, <mask> Cavileer Neal. The wrought iron fence surrounding their graves was paid for by his son Charles in the early 1900s. Since he died at a relatively early age and his wife died shortly after him, his orphaned children were forced to live with other relatives or fend for themselves. Martha married Judge Charles H. Constable; together they looked after many of her younger siblings until they married or found work. Her brother <mask> became a successful businessman and riverboat captain. One of Captain <mask>'s accomplishments was investing in the Hotel del Coronado in San Diego, California.<mask>'s grandson, Frederick Zimmerman, built the Grand Rapids Hotel on the Hinde family farm in Mount Carmel near the Grand Rapids Dam and Hanging Rock. References

 Discusses Charles T<mask>, one of the silent investors of the Hotel del Coronado and how the Hotel del Coronado influenced the Grand Rapids Hotel in Wabash County, Illinois. External links
 City of Mount Carmel Website
 32 U.S. 252

1785 births
1846 deaths
American city founders
American real estate businesspeople
American surveyors
American explorers
American folklore
American pioneers
American hunters
People from Kentucky
American people of English descent
Tall tales
Hollow Earth proponents
American Methodist missionaries
Clergy in the American Revolution
Appalachian culture
19th-century Methodist bishops
Methodist circuit riders
19th-century American bishops
Methodist missionaries in the United States
American diarists
American Methodist Episcopal bishops
Bishops of the Methodist Episcopal Church
History of Methodism in the United States
English Methodist missionaries
Methodist theologians
History of Methodism
Wabash River
19th-century American historians
19th-century American male writers
Historians of the United States
History of the Midwestern United States
19th-century American newspaper publishers (people)
American newspaper publishers (people)
American abolitionists
United States Army personnel of the War of 1812
American religious leaders
People from Hanover County, Virginia
William Henry Harrison
American company founders
Deaths from pneumonia in Illinois
People from Mount Carmel, Illinois
Mount Carmel, Illinois
Methodist abolitionists
American male non-fiction

masks:
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Thomas Todd
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Thomas S
. Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
Hinde
John Sevier
Hinde
Hinde
Hinde
Hinde
Hinde
Thomas Jefferson
Simon Kenton
Hinde
Hinde
Sarah Doughty
Charles Hinde
Hinde
Hinde
. Hinde


type: original

texts:
<mask> (c. 1470–1530) was a Renaissance painter who worked mainly in Venice and was a contemporary of Giovanni Bellini and Cima da Conegliano. He has been referred to by several names including <mask>, Marcus Basitus, and Marcus Baxiti. (Vasari believed that <mask> and <mask> were two artists, but later information reveals that these two were in fact the same painter.) There is little documentation on <mask> besides his painting signatures and a guild's ledger of 1530 ithat records him as a painter of figures. His works are mainly portraits and often focused on religious themes. There is no known painting attributed to <mask> with a mythological theme. Although trained in the quattrocento style, <mask>'s career began right at the beginning of the cinquecento style which forced him to attempt to adapt his style to stay current.Personal life, training, and influence
<mask> was born around 1470, in either Venice or Friuli. His family was of either of Albanian or possibly Greek origin, as Vasari reported. In either case this explains the variety of names Basaiti is known by because the Greek and Albanian communities, and other foreign communities, for the most part kept to themselves and do not often appear on Venetian records. A will dated 1526 may provide evidence of his family, but the connection between Basaiti and this will is debated. Due to this lack of documentation, not much is known about Basaiti's life, except what scholars can learn about the artist through his art. There is evidence that Basaiti trained with Bartolomeo Vivarini as Basaiti's earlier pieces are thought to reflect Bartolomeo's style and composition. After Bartolomeo died in the late 1490s, it is thought that Basaiti began working with Alvise Vivarini, Bartolomeo's nephew.This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled St. Ambrose Enthroned with Saints that Alvise had left uncompleted. Typically only major assistants working in the studio would have been asked to do this type of work which suggests that Basaiti was closely connected to Alvise by this time. Additionally, Basaiti's work seems to be influenced stylistically by both Vivarinis, further implying the link between Basaiti and these two masters. Basaiti was influenced by a variety of great artists that lived during this era. For example, he began to incorporate more extensive landscapes into his backgrounds, taking inspiration from Giovanni Bellini. In fact, some of Bellini’s older works were misattributed to Basaiti for a long period of time. Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters.Specifically, it has been noted that after Albrecht Dürer’s stay in Venice, <mask>’s style shifted somewhat towards more complex and dramatic landscapes with less of an emphasis on the figures in the painting. This style can be seen in the Lamentation over the Dead Christ and St. Jerome in the Wilderness. The latter is thought to be a copy of a painting by Cima da Conegliano which presents yet one more important artistic influence in <mask>’s life. For the most part Basaiti focused on religious themes rarely delving into mythological or historical topics. Despite this his style seems fairly contemporary with complex composition and correct proportions. Early period (1495–1510)

More than half of Basaiti's known works come from this first period in his painting career. This period comes right after his training and is marked by a constantly changing style as Basaiti experiments with his art to find his own personal style.This era is marked by the Portrait of a Young Man (1495) which represents his first finished piece as an independent painter. Stylistically there are strong influences from his two proposed mentors in the composition of his paintings, with Bartolomeo specifically influencing his figure design. Notable features of the Antonellian include strong geometric forms and sharp contrast in lighting. Furthermore, in accordance with the style of his proposed masters, Basaiti’s paintings often feature brightly colored clothing and cool skin tones. Indeed, <mask>’s early works are very like some of Alvise’s established disciples such as Jacopo da Valenza which further confirms the link between Basaiti and Alvise. Around 1500, the influence of the Antonellian school becomes less distinct. Basaiti’s backgrounds become more developed demonstrating the influence of Giovanni Bellini and Northern artists.This development can be seen in paintings such as in Portrait of a Young Man (1505), where, in contrast to his first Portrait of a Young Man (1495), the screen behind the figure has been completely removed and the landscape given more importance. In addition to developing a more complex landscape composition, Basaiti appears to become more concerned with spatial consistency after 1500. This change to more expressive landscapes coincided with Albrecht Dürer's stay in Venice during 1505–1506. It has been suggested that the landscape style Basaiti adopted is more influenced by Netherlandish paintings than by Bellini. As Basaiti continued to mix the styles of Alvise and Bellini his paintings become comparable to Cima da Conegliano. However, Basaiti arrived at this mix of styles after Cima and he was never able to exert  the same influence. Middle period (1510–1520)

This period represents the most cohesive time stylistically for Basaiti's paintings.It was a prosperous decade for Basaiti and included several large commissions such as the high altarpiece at Sant'Andrea della Certosa, the Call of the Sons of Zebedee. This piece in particular marked the beginning of his mature period and is considered by Vasari and many later critics to be one of his best pieces. Unlike the portraits which up until now had been his main artistic endeavors, the Calling of the Sons of Zebedee is a narrative painting which requires more complex composition, and features a detailed and expansive landscape. Although Basaiti tried to compose narrative paintings later on, none were as successful as this first one. Another notable example of Basaiti’s work with narrative pieces is the Agony of Christ. This represents a large commission as the altarpiece of the Foscari in San Giobbe. This altarpiece is set up next similar pieces by Giovanni Bellini and the influence from Bellini in Basaiti's painting is obvious.Later, during this period, <mask>’s paintings became more focused and returned to one-figure paintings as intricacies of narrative paintings proved to be too difficult. As seen in the Resurrected Christ and the Blessed Redeemer, while many aspects of Basaiti’s former success remain, the painting features only one main figure. Continuing his emphasis on the use of landscapes in paintings, backgrounds became more integrated into the overall painting but the influence of Bellini and of Netherlandish painters is still apparent. As <mask>’s style developed, the light in his pictures became softer and the components of the painting blended more fluidly. This gradual shift towards softer lines and an emphasis on natural lighting was the popular style developing during this era. The quattrocento style in which Basaiti was trained was declining in popularity, and his attempts to incorporate some of the new techniques can be seen particularly in his later works. Late period ( 1520–1530)

This was Basaiti's last period and no paintings have been dated after 1530.Basaiti appears on a ledger for a painters guild in 1530 but there is no known mention of him after this ledger and he is presumed to have died in the early years of that decade. According to current estimations, this would have made him 60 around the time of his death. In this last decade of his painting career, his composition became slightly more developed and more in tune with the contemporary style but remained heavily influenced by the quattrocento style. During this time he mainly focused on portraits, which were the area where he was best able to adapt his style to the changing times. Landscapes started to decline in importance in his paintings although their presence never disappeared completely. One exception to this trend is the painting The Lamentation which once again demonstrates Basaiti's ability to compose narrative scenes. The Lamentation blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.Some call Basaiti one of the last masters of the early Renaissance and his works demonstrate a refined quattrocento style. However, despite his best efforts, his works are still generally considered to be one step behind the trends of the Venetian painting of that time. Works
There are approximately 30 known pieces currently attributed to Basaiti. The table is ordered by date and those with a range of dates were ordered based on their earliest estimated date. Those with no determined dates were listed last. References

External links
<mask> on Artcyclopedia

1470s births
1530 deaths
15th-century Italian painters
Italian male painters
16th-century Italian painters
Painters from Venice
Italian people of Albanian descent
Venetian people of Greek descent
15th-century Greek painters
16th-century Greek painters

masks:
Marco Basaiti
Marco Baxaiti
Marco Basarini
Marco Basaiti
Marco Basaiti
Marco Basaiti
Basaiti
Marco Basaiti
Basaiti
Marco Basaiti
Basaiti
Basaiti
Basaiti
Marco Basaiti


texts:
<mask> (1883–1936) was a Russian occultist, mystic, author, journalist, and poet who wrote and taught about sexual magical ritual practices while also being linked with the Parisian surrealist movement. She established and led an occult society known as the Confrerie de la Flèche d'Or (Brotherhood of the Golden Arrow) in Paris from 1932 to 1935. Naglowska's occult teaching centered on what she called the Third Term of the Trinity, in which the Holy Spirit of the classic Christian trinity is recognized as the divine feminine. Her practices aimed to bring about a reconciliation of the light and dark forces in nature through the union of the masculine and feminine, revealing the spiritually transformative power of sex. Biography

Naglowska was born in 1883 in St. Petersburg, Russia, the daughter of a provincial governor of Kazan. She was orphaned at age 12 and educated in the exclusive private and aristocratic Institute Smolna. Following a rift with her aristocratic family caused by her falling in love with a Jewish commoner, Moise Hopenko, she moved with him first to Berlin and then to Geneva where they were married and subsequently had three children.Around 1910, Hopenko abandoned her to move to Palestine. Naglowska earned a living as a school teacher. She also worked as a journalist but her radical writings led to her imprisonment and eventual expulsion from Switzerland after which she moved to Rome around 1920. While in Rome she again worked as a journalist and became acquainted with Julius Evola. In 1929, she moved to Paris. In order to support herself, she conducted occult seminars drawing upward of 40 people to hear her ideas on sex magic. Attendance at these sessions included notable avant-garde writers and artists such as Evola, William Seabrook, Man Ray, and André Breton.These gatherings eventually led to the establishment of the Brotherhood of the Golden Arrow. Her events apparently were quite controversial. In 1935, Naglowska presented a speech at the Club de Faubourg in which she was billed as the "High Priestess of Love of the Temple of the Third Era" and speaking on the topic of "Magic and Sexualitly:  What is Magic Coitus? What is the Symbolic Serpent." The club was tried and convicted for "outrage to public decency" but later successfully appealed the conviction. During her time in Paris, she also published a newspaper called La Flèche (The Arrow) to which she and other occultists, including Evola, contributed articles. The paper released twenty issues over the course of its three-year existence.In 1931, she compiled, translated and published in French a collection of published and unpublished writings by American occultist Paschal Beverly Randolph on the subject of sexual magic and magic mirrors. Her translation and publication of Randolph's previously little known ideas and teachings was the source of Randolph's subsequent influence in European magic. She augmented the text with what she claimed were some of his oral teachings. The following year, she published a semi-autobiographical novella, Le Rite Sacré de l'amour magique (The Sacred Ritual of Magical Love.) Later that year, she also published La Lumière du sexe (The Light of Sex), a mystic treatise and guide to sexual ritual that was required reading for those seeking to be initiated into the Brotherhood of the Golden Arrow. Her later book on advanced sexual magic practices, Le mystère de la pendaison (The Hanging Mystery) details her advanced teachings on the Third Term of the Trinity and the spiritually transformative power of sex, and the practice of erotic ritual hanging and other sensory deprivation practices. Beyond occult subjects, <mask>ka also influenced the surrealist art movement.The "Lexique succinct de l'érotisme" in the catalog of the 1959 International Surrealist Exhibition in Paris noted her important influence. Surrealist Sarane Alexandrian wrote a detailed account of her life. In 1935, Naglowska had a dream foretelling her death and shortly thereafter went to live with her daughter in Zurich. She died there, at the age of fifty-two, on April 17, 1936. In 2011 and 2012, Naglowska's works were for the first time translated into English and published in the United States by Inner Traditions, translated by Donald Traxler and accompanied with a foreword by Hans Thomas Hakll. Employment of Satanic Symbolism

Julius Evola, in his book Eros and the Mysteries of Love: The Metaphysics of Sex  claimed that Naglowska often wrote for shock effect noting her "deliberate intention to scandalize the reader through unnecessarily dwelling on Satanism." It may have been for such scandalous and provocative effect that she used Satanic rhetoric and imagery or it may have been for a more sophisticated symbolic illustration in her message.She referred to herself as "a Satanic woman." She explicitly encourage her disciples to imagine Satan as a force within humanity rather than as an external actual evil, destructive spirit. She proclaimed that "Reason is in the service of Satan." She employs Satan as a symbol for  man's desire for joy and freedom when she writes, "My Brothers, the Venerable Warriors of the Golden Arrow, will say: 'The Free Man in you was Satan, and He wanted eternal joy, but you, Freed Brother, you decided otherwise, because you were not only Satan but also He who lives, being Life." Ritual practice

One ritual for which there exists a first-hand account recalls that the ceremony included a naked Naglowska lying supine upon the altar while a male initiate places a chalice upon her genitalia and proclaims, "I will strive by any means to illuminate myself, with the aid of a woman who knows how to love me with virgin love...I will research with companions the initiatory erotic act, which, by transforming the heat into light arouses Lucifer from the satanic shades of masculinity." Published works

Magia Sexualis: Sexual Practices for Magical Power by Paschal Beverly Randolph, <mask> Naglowska and Donald Traxler (Inner Traditions, 2012, )

The Sacred Rite of Magical Love: A Ceremony of Word and Flesh by <mask> <mask> and Donald Traxler (Inner Traditions, 2012, )

The Light of Sex: Initiation, Magic, and Sacrament by <mask> <mask>, Donald Traxler and Hans Thomas Hakl (Inner Traditions, 2011, )

Advanced Sex Magic: The Hanging Mystery Initiation by <mask> Naglowska and Donald Traxler (Inner Traditions, 2011, )

References

1883 births
1936 deaths
Emigrants from the Russian Empire to France
People from Saint Petersburg
French occult writers
French Satanists
Russian women writers
Russian spiritual writers
Women mystics
20th-century occultists
French spiritual writers

masks:
Maria de Naglowska
Maria Naglows
Maria de
Maria de
Naglowska
Maria de
Naglowska
Maria de


texts:
Alphonse Emil "<mask>" <mask> (November 12, 1912 – January 19, 1979) was an American football fullback and halfback who played on both offense and defense. He was inducted into the Pro Football Hall of Fame in 1978 and was named in 1969 to the NFL 1930s All-Decade Team. A native of Superior, Wisconsin, <mask> played college football for Oregon's freshman team in 1932 and for George Washington from 1933 to 1935. He was drafted by the New York Giants in the second round of the 1936 NFL Draft and played eight years for the Giants from 1936 to 1943. He led the National Football League as a rookie with 830 rushing yards and was selected as a first-team All-Pro in 1936 and 1939. He was also selected to play in the Pro Bowl in 1938 and 1941 and helped lead the Giants to the 1938 NFL Championship and the 1939 and 1941 NFL Championship Games. After his playing career ended, <mask> worked briefly as a backfield coach for the Giants and at George Washington.He also operated a laundry and dry cleaning business and a duckpin bowling alley. Early years
<mask> was born in 1912 in Superior, Wisconsin. His father <mask> (1887-1979) immigrated from Belgium in 1909 and worked as hoister for the Pittsburg Coal Co. on the coal dock in Superior. His mother Hortense (1897-1964) was born in Illinois, the daughter of Belgian immigrants. Leemans had three younger sisters Carolyn, Dorothy, and Doris. <mask> attended East High School in Superior. In his 1979 speech upon being inducted into the Pro Football Hall of Fame, <mask> recalled growing up in Superior: "I was a kid who used to work the iron ore boats on vacation from high school.I also worked as a fireman shoveling coal. But I was of hardy, Belgian stock and that early hard work helped me as a football player. I have achieved everything I ever wanted. I am a happy man." Football career

College
In 1932, <mask> enrolled at the University of Oregon where he was a member of the freshman football team. He then transferred to George Washington University where he was the star of the George Washington Colonials football team from 1933 to 1935. In his three years at George Washington, he rushed for 2,382 yards on 490 carries for an average of 4.86 yards per carry.He also passed for 966 yards and returned 84 punts for 984 yards, an average of 11.7 yards per return. New York Giants
<mask> was drafted by the New York Giants in the second round (18th overall pick) of the 1936 NFL Draft. Wellington Mara, son of Giants owner Tim Mara, saw Leemans play for George Washington and recommended to his father that the Giants sign him. Mara later said, "If I'm remembered for nothing else, I'd like to be remembered for discovering <mask> Leemans." In his first NFL season, <mask> played at the fullback position for the Giants and led the NFL with 830 rushing yards and an average of 69.2 rushing yards per game. He also impressed with his defensive play at the safety position. He was the only rookie to be honored by the NFL as a first-team player on the 1936 All-Pro Team.After the season ended, <mask> reported that he found it easier to make long gains in the NFL rather than college, citing better blocking in the professional ranks. Following rumors that he intended to retire from professional football after one season, <mask> signed a contract in August 1937 to return to the Giants. During the 1937 season, <mask> did not have the same level of success as in 1936. Hank Soar took over as the Giants' leading rusher in 1937, and <mask> gained only 429 rushing yards, roughly half his total from the prior year. Despite the reduced offensive output, <mask> continued to garner credit for his overall play and was selected by the NFL and the New York Daily News as a second-team player on the 1937 All-Pro Team. <mask> also played professional basketball during the off-season, joining the Heurich Brewers in Washington, D.C., after the 1937 NFL season. <mask> continued to be one of the NFL's leading players, receiving either first- or second-team All-Pro honors every year from 1936 through 1942.He received first-team honors in 1936 and 1939 and second-team honors in each of the remaining years. He was also selected to play in the Pro Bowl in 1938 and 1941. He ranked second in the NFL in rushing yardage in 1938 with 463 yards and third in 1940 with 474 yards. He also helped lead the Giants to the 1938 NFL Championship as well as the 1939 and 1941 NFL Championship Games. On December 7, 1941, the Giants celebrated "Tuffy Leemans Day," presenting him with a silver tray and $1,500 in defense bonds. The radio broadcast of the game on WOR was interrupted with an announcement of the Japanese attack on Pearl Harbor, and an urgent announcement was made at the Polo Grounds asking William J. Donovan (wartime head of the Office of Strategic Services) to call Operator 19 in Washington. However, most of the spectators and players at the Polo Grounds remained unaware of the attack until after the game.<mask>' attempts to enlist in the Navy and Army during World War II were rejected on multiple occasions due to defective hearing in one ear caused by a concussion sustained in a football game as well as poor eyesight. <mask> retired from football after the 1942 season. He signed on as a backfield coach with the Giants in 1943, but shortly before the season started, he opted to return as a player for one final year. He appeared in 10 games during the 1943 season, only one as a starter. He retired again after the 1943 season. <mask> appeared in 80 NFL games with the Giants from 1936 to 1943. He totaled 3,132 rushing yards on 919 carries (3.4 yards per carry) and 17 rushing touchdowns, 2,318 passing yards and 25 passing touchdowns, 422 receiving yards on 28 receptions, and 339 yards on punt and kickoff returns.Leemans also played on defense. Alex Wojciechowicz, a fellow Pro Football Hall of Fame inductee who played against Leemans, recalled: "Leemans was probably greater on defense than he was on offense. He was a bugger on defense, all over the field, always in on the action." Coaching
After his playing career ended, <mask> continued for one year as the Giants' backfield coach in 1944. However, he retired from coaching in August 1945 to devote his time to his laundry business. He returned to coaching in 1946 as the part-time backfield coach for the George Washington Colonials while continuing to operate his laundry and dry cleaning business. Leemans also coached football at St. John's College High School and Archbishop Carroll High School, both in Washington, D. C.

Later years and honors
In June 1937, after his great rookie season, <mask> married Theodora Rinaldi at St. Michael's Catholic Church in Silver Spring, Maryland.They remained married for 41 years (until <mask>' death) had two children, Joseph, who died in 1977, and Diane. <mask> and his wife lived in Silver Spring, Maryland. <mask> operated a duckpin bowling alley known as Tuffy <mask>' Glenmont Lanes. He also operated a laundry and dry cleaning business in the Washington, D. C., and Silver Spring dating back to and following his years as a football player. He was also active in the Washington D.C. Touchdown Club and was elected as the organization's president in 1956. In 1969, <mask> was selected as one of the backs on the NFL 1930s All-Decade Team. In 1978, <mask> was inducted into the Pro Football Hall of Fame.At the induction ceremony, he was introduced by his high school football coach Peter Guzy. In his speech, Leemans mentioned two of his teammates, Mel Hein, the Hall of Fame center, and Leland Shaffer, who Leemans credited as "my top blocker". <mask>' weight rose in his later years to 300 pounds from his playing weight of 180 pounds. In January 1979, less than six months after his induction into the Hall of Fame, <mask> died from a heart attack at age 66 at his condominium in Hillsboro Beach, Florida. He was interred at Gate of Heaven Cemetery in Silver Spring. References

External links

1912 births
1979 deaths
American football fullbacks
American football halfbacks
American football quarterbacks
George Washington Colonials football players
George Washington Colonials football coaches
New York Giants players
New York Giants coaches
Oregon Ducks football players
National Football League players with retired numbers
Pro Football Hall of Fame inductees
Sportspeople from Superior, Wisconsin
Players of American football from Wisconsin
American people of Belgian descent
Burials at Gate of Heaven Cemetery (Silver Spring, Maryland)

masks:
Tuffy
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Joseph Leemans
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texts:
T.J<mask> is an art historian and cultural critic who writes on contemporary art and visual culture, particularly in relation to globalization, politics, migration and ecology. Currently a Professor in the Department of History of Art and Visual Culture (HAVC) at UC Santa Cruz, and the founding director of the Center for Creative Ecologies, he is the author of several books, including Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017), Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016),
The Migrant Image: The Art and Politics of Documentary during Global Crisis (Duke University Press, 2013), and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg Press, 2013). Previous to his current appointment, <mask> taught at University College London between 2005-2015. <mask> has also curated a number of art exhibitions, including Rights of Nature: Art and Ecology in the Americas in 2010 and Uneven Geographies: Art and Globalisation in 2015, both at Nottingham Contemporary (both co-curated with Alex Farqharson); Specters: A Cinema of Haunting at the Reina Sofia Museum in Madrid in 2014; and Zones of Conflict, at Pratt Manhattan Gallery in New York in 2008. Education and career

<mask> received his PhD in 2000 from Columbia University. His first book, which emerged from his doctoral thesis, was The Exiles of Marcel Duchamp (MIT Press, 2007). It situates Duchamp’s mixed-media projects, such as La Boîte-en-valise, and his installations, including the 1938 Surrealist exhibition in Paris, in the context of the early twentieth century’s world wars and nationalist formations.The text argues that Duchamp’s practice brought about an aesthetic negotiation of the experiences of geopolitical dislocation. Writing

<mask>’ work focuses on the intersection of contemporary art and politics (particularly in the areas of photography and moving-image art), and considers the ways that art is capable of inventing creative and critical approaches that analyze, defy, and provide alternatives to reigning political, social, and economic forms of neoliberal globalization. His recent writing investigates contemporary art’s relation to environmental crisis, and he recently guest-edited a special issue of the journal Third Text on "Contemporary Art and the Politics of Ecology" (no. 120, January 2013), and has written several essays on the subject, such as “The Post-Natural Condition” in Artforum

The Migrant Image: The Art and Politics of Documentary during Global Crisis
This book looks at contemporary artists who have turned to documentary practice in order to investigate the mobile lives of migrants, refugees, stateless persons, and the politically dispossessed. His analysis considers the work of artists from Europe, the United States, the Middle East, and North Africa, which portrays the frequently negative conditions of neoliberal globalization, and which connects viewers to the lived experiences of economic and political crisis. The text includes close readings of works by Steve McQueen, The Otolith Group, Emily Jacir, Hito Steyerl Ahlam Shibli, <mask> Hadjithomas and Khalil <mask>, Ursula Biemann, Lamia <mask>, Rabih Mroué, Walid Raad, Yto Barrada, Ayreen Anastas and Rene Gabri, Goldin+Senneby. It argues that these artists propose innovative ways to approach a politics of social justice and equality, and historical consciousness, even while operating in an aesthetic domain that is post-representational and deterritorialized.Return to the Postcolony: Specters of Colonialism in Contemporary Art
This text examines the video and photographic projects by Sven Augustijnen, Vincent Meessen, Zarina Bhimji, Renzo Martens, and Pieter Hugo. The book traces the work of these artists who have each travelled to former European colonies in Sub-Saharan Africa in recent years in order to investigate past and present traumas and injustices, resulting in projects that were also made around the time of the 50th anniversary of the independence of numerous African countries. Addressing the larger context of failed states, increasing socio-political and economic inequality, and the continuing US-led military campaigns for security, resources, and economic supremacy worldwide, the book contends that artists today are critically investigating the aesthetics and image systems of neoliberalism and global crisis. Arguing that the past colonial experience continues to haunt those living in the present, but lies repressed, the book considers these artists’ voyages as constituting a “reverse migration,” a return to the African postcolony, “which drives an ethico-political as well as an aesthetic set of imperatives: to learn to live with ghosts, but to do so more justly.” (back cover). Dara Birnbaum: Technology/Transformation: Wonder Woman
Demos reads Birnbaum's video art in relation to media theory, postmodernist appropriation aesthetics, and the politics of feminism, and considers the pioneering attempts of the artist to develop the transformative capabilities of the medium of video. The Exiles of Marcel Duchamp
<mask>' text analyses the artist’s installations and conceptual mixed-media pieces – such as his La Boîte-en-valise, which Duchamp called his “portable museum.” The book places these project in relation to the aesthetic and geopolitical dislocations of early twentieth-century nationalisms and world war. Recognition
In 2014, Demos was awarded the prestigious Frank Jewett Mather Award for art criticism from the College Art Association.Bibliography
 Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017). Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016). The Migrant Image: The Art and Politics of Documentary during Global Crisis (Duke University Press, 2013). Return to the Postcolony: Specters of Colonialism in Contemporary Art (Sternberg Press, 2013). Dara Birnbaum: Technology/Transformation: Wonder Woman (Afterall Books, 2010). The Exiles of Marcel Duchamp (MIT Press, 2007). In and Out of Brussels: Figuring Postcolonial Africa and Europe in the Films of Herman Asselberghs, Sven Augustijnen, Renzo Martens, and Els Opsomer, ed.T.J. <mask> and Hilde Van Gelder (Leuven: Leuven University Press, 2012). "Art After Nature: The Post-Natural Condition," Artforum (April 2012), 191-97. “The Politics of Sustainability: Contemporary Art and Ecology,” Radical Nature: Art and Architecture for a Changing Planet 1969–2009, Barbican Art Gallery, London, 2009. Notes

External links
UC Santa Cruz home page
Interview with T.J. <mask> by Ashley Dawson
UCL home page
"Gardens Beyond Eden: Bio-aesthetics, Eco-Futurism, and Dystopia at dOCUMENTA (13)," essay by <mask> <mask> in The Brooklyn Rail (October 2012)
Interview with T.J. <mask> by Vivian Rehberg

Academics of University College London
American art historians
Columbia University alumni
Cultural critics
Living people
Year of birth missing (living people)

masks:
. Demos
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Joana
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texts:
<mask> (born May 26, 1945) is an American writer, political activist, gadfly, and popularizer of the terms "garbology" and "Dylanology". He is best known for his controversial opinions on, and personal interactions with, the musician Bob Dylan. Together with New York folk singer David Peel, Weberman founded the Rock Liberation Front in 1971 with the aim of "liberating" artists from bourgeois tendencies and ensuring that rock musicians continued to engage with and represent the counterculture. Early life
<mask> was born to Jewish parents in Brooklyn, New York in 1945. As a boy, he served as president of a local fan club dedicated to the professional wrestler Haystack Calhoun. He has recalled that his father, who was strict in his observance of their faith, regularly inspected the household garbage to ensure that Weberman's mother had not bought non-kosher food. During the early 1960s, Weberman attended Michigan State University.While there, in 1964, he was convicted for selling marijuana and briefly served time in jail before being released on parole. He then returned to New York and worked as an interviewer for the Lawrence Employment Agency while continuing his studies, at night school, at City College of New York. Bob Dylan
Weberman has written on the life and works of Bob Dylan, including a pamphlet titled Dylanology in 1969 and creating a word concordance of Dylan's lyrics. He also wrote the Dylan to English Dictionary, published in 2005. One of Weberman's theories on Dylan's songwriting is that some of Dylan's songs are actually about, or addressed to, Weberman himself. Authors Bob Spitz and <mask> have each rejected, and ridiculed, Weberman's interpretations of Dylan's work. In 1969, Weberman founded the "Dylan Liberation Front" with associates such as street musician David Peel, aiming "to help save Bob Dylan from himself".Weberman was convinced that, from Dylan's docile, smiling visage on the cover of his 1969 album Nashville Skyline, the singer was hiding from his social conscience and ignoring his responsibilities as a political spokesman for the counterculture. Once Dylan had moved back to Greenwich Village from Upstate New York in 1970, Weberman took to rifling through his garbage. That same year, Weberman began lecturing in Dylanology at the left-wing Alternate University of New York. At this time, the Liberation Front lamented that Dylan had become a "reactionary force in rock", a view that was echoed among the radical left. Rolling Stone magazine called Weberman "the king of all Dylan nuts"; he has also been described as obsessively stalking Dylan. In late summer 1971, Dylan – annoyed that Weberman had reneged on their agreement that he would no longer dig through his garbage – assaulted Weberman on Elizabeth Street in Manhattan. In a 1997 article, Rolling Stone reported that Weberman, "a man that terrorized Bob Dylan during the '60s", had now "returned to hassle his son", <mask>.Weberman claimed that the younger Dylan was a heroin addict. In 1977, Weberman's telephone conversations with Dylan from the early 1970s were released on the Folkways Records album Bob Dylan vs A.J<mask> – The Historic Confrontation. Writing in 2014 about the phenomenon of "Bob Dylan obsessives", <mask> of Slate described Weberman as "The most famous of the Dylanologists". In December 2016, after Dylan received the Nobel Prize in Literature, Weberman released a video on YouTube in which he claimed credit for Dylan's achievement. Journalist <mask>, writing for Salon, views Weberman's claim as far-fetched yet also identifies "a scrap of truth in it". He recognises the garbologist as furthering a "philosophical and anthropological tradition" observed by French poet Charles Baudelaire, in the latter's celebration of the city chiffonier (or rag-picker), and practiced in the work of German philosopher Walter Benjamin.Semley concludes: "Maybe an artist of Bob Dylan's magnitude requires a worthy bête noire like <mask>man, a guy who's equal parts pariah, arch enemy, early model internet troll, modern-day chiffonnier; a manic, moonstruck, single-minded goon who pours heart, soul, and sanity into his stupendous schemes." Rock Liberation Front
Weberman and the Dylan Liberation Front ceased their scrutiny of Dylan, temporarily, after he performed at George Harrison's Concert for Bangladesh shows at Madison Square Garden on August 1, 1971. Weberman was satisfied with Dylan's reversion to his 1960s protest singer persona and his scruffy attire at the concerts. Together with Peel, he formed the Rock Liberation Front (RLF) to "establish a relationship of understanding and participation in the World of Rock", which had "been getting ripped off too long". They first targeted Paul McCartney, whose recent music showed he was "just a businessman" and "a good example of the capitalist, non-involved egotistical rock star", according to Weberman. The RLF held a mock funeral for McCartney, on August 26, outside the Park Avenue home of his lawyer and father-in-law, Lee Eastman. Reporting on the event a week later in The Village Voice, Blair Sabol opined that Weberman's strategy was becoming overfamiliar: "Being the foremost Dylanologist, or garbageologist, was brilliant for last year's routine, but revamping it for Paul McCartney as this year's 'capitalist pig' campaign is like giving an encore after the audience has gone home."The RLF also protested against Led Zeppelin for demanding $75,000 per concert performance. Weberman's idealism resonated with <mask>, who had recently moved to Greenwich Village with his artist wife, Yoko Ono, and embarked on a radical left agenda under the guidance of activist <mask>. Lennon espoused Weberman's principles in his interactions with the music press, stating that he was dedicated to making politically motivated music without a thought for commercial gain. In early December, the RLF demonstrated outside Capitol Records, protesting the company's delay in releasing the live album from the Concert for Bangladesh after Harrison had accused Capitol of refusing to distribute the record at cost price. During the protest, Weberman announced that Lennon and Ono had joined the Liberation Front, which he defined as "a group dedicated to exposing hip capitalist counterculture ripoffs and politicizing rock music and rock artists". Through Lennon, Rubin came to be involved with the RLF, and soon sidelined Weberman. In his speech at the freedom rally for the imprisoned poet and activist <mask>, on December 10, 1971, where Lennon, Ono and Peel were among the performers, Rubin described the event as "the first act of the Rock Liberation Front".Lennon, Ono and Rubin also planned a US tour that would use their political message to unite the nation's young voters and thwart President Nixon's campaign for re-election in 1972. Lennon and Rubin were intent on enlisting Dylan for the tour and so issued an open letter on behalf of the RLF, demanding that Weberman publicly apologize to Dylan for the print and radio campaign he had waged against the singer and for describing him as a junkie. Published in The Village Voice, the letter also stated that all those in the movement should "[save] our anger for the true enemy, whose ignorance and greed destroys our planet", and led to the RLF becoming an organization of interest to the FBI. Author Peter Doggett likens this demand to a forced confession in "Stalin's Russia", since Rubin had openly supported the underground publications that ran Weberman's stories, and Weberman had been among the first to accept Dylan's post-Bangladesh single, "George Jackson", as a worthy return to the protest style. Weberman nevertheless issued an apology "for past untrue statements and also the harassment of Bob Dylan and his family", and signed it: "<mask>. Weberman, Minister of Defence, Rock Liberation Front". Weberman regained his leadership of the RLF in February 1972, when the group "liberated" the offices of Lennon and Harrison's business manager, <mask>, at 1700 Broadway.The event was a press conference in which Klein attempted to respond to allegations made in New York magazine, and partly supported in Rolling Stone, that he had pocketed funds intended for the Bangladeshi refugees from the sale of the Concert for Bangladesh album. Chanting "You'll wonder where the money went, when Klein runs a charity event", the protestors disrupted the press conference and gained further exposure for Klein's alleged fraud in Variety, Rolling Stone and The Village Voice. Surprisingly for Weberman, this resulted in an invitation from Lennon and Ono for him to visit them at their Bank Street apartment, where the couple confided that Klein was "ripping us off too". According to Weberman, he introduced Lennon to a group of sympathizers and financiers for the IRA, to whom Lennon made a generous financial contribution. Lennon's direct role in political activism soon waned, although he continued to finance activities by Weberman and Peel. The latter recorded an album, The Pope Smokes Dope, which was produced by Lennon and Ono, and released on Apple Records in April 1972. Lennon also donated $50,000 to pay for demonstrators' travel expenses to Miami, Florida, where Weberman helped to stage a mass protest against Nixon at the Republican National Convention in August.Coup D'Etat in America: The CIA and the Assassination of JFK
In 1975, Weberman wrote Coup D'Etat in America: The CIA and the Assassination of JFK with Michael Canfield. According to one account, "Canfield and Weberman propose a basic theory on the assassination, revolving around the CIA and the Bay of Pigs fiasco, and then use the bulk of the book to document and substantiate their allegations." According to <mask> and Canfield, the CIA planned the assassination of Kennedy because he had agreed to stop the Cuban exiles' anti-Castro operations. Among the book's contentions are that Lee Harvey Oswald was a patsy and that two of the "three tramps" photographed by several Dallas-area newspapers under police escort near the Texas School Book Depository shortly after the assassination Kennedy were Watergate burglars E. Howard Hunt and Frank Sturgis. Coup D'Etat in America was reported to influence United States House of Representatives member Henry B. Gonzalez to initiate a resolution that would result in the formation of the House Select Committee on Assassinations. A reviewer for The Harvard Crimson wrote: "Despite its lapses into obsessive speculations about connections between irrelevant figures and dubious arguments by analogy of modus operandi, Coup d'Etat is a chillingly convincing book." Coup d'Etat in America reiterated Tad Szulc's allegation that Hunt was the acting chief of the CIA station in Mexico City in 1963 while Lee Harvey Oswald was there.In July 1976, Hunt filed a $2.5 million libel suit against Weberman and Canfield, as well as the book's publishers and editor. Other activities
In 2002, Weberman, along with the Jewish Defense Organization, and JDO chief Mordechai Levy, were successfully sued for libel in Brooklyn, New York. The jury stated that Weberman was responsible for $300,000 of the $850,000 judgement. In 2005, Weberman worked with Yippies including Dana Beal and Pie Man <mask> Kay to turn the long-time Yippie headquarters at 9 Bleecker Street on Manhattan's Lower East Side into a counterculture museum. As of February 2006, renovation of the building was partially completed, and a charter from the New York State Board of Regents was granted. The museum, which Weberman likened to a "Hard Rock Cafe for Yippies", would house the remains of <mask>'s roadkill (Rubin was killed by a car) and <mask> Hoffman's trash. In 2006, Weberman, along with some of his former students, appeared in a documentary film about his exploits as a Dylanologist, titled The Ballad of <mask>.The film includes a performance by Peel and Weberman of "The Ballad of A. J. Weberman", a tribute song that Peel recorded for his 1974 album Santa Claus Rooftop Junkie. Published works

Articles
 "Dylan's Movie: How Success Ruined His Sex Life." High Times, no. 33 (May 1978). Books
 Dylanology. Hong Kong: Whitepress Corp. (1969). Concordance to the Songs, Poetry, and Assorted Writings of Bob Dylan.New York: Private printing (1971). Coup D'Etat in America: The CIA and the Assassination of JFK, with Michael Canfield. Foreword by Henry B. Gonzalez. New York: The Third Press (1975). .
 Republished: San Francisco, CA: Quick American Archives (1992). .
 My Life in Garbology. New York: Stonehill Press (1980). .
 "A study in famous people's garbage by the enigmatic founder of garbology and the National Institute of Garbology himself." Dylan to English Dictionary. New York: Yippie Museum Press (2005). .
 RightWing Bob: What the Liberal Media Doesn't Want You to Know about Bob Dylan.BookSurge Publishing (2009). .
 Homothug: The Secret Life of Rudy Giuliani. New York: Yippie Museum Press. Ron Paul: America's Most Dangerous Nazi. California: CreateSpace (2012). . The Oswald Code (2018). Interviews
 Interview with Bob Dylan. East Village Other (1971).Notes

References

Further reading
 Roberts, <mask> (Spring 1995). "Dear Landlord: The A.J. Weberman Story". The Telegraph. pp. 78–91. External links
 The Ballad of A.J.Weberman (1969) – a documentary about A. J. Weberman at Media Burn Archive. 1945 births
Living people
20th-century American non-fiction writers
21st-century American non-fiction writers
American conspiracy theorists
American male non-fiction writers
Bob Dylan
Jewish American writers
<mask>. Kennedy conspiracy theorists
Psychedelic drug advocates
Researchers of the assassination of <mask>. Kennedy
Writers from New York City
Yippies
20th-century American male writers
21st-century American male writers

masks:
Alan Jules Weberman
Weberman
Jim Curtis
Jakob Dylan
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John Dickerson
John Semley
Alan Weber
John Lennon
Jerry Rubin
John Sinclair
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Allen Klein
Weberman
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Jerry Rubin
Abbie
AJ Weberman
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texts:
<mask> (born 24 April 1952) is a British musician, songwriter and record producer who is responsible for a number of single and album chart hits and well known songs recorded by international recording artists. He was instrumental in setting up the influential Neat Records. He was particularly active as a producer during (as well as being partially responsible for), the NWOBHM years (New Wave of British Heavy Metal) During this time he produced many acts and kick-started the careers of several influential heavy metal acts including the first recordings of Newcastle band Venom (who are widely credited with the invention of black metal) and Raven who have been credited with being hugely influential by Metallica. Early years

In 1969, he formed the band Bullfrog who established a huge reputation in the North East of England and then further afield. The band played support to the likes of Wishbone Ash, Vinegar Joe, the Pretty Things, East of Eden, the Edgar Broughton Band, Juicy Lucy and did TV shows with the Bay City Rollers, and Lindisfarne. In 1973 the band signed to Cube Records and started work with Black Sabbath producer Rodger Bain. At this time working with Roger Bain, <mask> was introduced to producer Gus Dudgeon who attended several of the Bullfrog recording sessions.Dudgeon was later to become influential in <mask>'s songwriting career. This period is also notable in that it represents the burgeoning heavy rock era that gave rise to a "New Wave" of heavy rock involving <mask> at the next stage of his career. Hugh Murphy (Gerry Rafferty/Baker Street) later replaced Bain in the production chair. A couple of singles were released by Cube but they failed to make an impact. Impulse Studios and Neat records

In 1978 he joined Impulse Studios in Wallsend, Tyne and Wear, England. His role was twofold (1) to encourage studio usage by local bands and where necessary act as producer, (2) develop a publishing arm (Neat Music Publishing) at the same time developing his own songwriting. Initially recordings were released in an Impulse subsidiary Rubber Records but in 1979 he helped set up a new record label "Neat Records".The first single was one of <mask>'s own songs "One and Only Girl" with an 11-year-old singer Janie McKenzie who was making a name for herself in the clubs. <mask> also produced the second Neat Single: "All I Wanna Be Is Your Romeo" by a band called Motorway. It was the third <mask> produced single that was to establish the label as a heavy metal/rock outfit and this was "Don't Touch Me There" by the Tygers of Pan Tang. After the release of the Tygers of Pan Tang single the resulting excitement was remarkable. The single did really well and was picked up for release by MCA Records and an album deal was struck. There was also a sudden interest in other bands of the same genre wishing to be signed to the label,

One such act was Tony McPhee formerly of The Groundhogs who recorded two tracks for the label that were unfortunately never released. <mask> not only produced the McPhee tracks but also played bass.Present on that session was a young man named Conrad Lant who had recently joined the studio as tape-op (tape operative assistant). Conrad expressed an interest in the bass guitar <mask> had brought into the studio from his old bass playing days:-

<mask> had quite wide-ranging responsibilities at Impulse/Neat. As house producer he presided over a wide range of recordings and not just the Neat product, things such as writing and/or producing TV commercials and various bespoke recordings. As the label developed and demo submissions from bands increased he functioned as A&R manager for the label as well as managing the publishing arm. He also pursued his own songwriting and for this a various other studio recordings he established a bank of session musicians. Some noteworthy musicians passed through these ranks including Andy Taylor of Duran Duran (guitar) and Alan Clark of Dire Straits (keyboards). With his assembled team of musicians he worked with a number of local acts to develop their careers.One such young acts was young singer Toni Halliday (later of Curve) Of all the songs he wrote and produced with Toni, one was to become notable and successful with another act entirely and this was Paris By Air which the Tygers of Pan Tang recorded. Having produced the first singles released by Neat Records <mask> went on to produce the first album released by the label. This was Rock Until You Drop by Raven. Rock Until You Drop was really well received, reached position No. 63 in the UK Albums Chart and is still considered a landmark album to this day. During recording sessions <mask> dubbed the band's genre "Athletic Rock" and has told studio stories of Gaffa taping headphones to the band's heads to stop them flying off. This and other anecdotes (including the source of the marching sounds on Rock Until You Drop) are revealed in <mask>'s interviews for Ravens 2013 DVD, "Rock Until You Drop, A Long Days Journey".In 1980 <mask> re-established his acquaintance with Bullfrog's first producer Roger Bain. Roger was now A&R manager for Phonogram Records and introduced <mask> to legendary producer Gus Dudgeon (Elton John, Elkie Brooks, David Bowie) Gus travelled with Roger to Impulse studios in Wallsend (Neat) where <mask> laid on a showcase performance for them with the house band of session musicians he had assembled (<mask> himself playing guitar). The house band was fronted by the vocal talents of the Caffrey Brothers, 3 actual siblings with a fine vocal blend. The Caffreys had been providing backing vocals on many recordings at the studio but in this instance they were the featured artists. Roger signed the act to Phonogram and Gus produced the recordings. Sadly the recordings failed to chart but <mask> was to work with Dudgeon on several projects over the years. Another signing to the Neat Label were Fist.<mask> produced some tracks with Fist and actually joined the band guitar for a while replacing Dave Irwin. His membership of Fist was short-lived and based largely on the fact that Fist wanted to record some of <mask>'s songs but felt that any writer should also be a member of the band. <mask>'s final production for the label was a 3 track single with Venom the title track being in League With Satan. <mask> claims to have introduced the band to "The Devil" (actually a musical interval). Having given the world "Black Metal" it appears that <mask> then quit the label. Songwriting years
<mask> eventually quit Neat Records in 1981. It is to be assumed that he did so to concentrate on his songwriting because beyond this time his production credits became fewer whilst his writing credits increased.In 1982, he enjoyed a top 20 hit with a recording by Wavelength of his song "Hurry Home". The song stayed in the UK charts for a full 3 months and peaked at 17 where it stayed for two consecutive weeks. "Hurry Home" was also later recorded by Sarah Brightman and released as the second CD in a special edition of her album The Fly. In late 1982, Pete Waterman signed <mask> to an exclusive songwriting deal with MCA Music Publishing. Waterman became <mask>'s mentor and introduced him to his business partner, producer Peter Collins. Collins was to produce a number of recordings of <mask>'s songs over the coming years including The Searchers, Elaine Paige and Colin Blunstone. The Searchers single "I Don't Want To Be The One" was the last to be released by the band and was also released on an album, Street Scene which reached 42 in the UK Albums Chart.There followed a fertile period for <mask> under Waterman's management and <mask> himself has written a good deal about some of the quirky events that befell him whilst with Waterman. One story in particular involves <mask> writing lyrics at Watermans instigation for the theme to the movie Jaws 3-D. <mask> himself writes about this on his own website but the story has gained some traction even some derision but it seems that the producers were seriously considering this approach at one time. Just prior to <mask> joining MCA Music it had been planned that the Tygers of Pan Tang would record his song "Paris By Air" for their 3rd studio album. Although <mask> had not worked with the band since producing their first single this had come about because he had shared a house in Whitley Bay with Tygers vocalist Jon Deverill, guitarist John Sykes and (strangely?) original vocalist Jess Cox. When <mask> returned home in the evenings from the studio, there were frequent play-back sessions (often initiated by Sykes) of whatever he had been recording that day. It was on one of these impromptu playback sessions that the Tygers heard Toni Haliday's rendition of Paris By Air.When it was time to record their 3rd album Paris By Air chosen to be recorded. However, as this song was written specifically for Toni Halliday it needed to be altered significantly to be suitable for a male vocal and <mask> set about this task accordingly. In the summer of 1982, plans were well under way for the recording of the Tygers next album (to be called The Cage), when John Sykes suddenly quit the band. This caused problems as he was heavily involved in the writing of new material. A replacement guitarist was needed but material was also needed. One of the people approached for suitable songs was <mask>. He provided some of his new material and also undertook to co-write with the band's vocalist, Jon Deverill.Of his own songs "Lonely at the Top" was picked and from the Deverill collaboration "Letter from L.A." The collaborative writing with Deveril continued into the next two studio albums. Fred Purser of Penetration became the band's new guitarist and the album was recorded with 3 <mask> songs included. The Cage sold over 200,000 copies and entered the top 20 in the UK album charts peaking at 13. Paris By Air entered the singles charts and reached number 63. Another <mask> song, "Lonely at The Top" was also released as a single but failed to chart. In 1982, Sheena Easton released her Madness, Money & Music album which contained the <mask> song "Please Don't Sympathise". The album charted at 44 in the UK Albums Chart.The US version did not include <mask>'s track but on later editions it was included. In 1983, <mask> wrote English lyrics for the Italian Eurovision Song Contest Per Lucia by Riccardo Fogli. Fogli finished in 11th place. The recording was released in some countries with <mask>'s English lyric. Copies of this recording are extremely rare. In 1983, Celine Dion recorded the same song (Please Don't Sympathise) and with a French adaptation by Eddie Marnay it was released as "Ne me plaignez pas" on her album Les chemins de ma maison. The song was also released as a single and charted in both Canada and France.The album sold 100,000 copies and went Gold in Canada It also received a Félix Award for the Best Selling Album of the Year. Celine also recorded an extended version of "Ne me plaignez pas," which appeared on her album Du soleil au cœur released in France. A music video was made in 1984, for the Sur les chemins de ma maison TV special. The song has also subsequently appeared on several compilation CD's. In 1984, <mask> once again joined forces with Gus Dudgeon who brought the legendary Dick James (the man who signed the Beatles) out of retirement to sign <mask> to an exclusive songwriting agreement with DJM (Dick James Music)

Oddly, the success of the Cage album had caused the Tygers of Pan Tang to split up and <mask> continued his songwriting partnership with Tygers vocalist Jon Deveril with the intention of seeking a solo recording deal. A full album's worth of material was written and demo'd and talks were taking place with record companies when John Sykes returned from a Japanese tour with Whitesnake and told Deveril and <mask> about the huge interest there in the Tygers of Pan Tang. He suggested that if the proposed Deveril/Thompson album were to become the follow up to the Cage there would be likely to be huge interest.Sykes also offered the brand new studio he'd built in Blackpool as a place to cut the album. Tygers founding member Brian Dick was approached and he agreed to team up. The line up was then completed by <mask> and Neil Shepherd on guitars and Paul Irwin on bass. Phil Harding who had engineered the Cage album for Peter Collins was brought in to produce and a deal was struck with the Music for Nations label to release what was to be The Wreck-Age, The Tygers of Pan Tang's 5th studio album. <mask> played keyboards on the album but Harding complained that Irwin (who had been brought in at short notice) was not able to cope with the bass duties and so <mask> overdubbed all the bass parts after the tracks had been laid. Dave Donaldson was brought in after the album was finished as a touring member and is credited as bass player on the album sleeve as well as being pictured on the cover. It is common knowledge that it is <mask> playing bass on the album.It would seem at this time <mask> was appearing more on more on recordings as a musician as well as a writer because around the same as the Tygers Wreck-Age album he appears (on bass and keyboards) on albums by John Verity former Guitarist/Vocalist with Argent. Verity had produced recordings with The Searchers who were labelmates at Prt Records (Pye). One of the songs recorded was <mask>'s "Innocent Victim" and it's likely that it's through this connection that the two met. <mask> wrote or co-wrote several tracks Verity's 1985 release "The Truth of The Matter" and also appears on the credits for keyboards and bass. <mask> and Verity produced a solo single by Mike Pender, "It's Over" whilst he was still with The Searchers. The song title must have been prescient because shortly after the single "It's Over" was released Mike quite the Searchers to form Mike Pender's Searchers. <mask> played Keyboards on a TV appearance of the new band in support of the single.Further <mask> collaborations took place after "The Truth of the Matter" and these recordings have been released on a variety of collections. Gus Dudgeon produced a number of recordings of songs by the pair with <mask> on Bass and Keyboards, Verity on Guitars and vocals with a string of sessions musicians. One of these session musicians Mike Stacey (also known as Mike Craft) who recorded a version of " the <mask> song "I Want You" with Dudgeon producing, Verity on Guitar and <mask> on Bass and Keyboards. The song became a finalist in the 1986 Song For Europe

Later career

Having contributed to both The Tygers of Pan Tang and Verity albums as a performer as well as a writer <mask> seemed reticent to take up touring/performing again. However, he did a couple of TV shows with the Tygers but for a while became a member of Verity's touring band doing dates in Europe and the UK (including one of the last gigs to take place in The Marquee in Wardour Street)

Towards the end of the 1980s <mask> set up a publishing and production company named De Lucca with Brian Johnson of AC/DC. Johnson was by now based in the USA but <mask> was based in Newcastle upon Tyne at Johnsons' recording studios: Lynx De Lucca. <mask>'s role was similar to the one he had at Neat Records which was to seek out new talent, produce recordings and develop his own song repertoire.During this time <mask> wrote and produced an album's worth of material with Alvin Stardust (which remains unreleased) and wrote two tracks on an album for Middle of The Road. The Tygers of Pan Tan's sixth album Burning in the Shade was recorded at Lynx De Lucca at this time with <mask> on bass and keyboards as well as co-writing all the songs. Co-writing and production continued with John Verity with recordings appearing on a range of releases including "Rock Solid" and "Hold Your Head Up" and "Routes"

<mask> had also been working with a young singer Peter Adshead who went on to success under the name of Baby Ford. Several tracks co-written with <mask> were released on the Rhythm King label and they scored a hit with Chiki Chiki Ah Ah. This song earned a BBC airplay ban due to the lyric "Disco Me To Ecstasy" (The song's original title)

The partnership with Brian Johnson ended and <mask> formed his own publishing company ST Music. ST Music now owns many of his early copyrights as well as his post 1980's output. The first copyrights handled by the new company included two songs recorded by Elkie Brooks for her album Pearls III (Close to the Edge).Both songs "The Last Teardrop" and "One of A Kind" were released as singles the latter in Belgium Only. <mask> partnered with playwright Tom Kelly to produce a Musical Steeltown which was a fictionalisation of how own early life at Consett Iron Company, his struggle to break out and into the music industry and the eventual closure of the Steel Works. <mask> was recently anointed the Emperor of Darlington. Academic publications
<mask> has also been involved with community arts and this has resulted in several academic conference presentations and publications during his work at Teesside University in the Institute of Digital Innovation. Aspirational Digital Stories for a Future City
 The Force is With You
 Practical Design for Social Inclusion
 Extending the learning community (Keynote at Futurelab 2006)
 Social E-Inclusion (presentation to North-Brabant Parliament, Netherlands 2010
 E-Democracy in Animation
 Dreams Hopes and Wishes (a case study in community media)
 The Battle of Stanhope

The <mask> Band
In late 2015, <mask> started to rehearse a new band with the aim of performing the songs he had been associated with as a writer but not hitherto, as a performer. A number of guest vocalists were invited including many of the people who recorded the original demos in the repertoire. References

External links
 <mask> Website
 The Bullfrog Story

1952 births
Living people
People from Consett
English songwriters
English record producers
British music industry executives
Musicians from County Durham

masks:
Stephen Dennis Thompson
Thompson
Thompson
Thompson
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Steve
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Steve
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Steve Thompson
Thompson
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Steve
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Steve Lamb
Thompson
Thompson
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Thompson Verity
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Thompson Verity
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Thompson
Thompson
Thompson
Steve Thompson
Steve Thompson
Steve Thompson
Thompson
Steve Thompson


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<mask> (February 2, 1838 – March 5, 1919) was a British painter. She was the third of Frederick William Beechey's five children. In 1858, she married a Hudson's Bay Company official, <mask>, whose work took him to North America. <mask> travelled alongside with him. While sailing, she was able to sketch extensively, therefore, capturing a now lost way of living – the last days of the fur trade. <mask> painted actively during the 1860s and '70s. Her best-known works are several large paintings made from her sketches.She portrayed a voyageur's life in the mid-nineteenth century. <mask>, however, remained relatively unknown until recently. At the same time, considering that, she was an artist placed in a context where gender-imposed restrictions were prevalent. In fact, <mask> <mask> was dubbed as a woman who "staked out an identity based on difference: a woman in a group of men." Her works were featured at exhibitions of the Art Association of Montreal, followed by, eleven exhibitions at the Royal Academy in London. The <mask> family returned to England in 1870 where she lived until her death. <mask> was an artist able to record an important aspect of Canadian history.Early personal life
<mask> <mask> was born in London, England to Frederick William Beechey, a hydrographer and a Rear Admiral in the Royal Navy, and Charlotte Stapleton on February 2, 1838. <mask> was from an upper-middle-class family. She came from a family of artists and Arctic explorers. Her father Sir Frederick was a water-colourist. Hopkin's aunt <mask> Beechey who was also known as Lady Beechey was a miniaturist. Her grandfather Sir William Beechey was also a portrait painter and a member of the Royal Academy of Arts. <mask>' paintings and drawings suggest artistic training, but this may have been at home rather than in formal schooling.At 20, she married Edward Martin <mask>, the Hudson's Bay Company Governor-General's secretary, at St. Saviour's Church, Paddington, London. <mask> already had three children from his late wife, <mask> (Ogden), who had died of cholera. Her husband's work would bring her on a journey that would provide subjects for her art pieces. Life in Canada
The <mask>, along with Edward's three previous sons, moved to Lachine, Lower Canada shortly after their marriage in 1858. The <mask> family moved to Lachine, as Edward worked there as secretary to Sir George Simpson, the Hudson's Bay Company's Governor General. <mask>' life in Lower Canada differed greatly from the lives of her female counterparts in London, who were from wealthy English families. In London, these artists mostly led "quiet, uneventful lives largely within the limited precincts of the studio."<mask> was able to live a more adventurous life in Canada. When she arrived at Lachine, the eastern station of the Montreal fur trade, with her husband and his sons, <mask> began sketching and painting the environment that surrounded her new home without any delay. Some of her subjects included the <mask> family's house and garden, which was on the shore of the St. Lawrence River, the house next door, the Lachine pier, and the nearby Dorval Island. The sketches she produced in her two years spent in Lachine were compiled into what is now known as the "Lachine Sketchbook" of 1858 to 1860, and the paintings she created in 1858 to 1859 are in the "Hopkins Album." In 1860, after the death of Sir George Simpson, Chief Factor <mask> was promoted to Superintendent of the Hudson's Bay Company's Montreal department, and as a result had to move his family from Lachine to the Côte-des-Neiges area of Montreal. By 1861 in Montreal, <mask> had two sons of her own named Raymond and Wilfred, and had a daughter in 1863 named Olive. With three stepchildren and three of her own children to raise, a large home to maintain, and social obligations to tend to, she carried a large amount of responsibility, to which her husband Edward responded by hiring help to assist <mask> with her domestic duties.<mask> was active in Montreal's upper-class society. She was a prominent hostess to important English visitors who came on fur trade-related business, and had social ties with the patrons of the arts in Montreal, who at the time, were establishing art societies and building their own, individual art collections. She was involved in the social society of Lachine prior to her move to Montreal as well, which was exemplified by her presence at festivities that were held in honour of the Prince of Wales' visit to Canada in 1860. A local newspaper wrote about the festivities shortly after they took place, stating that there were only three women in attendance, and that two of them were <mask> and her sister, Miss Beechey. <mask> also took the opportunity to produce some sketches during the festivities, which she later developed into large watercolours at the request of the Prince of Wales (later known as King Edward VII of the United Kingdom) for hanging at Windsor Castle. Throughout her time in Canada, <mask> accompanied her husband on many of his voyages, especially after Edward was promoted to Superintendent of the Hudson's Bay Company's Montreal department. In Montreal, <mask> joined Edward on several of his tours of inspection of his fur-trade posts, which stretched from the Mingan District to Fort Williams, Ontario.Travelling by canoe was becoming less common in Canada as railroads developed and improved, but travel to and from remote trading posts on the Great Lakes was still often by canoe. On these voyages, and on trips she took for pleasure, <mask> sketched and recorded her experiences and her surroundings. With her husband's support for her and her art, <mask> was able to independently travel by canoe, which was very rare for women to do at the time. As a result of this, she became one of the only female artists to be directly involved in the canoe voyage scene. <mask> took several trips between the years of 1858 and 1870, accompanied by her husband, to places such as Manitoulin Island in Lake Huron, and Kakabeka Falls near Lake Superior. She took the opportunity to sketch while on these voyages and eventually turned many of her sketches into the voyageur paintings she is associated with today. <mask> and her husband also made short visits to England, where she exhibited her work, and vacationed in France.In 1869, <mask> and her husband took a farewell tour of Lake Superior, as retirement from the Hudson's Bay Company was approaching. In 1870, <mask> became the first woman to show a large body of work at an exhibition in Montreal. Later that same year, the <mask> family moved back to England permanently without two of their sons, as one died in 1864 and the other in early 1869. Artistic career
<mask> <mask>' (née Beechey) was already a skilful artist at the time of her marriage to <mask> in 1858. Growing up in an upper-middle-class family, it is probable that she would have been provided with tutoring in the fine arts, specialising in education in drawing and painting. However, there is no confirmed documentation of this. The Beechey family was already a well-known family of artists, most importantly, her grandfather Sir William Beechey, a portrait painter and member of the Royal Academy of Arts, Lady Beechey, a miniaturist, and <mask>' father was an accomplished water-colorist, thought to have been trained in the topographical landscape.<mask>, already have been exposed to fine arts in her youth by her family, saw the chance to travel to Canada and paint, was seen by her as both a personal venture, as well as a professional opportunity. <mask>' earliest known sketches of Canada coincide with her immediate arrival in Canada from 1858 to 1860, which were prominently scenes of Lachine and Montréal. During her travels outdoors, she would primarily be working with watercolour, which was a typical medium for outdoor artwork at the time due to how easy it is to transport. The travels that would influence her well-known oil paintings later on were mostly inspired from her tours of the fur trading routes with her husband—during 1864, 1866, and 1869, they visited the Upper Great Lakes and the Mattawa (Ont.) and Ottawa rivers. During the years between 1869 and 1880, <mask> completed some of her most well-known oil paintings in her studio in Hampstead, England upon returning there permanently. In 1869, <mask> exhibited her oil painting Canoes in a Fog, Lake Superior at the Royal Academy in London.This marked an important turning point in her career because her popularity in Britain gradually became larger, as the romantic atmosphere her paintings possessed was highly appealing to the British audience, and they sold better on the London art market compared to that of the North American art market. The next oil painting of hers that would be exhibited at the Royal Academy was Canoe Travelling in the Backwoods of Canada. Between the years of 1860 and 1891, <mask> would exhibit a total of eleven times at the Royal Academy. Other well-known paintings of hers include Shooting the Rapids (1879), Canoe Manned by Voyageurs Passing a Waterfall (1869), Canoe Party Around a Campfire (1870), and Voyageurs at Dawn (1871). Landscape painting at the time was considered rigorous for a woman, however, <mask>' travels to Canada allowed <mask> to establish her reputation as a professional painter that specialised in landscape painting of the Canadian wilderness. Her painting has strong use of narrative, stylistic and photographic language. There is debate as to what artistic style of painting <mask> conforms to, however she is often identified with realism, as well as the presence of romantic idealism within her paintings.Today, her voyageur paintings are fairly recognisable because of how often they are used for textbook and periodical illustration, however her name has faded into obscurity. In her lifetime, she only exhibited in Canada once at the Art Association of Montréal in 1870. It wasn't until over a hundred years later in 1990 would her work be organised into an extensive exhibition of <mask> <mask> by guest curator Janet Clark at the Thunder Bay Art Gallery. The show travelled onward to The Art Gallery of Ontario (Toronto), The National Archives of Canada (Ottawa, Ontario) and to the Glenbow Museum (Calgary, Alberta). Her work is now found at several museums throughout Canada such as the Glenbow Museum in Alberta, as well as a large collection of her works reside in the National Library and Archives of Canada. Late life
After moving back to England, <mask> <mask> continued to paint or draw almost daily. She worked out of her own studio in Hampstead, England.<mask> completed several oil paintings that reflected her life in Canada, using her memories of the Canadian landscape and sketches she had produced while living there as references. Her husband died in England in 1893, causing <mask> to become more deeply involved in the business aspect of her art career in order to provide herself with additional income. This involvement consisted of producing paintings on demand for her clients, sending her artwork to various art dealers and commercial galleries, and selling her own work, which she set the prices for herself. She also continued to exhibit her work at the Royal Academy in London, with her last exhibition being held in 1902. <mask> died in Hampstead, England on 5 March 1919. She was eighty-one years old. Style and works
<mask>' sea voyage with her HBC-affiliated husband had a significant impact to her artworks.The theme of canoe handling is consistent in her paintings and sketches. The vastness of the ocean became <mask>' workspace, where she had fostered her creativity. Her subject matter was genre and landscape. The paintings show voyageurs and their canoes with her husband and herself amongst the paddlers. In her paintings, she portrayed in great detail the needed skills in the manoeuvring of canoes placed in romantic scenes. Her contemporary subjects displayed vivid realism. Her oeuvre embodies the voyageur's vigour, concentration, endurance, and competence.Critics applauded her knack for clarity and accuracy. This painting style of realism has been associated with her, although, her style remains unidentified. Moreover, some of her paintings depict a blend of romantic idealism, notably, the naturalistic aspect of her other works. In 1860, Hopkin's artworks were first on display at the London exhibition. At the Royal Society of British Artists Exhibition, three of her watercolour paintings were on display. Canoes in a Fog - Lake Superior was a stepping stone for <mask>; this was the first of her many paintings that will make it to the Royal Academy of London. A total of five other paintings made it to the list which is: Left to Die, Canadian Voyageurs on Lake Superior starting at Sunrise, Wilfred <mask> (Portrait of Son) and lastly Running a rapid on the Mattawa River, Canada, these were accomplished from the year 1869 to 1878.Today, many of her paintings are part of the collection of the National Library and Archives of Canada. List of notable works

<mask> was an affiliated member of the North British Academy of Arts. Her association with the institution paved way to a watercolour painting of hers exhibited in the city of York. Her works became a reliable source for educators such as for historical purposes. These were due to <mask>' oeuvre retaining an image of Canada's colonial past. Thomas Schultze has written an extensively annotated book of <mask>'s work, which was published by Penumbra Press in spring 2008. The publication details a look at <mask>' talent neglected by time, an artist who proved herself in a male-dominated profession.In 1988, a stamp featured one of her paintings and an inset sepia photograph of the artist. In 2018, Canadian photographer Naomi Harris recreated the portage trips taken by <mask>, by paddling a canoe up to Thunder Bay while wearing 19th century clothing. References

External links

 Biography at the Dictionary of Canadian Biography Online
 Biography from  "Canada's Digital Collections"
Biography from "Famous Canadian Women on Postage Stamps"

1838 births
1919 deaths
English women painters
Hudson's Bay Company people
19th-century English painters
20th-century English painters
19th-century British women artists
20th-century British women artists
20th-century English women
19th-century English women
19th-century English people

masks:
Frances Anne Hopkins
Edward Hopkins
Hopkins
Hopkins
Hopkins
Frances Anne
Hopkins
Hopkins
Hopkins
Frances Anne
Hopkins
Hopkins
Anne Phyllis
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Hopkins
Edward Hopkins
Anne
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Hopkins
Hopkins
Edward Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Frances Anne
Hopkins
Edward Hopkins
Frances
Hopkins
Hopkins
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Hopkins
Hopkins
Hopkins
Hopkins
Hopkins
Frances Anne
Hopkins
Frances Anne
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Legacy Hopkins
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