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<mask> (1901–1990) was an American artist, book illustrator, and author. Best known for her skill in woodblock printing, she also painted in oils and casein and made graphite drawings. She remained firmly committed to representational art throughout her life, choosing human figures for her main subjects during most of career and turning toward still lifes toward the end. She illustrated many books, including two of which she was author. Family wealth allowed her to pursue the multiple facets of her career free of worries about critical reception or the income that her work would bring her. She nonetheless welcomed both the praise that was given to her art and writings and the tangible rewards they earned her. She received art training in New York City and Munich, traveled extensively in Europe for most of her life, and maintained studios at her homes in New York and Vermont.At the beginning of her career she won the top prize in the first annual exhibition of American block prints held by the Philadelphia Print Club, a book she wrote mid-career won a reviewer's unqualified praise, and, late in her career, the director of an art center praised her "forthright choice of natural subjects" and said her work conveyed "the beauty, wit and charm of factual reality". Early life and education

<mask> was born on November 21, 1901, in New York City. As a child she loved to draw and, as she grew older, her mother encouraged this interest. From kindergarten through twelfth grade she attended the Horace Mann School, a liberal co-educational component of Columbia Teachers College located on the campus of the university. The art director at Horace Mann, Belle Boas, helped Bischoff develop her interest in art into a creative skill. Boas and fellow teacher, Lucia Williams Dement, taught using an innovative method that aimed, as they wrote, "toward individuality of expression". They had pupils work from nature rather than copying famous artists and, when viewing famous works of art, saw the development of their pupils' "critical judgment" as a main goal.They summarized their approach in a 1917 publication describing Horace Mann's curriculum, writing, "The work must grow upward from the child's point of view rather than downward from the adult's, thereby keeping the fearless, naïve, childlike interest and expression toward which the conventional adult mind usually looks back as upon a lost Eden". Although the family's wealth ensured that Bischoff would not need to earn a living, her mother encouraged her to attend a school where she could learn a useful trade. After graduating from Horace Mann in 1919, she consequently enrolled in the New York School of Applied Design for Women where she received good applied-arts training in how to make meticulously accurate drawings of flowers. In 1920, she enrolled in the Parsons School of Design (then known as the New York School of Fine and Applied Art) where she primarily studied costume design. Then, having realized that she would prefer to work in the fine arts, she enrolled in the Art Students League where she learned illustration and painting from Frank DuMond and etching and lithography from Joseph Pennell. <mask>'s parents were both German-American and the family spoke German in their home when she was young. She later said English was effectively her second language as a child.Her fluency in German gave her an advantage when, beginning in 1922, she began to make regular trips to Germany and other European countries to study art. Apart from the years of World War II, she visited Europe almost every year. Her longest period of foreign travel came in about 1927-1928 when she interrupted her training at the Art Students League to study privately in Munich under the German portraitist and printmaker, Georg Buchner (1858–1914). After returning from Munich, Bischoff completed her education at the Art Students League. Career in art

While studying in Munich, <mask> had learned now to make woodblock prints and in 1927 won top prize in the first annual exhibition of American block prints held by the Philadelphia Print Club. Her prize-winning print, "Homeward Bound", can be seen at left. Describing its subject as "two peasant women, bowed beneath the weight of heavily laden baskets on their backs, who are proceeding wearily along a road", a critic for the Philadelphia Inquirer praised its "fascinating conception".A year later, Bischoff showed block prints and drawings with watercolor washes in a solo exhibition at the Ferargil Galleries in New York. She had made her first book illustrations the previous year and included some of the woodcuts from that work in the exhibition. A critic for the New York Times called the prints "effective" and the drawings "amusing". In 1929, the Philadelphia Print Club gave her a solo exhibition that contained some of what a critic called her "celebrated block prints" displaying "modern in feeling and execution and in mood embody both sombreness and humor". The following year, John Sloan selected a piece by Bischoff for the "Fifty Prints of the Year" touring exhibition sponsored by the American Institute of Graphic Arts. Writing in Parnassus, Gertrude A. Rothschild said Bischoff's block print showed "fine restraint" in portraying "the sensation-hungry faces at a bullfight". In that year she also showed at the Philadelphia Print Club's fourth annual Block Print Exhibition including pictures of Spanish subjects that a critic praised as especially brilliant.In 1930, Bischoff rented a spacious artist's studio and apartment in the Sherwood Studio Building on West 57th Street in Manhattan. That year, she showed prints in the Philadelphia Print Club's second annual exhibition. Reviewing the show, C.H. Bonte said two of them, "At the Fair-Sevilla" and "Gypsy Dancers". were "Spanish transcriptions of effulgence, the disposition of the dancers being especially notable". Throughout the 1930s, Bischoff continued to show in exhibitions of block prints assembled by the Philadelphia Print Club for the Brooklyn Museum. Reviewing the 1931 show, a critic said <mask>'s "Funeral in Soviet Russia 1930" from this show "might well be timeless in its representing of Slavic peasant grief".This print is shown at right. During these years, she also participated in group shows at the Salons of America (1934), the National Academy (1945), the Pennsylvania Academy of Fine Arts (1937), and the Whitney Museum of American Art (1937). In 1942, when the war prevented her from spending summers in Europe, she  bought a house in Hartland, Vermont, and began spending May to October in it. She did not immerse herself in country life, however, but continued to see herself as a visitor from Manhattan. At the second annual Portrait of America exhibition in New York, held in 1945, Bischoff's painting, "Harlem Loge", won a $500 award  Made about 1934, the painting depicts African-American patrons in box seats at the Alhambra Theater in Harlem. It toured the country during the late 1930s in an exhibition of 32 paintings assembled by the Pennsylvania Academy of Fine Arts and sponsored by the American Federation of Arts. This painting is shown at left.Although the figures it shows seem to be caricatures, it received positive critical attention as well as the prize. Critics saw it as humorous, dramatic, or powerful. Calling it one of the most striking works in the show, a critic said it was "subtle and rich" and praised the composition as "exceptionally well handled". <mask> retained the painting and, in 1948, gave it to the gallery of Dartmouth College, located a few miles from her summer home in Hartland. Dartmouth exhibited her works from 1947 until the end of her career, including 1947 (solo), 1949 (solo), 1954 (group of three), 1955 (solo), 1961 (group), 1966 (retrospective), and 1986 (solo). A solo exhibition of her work at the Southern Vermont Arts Center in 1968 provoked a disagreement among local critics. Writing in the Rutland Daily Herald on July 10, Tom Slayton said the paintings she showed were "technically superb" but conveyed "synthetic emotion".He complained that a portrait called "Mary" was a patronizing depiction of a "good Negro" that lacked "real life". A week later, James L. Montague, head of the Southern Vermont Arts Center, wrote a letter to the editor of the Daily Herald in which he quoted the head of the Dartmouth art department in rebuttal to Slayton. The quote praised <mask>'s "skillful, precise drawing, her delicate, sure coloring, and her forthright choice of natural subjects" and said her work conveyed "the beauty, wit and charm of factual reality". On July 19, writing in the Bennington Banner, Jerome Wichelns called her paintings "stereotyped and imitative and very much wanting in originality". He complained that Bischoff seemed to him to shy away from abstraction "into some kind of confused representative realism". Throughout her career, Bischoff was ruthless in destroying work that she thought to be inferior. In an oral history interview, held late in her life, she said, "I've had wonderful cleanings out of my studios when I've gone like a whirlwind through things and torn them up, put them in the fire.I always feel cleansed afterward". She did not actively court critics and collectors. In the same interview, she said, "I like people to like my paintings if I think they know something or just have simply good taste, but I never craved publicity. I liked it when I got it, but I didn't go out for it". Bischoff died at her summer home in Vermont on December 5, 1990. Artistic style

Throughout most of her career, Bischoff chose mainly human figures as subjects. Her 1950 drawing of a standing female nude is shown at right.She had high regard for great portraitists like Albrecht Dürer and John Singer Sargent as guides but did not place great value on her skill at capturing a human likeness. As she began to spend more time working at her summer place in Vermont, she turned more to still lifes, there not being human models available to her there. Committed to her own version of realism from an early date, she did not become aware of

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 pure abstraction until well into her career and once she had encountered it, she rejected it as a style. She said she "liked the little niche" she had created for herself and "went right on working in it". She worked in oils until about 1955 when, at the suggestion of her friend, Paul Cadmus, she began to work in casein. Late in life, she said that, unlike most artists, she adopted an increasingly controlled, meticulous style during the course of her career, whereas they, as she saw it, became freer as they aged. The still life of a fungus, shown at left, is an example of her work in this style.Career as illustrator

Although <mask> was primarily known as a book illustrator throughout virtually all of her career, contemporary sources give only indirect information on the origins and progress of her work in that field. In 1927, the year she began exhibiting her art, her first book illustrations appeared in a children's book called Marty Lou's Treasure by Mary Dickerson Donahey (Garden City, N.Y., Doubleday, Page & Co.). The following year, woodcuts she had made appeared in a book of Albanian folk tales: Tricks of Women, & Other Albanian tales translated by Paul Fenimore Cooper (New York, W. Morrow & Company). Five books appeared in 1930 with her woodcuts or drawings: Temptation of St. Antony translated by Cyrus Brooks (New York, I. Washburn), Hansel the Gander by Katharine Kuebler (New York, W. Morrow & Co.), Street of the Islands by Stark Young (New York, C. Scribner's Sons), Carl and Anna by Leonhard Frank (New York, G.P. Putnam's Sons), The Night Before Christmas by Clement C. Moore (New York, Holiday House). She continued to contribute illustrations for books during the 1930s, including Gay Madelon by Ethel Calvert Phillips (New York, Houghton Mifflin Co., 1931), Katrina Grows Up by Helen Eggleston Haskell (New York, E.P. Dutton & Co., 1932), Bird Began to Sing by Rachel Field (New York, W. Morrow & Co., 1932), Old Man Daantje's Beard by Leonard Roggeveen, translated by David C. De Jong (New York, Appleton-Century Co., 1933), and In Calico and Crinoline by Eleanor Maria Sickels (New York, Viking Press, 1935).Two books, Nursery rhymes of New York City by Louis How (New York, The Harbor Press, 1931) and Regional Rhymes of New York City by Louis How (New York, Harbor Press, 1937), won awards from the American Institute of Graphic Arts. In printing them, the publisher printed <mask>'s engravings directly from her woodblocks using four colors. A reviewer said that in the second of them she had "expressed perfectly the gayety of spirit that animated the author in immortalizing some seventy-eight places surrounding the village of Manhattan." A reviewer gave a qualified appreciation <mask>'s illustrations in a book published in 1934—You Can't Pet a Possum by Arna Bontemps (New York, William Morrow & Co.)—saying "Although the faces in <mask> <mask>'s illustrations are unnecessarily caricatured, the drawings on the whole have an undeniable charm and humor" and a reviewer of a 1939 book—Peter Peppercorn by Ethel Calvert Phillips (Boston, Houghton Mifflin)—was forthrightly critical, writing, "<mask> <mask>'s drawings, which are inclined to burlesque the scenes and characters they portray, seem out of key". In contrast, Little Grey Gown by Mabel Leigh Hunt (New York, Frederick A. Stokes Co.. 1939) was given a positive reception. A reviewer wrote, "This is a lovely little book to read and to handle, of a distinguished size and shape, and decorated with <mask> <mask>'s sensitive drawings". <mask>, herself, said she did not regard these efforts very highly.She made an exception to this tepid point of view in discussing one of the last books for which she supplied illustrations. In 1982 she said her favorite illustrated book was Gigi; the Story of a Merry-go-round Horse, by Elizabeth Foster (Boston, Houghton Mifflin, 1943). Books containing <mask>'s illustrations in the immediate postwar years include Super-market secret by Emilie Vinall (New York, T. Y. Crowell Co., 1945) and Reuben and His Red Wheelbarrow by Alice Dalgliesh (New York, Grosset & Dunlap, 1946). A newspaper reproduced one of her illustrations in its review of the 1949 edition of a fourteen-volume encyclopedia, Childcraft (Chicago, Field Enterprises) saying, "The spirit of heraldry and chivalry characteristic of the Middle Ages is vividly expressed in this drawing by <mask> <mask>". This illustration is shown at right. Career as author

In the late 1940s, <mask> took a course in creative writing taught by Mabel Robinson at Columbia University. She said writing came easily to her but felt she did not have it in her to write literary fiction.She recalled thinking that, as she later said, she "didn't have anything to say in a novel". Her one effort at fictionalized biography, Proud heritage (New York, Coward-McCann, 1949), did not please her and received mixed reviews. She herself said the book was "awful". However, both the reviewers and she personally liked two other books she wrote, one a children's story and the other a memoir. The Wonderful poodle (New York, T. Y. Crowell Co., 1949) received a lengthy review in the New York Times that concluded, "It all adds up to a story full of tenderness and humor. Miss <mask>'s illustrations present the staid splendor of the castle and the robustiousness of peasant life with equal grace". A reviewer for the Chicago Tribune summarized the plot and wrote, "The story, although not especially original, will appeal to youngsters for its loving boy-dog relationship.And the author's illustrations, highly stylized, are truly distinguished'. A reviewer for the Louisville Courier-Journal said, "the illustrations give color, intensity and more meaning to the tale of one little Hungarian Prince Rudolf and his remarkable poodle. Almost any question brought up by the locale of the story is answered so clearly for the child in pictures and the tale is told with such a quality of warmth and feeling that any child will get a rich experience in human emotions from it". An illustration from page 20 of the book is shown at left. <mask>'s best-known book is Drive Slowly—Six Dogs (New York, Viking Press, 1953) which was given a glowing review in the New York Times by the author, Charles Jackson, who wrote, "This is a splendid book, gay, moving, ribald, sad, gallant, tender and wonderfully well written". He said the book unconsciously portrayed Bischoff "as a woman of uncommon good sense, an excellent sense of humor and a rare appreciation of the joy of living". He added a belief that the book was a better-written dog story than the one he had previously considered to be the best: Thomas Mann's A Man and His Dog (New York, Knopf, 1930), originally published as Herr und Hund (Berlin, S. Fischer, 1919) and also appearing as Bashan and I (London, W. Collins & Co, 1923).In 1965, Bischoff published two articles in the Russian Review. The first on Élisabeth Vigée Le Brun and the second on Étienne Maurice Falconet, both 18th-century French artists who worked in Imperial Russia. She said she had wanted to publish a full biography of Vigée Le Brun but could not find enough information about her life and wrote the article instead. Personal life and family

<mask> was born on November 21, 1901, in New York City. Her birth name was <mask> <mask>. Her father, <mask> (1864–1935), was a German-born chemist who founded and directed a pharmaceutical business called the Ernst Bischoff Company, Inc. Her mother was Adele Timme <mask> (1872–1931), daughter of a German-American textile manufacturer in New York.Having grown up speaking German with her parents and siblings and having traveled extensively in Europe throughout her life, Bischoff later came to believe that she missed out on the immersion in American culture that was common among the artists with whom she associated. Still, for all the affection she felt for Munich and Paris, she said she loved New York City best. Responding to an oral history question in 1982, she said, "Oh, I loved New York. I loved New York till the day I left. I adored it. Absolute New Yorker". Bishoff had a younger brother, Edward Timme <mask> (1909-1940).He was president of the Ernst Bischoff Company as well as a yachtsman and owner of a boatyard in Essex, Connecticut. <mask> had an older sister, Carola <mask> (1899–1984). Carola <mask> married Ernst Carl Otto Friedrich von Duisburg (1884–about 1945) in 1929 and divorced him in 1932. In 1934 she married Harold Graves Terwilliger (1888–1976) and remained married to him until his death. Von Duisburg was owner of large agricultural estates in what was then Vilgelow, Germany, and is now Wielogłowy, Poland. Terwilliger, who was a business executive at the time of their marriage, who became president of the Ernst Bischoff Company after the death of <mask>'s brother, Edward. In addition of making his son the Bischoff company's president, <mask> had put his children, once grown to adulthood, on the firm's board of directors.Bischoff never married. Late in life, she said she felt very much alone in the early 1930s after her parents had died. Nonetheless, she led an active social life. She enjoyed her membership in a private club for professional women (the Cosmopolitan Club) but disliked committee work and, partly for that reason, did not participate in artists' organizations. In the 1940s, Bischoff and her sister began buying fine porcelain pieces by Meissen and Nymphenburg mainly from German refugees in America. Eventually each of them amassed substantial collections. For many years, Bischoff divided her time between an apartment overlooking the East River on the 16th and 17th floors of a building in the Upper East Side of Manhattan and a brick house in Hartland, Vermont.She died on December 6, 1990, at her home in Hartland, Vermont. Notes

References

1901 births
1990 deaths
20th-century American painters
20th-century American women artists
American illustrators
Women illustrators
Children's book illustrators
Modern artists
Artists from New York City
American women painters
Art Students League of New York alumni
Horace Mann School

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<mask> (May 18, 1949 – October 16, 2018) was an American prelate of the Roman Catholic Church who served as the sixth Bishop of Saginaw, Michigan from 2009 - 2018. Early life and education
<mask> was born in Philadelphia, Pennsylvania, to Daniel A. and <mask>. (née Altomare) <mask>, Sr. One of three children, he has two brothers, Daniel and Anthony. He attended Our Lady of Consolation School and graduated from Father Judge High School in 1967. He then studied at St. Charles Borromeo Seminary, from where he obtained a Bachelor's degree in Philosophy (1971) and Master's in Divinity (1975). Priesthood
<mask> was ordained to the priesthood by John Cardinal Krol on May 17, 1975. He then served as parochial vicar at Epiphany of Our Lord Parish (1975–1979) and chaplain at St. Maria Goretti High School (1977–1979) in Philadelphia. He became parochial vicar at St. Jerome Parish in 1979, and advocate on the metropolitan tribunal in 1980.From 1982 to 1987, <mask> served as parochial vicar at St. Jude Parish in Chalfont, member of the admissions board for the Archdiocesan Permanent Diaconate Program, and Newman Chaplain at Delaware Valley College of Science. He was also Defender of the Bond on the metropolitan tribunal (1983–1989), and parochial vicar at St. Francis of Assisi Parish in Norristown (1987–1989) and St. Bernard Parish in Philadelphia (1989–1991). In 1991, he became Dean of Formation for the Theology Division of St. Charles Seminary. <mask> was named associate to Msgr. Edward Cullen, vicar for administration of the Archdiocese of Philadelphia, in 1993. He later served as assistant vicar for administration from 1994 to 1998, and vicar general and vicar for administration from 1998 to 2009. He was raised to the rank of Honorary Prelate of His Holiness in April 1998.Episcopal career

Auxiliary Bishop of Philadelphia
On June 28, 2004, <mask> was appointed an Auxiliary Bishop of Philadelphia and Titular Bishop of Casae Medianae by Pope John Paul II. <mask> received his episcopal consecration on the following July 28 from Justin Cardinal <mask>, with Bishops <mask> and Michael Burbidge serving as co-consecrators, in the Cathedral-Basilica of Sts. Peter and Paul. He selected as his episcopal motto: "Father of Mercy and Love". In addition to his duties as vicar general and vicar for administration, <mask> served as head of the Secretariat for Catholic Human Services and the Secretariat for Temporal Services. He also had pastoral oversight for parishes in South Philadelphia and a portion of Delaware County. Bishop of Saginaw
<mask> was later named the sixth Bishop of Saginaw, Michigan, by Pope Benedict XVI on May 20, 2009.He succeeded <mask>. Carlson (who was appointed Archbishop of St. Louis the previous April), and was installed on July 28, 2009. As Bishop, he serves as the spiritual leader for 120,000 Catholics in Central Michigan. Within the United States Conference of Catholic Bishops, <mask> was a member of the Committee for Protection of Children and Young People, Committee for Cultural Diversity in the Church, Subcommittee for African-American Affairs, and Committee on Budget and Finance. In 2011, Bishop <mask> appointed a 19-member commission to make recommendations about parish closings. In January 2013, <mask> announced that many of the diocese's 105 parishes would be closed, reducing the number of parishes to 56. "I saw a need to position ourselves in a way by which parish communities are re-invigorated, liturgically alive and actively engaged in outreach to those in need." However, many Catholics were angered by <mask>'s announcement, holding protests against the parish closings.Retired priests spoke out against the parish closures, calling the recommendations a "complete injustice" and stating that nobody "on the planning commission or the Bishop understand." Reportedly, 5,000 people in the Saginaw Diocese left the Catholic Church between 2013 and 2015. Death
<mask> died suddenly at his home in Saginaw, Michigan, on October 16, 2018, aged 69 from lung cancer. Sexual abuse scandal

According to a 2005 grand jury investigation into clergy sexual abuse, while serving as assistant vicar for administration in 1996, <mask> was involved with silencing a nun who tried to alert parishioners at St. Gabriel parish about abuse by a priest. A week after being named to lead the Diocese of Saginaw, <mask> was asked by a mid-Michigan newspaper reporter about the grand jury investigation and his reported role in covering up instances of sexual abuse. Cistone expressed unhappiness with how little opportunity he had been given to respond to the report, saying, "Unfortunately, the grand jury procedure, as followed in Philadelphia, did not allow for any opportunity to address such questions to offer explanation or clarification." <mask> also expressed surprise that he had not been questioned about the grand jury report during his introductory press conference and told the reporter, "Had it come up, I certainly would have addressed it."However, when given the opportunity to answer questions about his actions by the newspaper reporter, <mask> refused to answer specific questions on the matter. On June 9, 2009, a group of survivors of clergy abuse protested <mask>'s appointment outside the Saginaw Diocese office. Members of the Survivors Network of those Abused by Priests (SNAP) demanded that <mask> hold a public forum to explain his actions as described in the 2005 grand jury report. SNAP President Barbara Blaine said the actions had to be taken because, "the innocence of children was shattered needlessly because of the action and inaction of this bishop." In response to the group's calls for transparency, <mask> said, "If someone wants to go back and rehash what the church may have done based on knowledge and experience or lack of experience the church had, well, that's OK, but that's not productive. What's productive is what we can do to move forward." On August 31, 2009, representatives of SNAP invited Bishop <mask> to attend a town hall meeting and participate in a discussion on the topic of clergy abuse.The town hall meeting was scheduled to be held on October 25, 2009. The group asked Bishop <mask> to disclose the whereabouts of two priests accused of sexual abuse. A maintenance worker alleged that in July 2009, he was groped, kissed and sat on by a deacon in the rectory of the Cathedral of St. Mary in Saginaw. The Cathedral is the home parish of Bishop <mask>. The maintenance worker reported that after he went to the rector of the parish with his allegations, he was fired from his position in retaliation. The rector of the Cathedral later resigned from his post in November 2009, taking a leave of absence from active ministry. Bishop <mask> explained that the rector's resignation was due to "personal health" issues.<mask> made no further comment on the allegations made by the Cathedral maintenance worker. In August 2012, <mask> was named in a lawsuit surrounding clergy sex abuse allegations at his former assignment in Philadelphia. <mask> was described by Philadelphia attorney Slade McLaughlin as a "kingpin" of the Catholic sex abuse cases. Press reports indicate that he admitted that in 1994 he watched as Church records with the names of abusers were shredded. In March 2018, the Bishop's home was searched by police who cited his lack of cooperation in their investigation of sexual abuse in the Church. See also

 Catholic Church hierarchy
 Catholic Church in the United States
 Historical list of the Catholic bishops of the United States
 List of Catholic bishops of the United States
 Lists of patriarchs, archbishops, and bishops

References

External links
 Roman Catholic Diocese of Saginaw Official Site
Office of Bishop Cistone
Cardinal <mask>li's Homily at Cistone's Episcopal Ordination

1949 births
2018 deaths
Clergy from Philadelphia
21st-century Roman Catholic bishops in the United States
St. Charles Borromeo Seminary alumni
Roman Catholic bishops of Saginaw
Deaths from cancer in Michigan
Deaths from lung cancer

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<mask> (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer who is considered one of the most important portraitists of the 19th century. She is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature. She also produced sensitive portraits of women and children. After establishing herself first among Calcutta's Anglo-Indian upper-class and then  among London's cultural elite, <mask> formed her own salon frequented by distinguished Victorians at the seaside village of Freshwater, Isle of Wight. After showing a keen interest in photography for many years, <mask> took up the practice at the relatively late age of 48, after her daughter gave her a camera as a present. She quickly produced a large body of work capturing the genius, beauty, and innocence of the men, women, and children who visited her studio at Freshwater, and created unique allegorical images inspired by tableaux vivants, theatre, 15th-century Italian painters, and the work of her creative contemporaries. Her photography career was short but productive; she made around 900 photographs over a 12-year period.<mask>'s work was contentious in her own time. Critics derided her softly focused and unrefined images, and considered her illustrative photographs amateurish and hammy. However, her portraits of respected men (such as Henry Taylor, Charles Darwin, and Sir John Herschel) have been consistently praised, both in her own life and in reviews of her work since. Her images have been described as "extraordinarily powerful" and "wholly original", and she has been credited with producing the first close-ups in the history of the medium. Biography

Early life and education
<mask> <mask> was born <mask> Pattle on 11 June 1815, at Garden Reach, Calcutta, India to Adeline Marie (née de l'Etang, 1793–1845) and James Peter Pattle (1775-1845). James Pattle was a successful official from England who worked in India for the East India Company. His family had been involved with the East India Company for many years, though he traced his line to a 17th-century ancestor living in Chancery Lane, London.Her mother was a French aristocrat and the daughter of Chevalier Ambrose Pierre Antoine de l'Etang, who had been a page to Marie Antoinette and an officer in the Garde du Corps of King Louis XVI. When he died was shipped back to London in a barrel of rum for burial in Camberwell. <mask> was the fourth of her parents' children. Three of her parents' children died in infancy. <mask> and the six of her six sisters who survived into adulthood had inherited some Bengali blood through their maternal grandmother, Thérèse Josephe Blin de Grincourt. The seven sisters were known for their "charm, wit and beauty" and for being close, outspoken, and unconventional in behaviour and dress. They favoured Indian silks and shawls rather than the demure Victorian attire of other colonial woman.All of the sisters were sent to France as children to be educated, <mask> living there with her maternal grandmother in  Versaille  from 1818 to 1834, after which she returned to India. <mask>'s sisters all made advantageous matches, Adeline marrying a military man who became a General, Sophia marrying a baronet, Louisa, a High Court Judge while Maria married the distinguished Dr John Jackson, with among their descendants being Vanessa Bell and Virginia Woolf. Sara married Henry Prinsep an administrator with the East India Company, and made their home at Little Holland House in Kensington, England an important intellectual centre. Among their children was <mask>'s godchild <mask>. Virginia Pattle  married Lord Charles Eastnor, later the third Earl Somers. Their eldest daughter was Lady Isabella Caroline Somers-Cocks, the temperance leader, while the younger,  Lady Adeline Marie became the Duchess of Bedford. Marriage and social life

South Africa and Calcutta
In 1835, after suffering several illnesses, <mask> visited the Cape of Good Hope in South Africa with her parents to recover.It was common for Europeans living in India to visit South Africa to convalesce after an illness. While there, she met the British astronomer and photochemist Sir John Herschel, who was observing the southern celestial hemisphere. She also met Charles Hay <mask>, twenty years her senior and a reformer of Indian law and education who later invested in coffee plantations in what is now Sri Lanka. Charles Hay was also there to convalesce, likely from a virulent malarial fever which often spread during the Indian monsoon season. The illness he suffered caused recurring kidney trouble and diarrhœa for the rest of his life. They were married in Calcutta on 1 February 1838, two years after meeting. In December of that same year, <mask> gave birth to their first child; Sir John Herschel was the godfather.Between 1839 and 1852, they had six children, one of whom was adopted. In all, the <mask>s raised 11 children, five of her own, five orphaned children of relatives, and an Irish girl named Mary Ryan whom they found begging on Putney Heath and whom <mask> used as a model in her photographs. Their son, Henry Herschel <mask>, would also become a photographer. Through the early 1840s—as the organiser of social engagements for the Governor-General, Lord Hardinge—<mask> became a prominent hostess in Anglo-Indian society. During this time she also corresponded with Herschel about the latest developments in photographic technology. In 1839, Herschel informed <mask> about the invention of photography. In 1842, he sent her two dozen calotypes and daguerreotypes, the first photographs she ever saw.England
Perhaps to be closer to their two children, the <mask>s retired to England in 1845, where they took part in London's artistic and cultural scene. <mask> often visited Little Holland House in Kensington, London, where her sister, Sara Prinsep, oversaw a literary and artistic salon "of Pre-Raphaelite painters, poets, and aristocrats with artistic pretensions". Here, she met many of the well-known subjects of her later portraits, including Henry Taylor and Alfred Tennyson. Daphne du Maurier describes the scene:The nobilitee, the gentree, the litherathure, polithics and art of the counthree, by jasus! It's a nest of proraphaelites, where Hunt, Millais, Rossetti, Watts, Leighton etc, Tennyson, the Brownings and Thackeray etc and tutti quanti receive dinners and incense, and cups of tea handed to them by these women almost kneeling.Benjamin Jowett echoed this when describing <mask>'s reverence to these creative personalities after a later visit to the same salon-like atmosphere at Freshwater, "She is a sort of hero-worshipper, and the hero is not Mr Tennyson — he only occupies second place — but Henry Taylor." In 1847, she was writing poetry, had started a novel, and published a translation of Gottfried August Bürger's Leonora. In 1848, <mask> retired fully and invested in coffee and rubber plantations in Ceylon, becoming one of the island's largest landowners.The <mask>s settled down in England, first in Tunbridge Wells in Kent, where they were neighbours of Taylor, then to East Sheen in 1850. During this time, <mask> became a member of a society for art education and appreciation and George Frederic Watts started working on a painting of <mask> (which is now in the National Portrait Gallery). In 1860, after an extended visit to Alfred Tennyson at the seaside village of Freshwater, on the Isle of Wight, <mask> hastily purchased a property next door to Tennyson. The family moved there, naming the property "Dimbola" after one of the coffee plantations in Ceylon. A private gate connected the residences and the two families soon started entertaining well-known personalities with music, poetry readings, and amateur plays, creating an artistic scene much as what was previously found at Little Holland House. She lived there until 1875. Photography career

Early career
<mask> showed an interest in photography in the late 1850s and there are indications that she experimented with making photographs in the early 1860s.Around 1863, her daughter and her son-in-law gave her her first camera (a sliding-box camera) as a Christmas present. The gift was meant to provide a diversion while her husband was in Ceylon tending to his coffee plantations. Of the gift, her daughter stated "It may amuse you, Mother, to try to photograph during your solitude at Freshwater." After receiving the camera, she cleared out a chicken coop and converted it into studio space. Later, in an unfinished autobiographical manuscript titled Annals of my Glasshouse, <mask> wrote:I turned my coal-house into my dark room, and a glazed fowl house I had given my children became my glass house. The hens were liberated, I hope and believe not eaten. The profit of my boys upon new laid eggs was stopped, and all hands and hearts sympathised in my new labour, since the society of hens and chickens was soon changed for that of poets, prophets, painters and lovely maidens, who all in turn have immortalized the humble little farm erection.[...] I began with no knowledge of the art... I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass.On 29 January 1864 she photographed nine‐year‐old Annie Philpot, an image she described as her "first success". She sent the photograph to the subject's father with the note:My first perfect success in the complete Photograph owing greatly to the docility & sweetness of my best & fairest sitter. This Photograph was taken by me at 1 p.m. Friday Jan. 29th. Printed—Toned—fixed and framed all by me & given as it is now by 8 p.m. this same day.That same year, she compiled albums of her images for Watts and Herschel, registered her work and prepared it for exhibition and sale, and was elected to the Photographic Society of London, of which she remained a member until her death and where she displayed work at yearly exhibitions. Though <mask> took up photography as an amateur and considered herself an artist, and despite never making commissioned portraits nor establishing a commercial studio, she thought of her photographic activity as a professional endeavour, actively copyrighting, publishing, and marketing her work. Her family did not see substantial profits from their coffee plantations in Ceylon and <mask> may have been looking to bring in some money with her photography.The portraits of celebrities and the high volume of her photographic output also suggest commercial aspirations. Mid-career
In 1865, she became a member of the Photographic Society of Scotland and arranged to have her prints sold through the London dealers P. & D. Colnaghi. She presented a series of photographs, The Fruits of the Spirit, to the British Museum, and held her first solo exhibition in November 1865. Her prints generated robust demand and she showed her work throughout Europe, securing awards in Berlin in 1865 and 1866, and an honourable mention in Dublin. Her photographic activity was supported by her husband. <mask> wrote: "My husband from first to last has watched every picture with delight, and it is my daily habit to run to him with every glass upon which a fresh glory is newly stamped, and to listen to his enthusiastic applause." In August 1865, the South Kensington Museum, now the Victoria and Albert Museum, purchased 80 of her photographs.Three years later, the museum offered her two rooms to use as a portrait studio, essentially making her the museum's first artist-in-residence. She produced images of Thomas Carlyle and John Herschel in 1867. By 1868, she was generating sales through P. & D. Colnaghi and a second London agent, William Spooner. In 1869, she created The Kiss of Peace, which she considered her finest work.In the early 1870s, <mask>'s work matured. Her elaborate illustrative tableauxs involving religious, literary, and classical figures peaked in a series of images for Tennyson's Idylls of the King, published in 1874 and 1875, evidently at her expense. During this time, she also wrote Annals of my Glass House, an unfinished memoir recounting her photographic career. Later life
In October 1873, her daughter died in childbirth.Two years later, because of her husband's ill health, because of the lower cost of living, and to be nearer to their sons who were managing the family coffee plantations (which had been badly harmed by a fungus), <mask> and her husband left Freshwater for Ceylon with "a cow, <mask>'s photographic equipment, and two coffins, in case such items should not be available in the East". Henry Taylor recounts the departure:Mr. and Mrs. <mask> have taken their departure for Ceylon, there to live and die. He had bought an estate there some thirty years ago when he was serving the Crown there and elsewhere in the East, and he had a passionate love for the island, to which he had rendered an important service in providing it with a code of procedure . . . he never ceased to yearn after the island as his place of abode, and thither in his eighty-first year he has betaken himself, with a strange joy. The design was kept secret, — I believe even from their dearest relatives.V.C. Scott O'Connor later wrote about the absence at their vacated home in Freshwater:The house is silent now and tenantless. All its old feverish life and bustle are stilled as is the heart which beat here in true sympathy with every living creature that came within its reach needing such succor.Her pretty maids, her scholars, her poets, her philosophers, astronomers, and divines, all those men of genius who came and sat willingly to her while in a fever of artistic emotion she plied the instruments of her art, — they have all gone, and silence is the only tenant left at Dimbola.The move effectively marked the end of <mask>'s photography career; she took few photographs afterwards, mostly of Tamil servants and workers. Fewer than 30 images survive from this period. <mask>'s output may have dropped in part because of the difficulty working with collodion in the insect-friendly heat where fresh water was less available for washing prints. The botanical painter and biologist Marianne North recounted her time visiting <mask> In Ceylon:The walls of the room were covered with magnificent photographs; others were tumbling about the tables, chairs, and floors with quantities of damp books, all untidy and picturesque; the lady herself with a lace veil on her head and flowing draperies. Her oddities were most refreshing . . . She also made some studies of natives while I was there, and took such a fancy to the back of one of them (which she said was absolutely superb) that she insisted on her son retaining him as her gardener, though she had no garden and he did not know even the meaning of the word. In February 1876, Macmillan's Magazine published her poem, On a Portrait.The following year, her image The Parting of Sir Lancelot and Queen Guinevere appeared on the cover Harper's Weekly as a wood engraving. After a short visit to England six months earlier, <mask> fell ill with a dangerous chill and died on 26 January 1879 at the Glencairn estate in Ceylon. It is often reported that her last word was "Beauty" or "Beautiful". In her 12-year career, <mask> produced around 900 photographs. Photographic work

Influences

<mask> was an educated and cultured woman; she was a Christian thinker familiar with medieval art, the Renaissance, and the Pre-Raphaelites. She may also have been influenced by the contemporary interest in phrenology, the study of the human physiognomy as a sign of a person's character. The Old Masters also informed her work.Her compositions and use of light have been connected to Raphael, Rembrandt, and Titian. John Herschel, who relayed to <mask> the news of the inventions of photography by Talbot and Daguerre, was an important influence on technique and the practicalities of the medium, as indicated in a letter <mask> wrote to the astronomer, "You were my first teacher and to you I owe all the first experience and insights." It is likely that <mask> saw Reginald Southey photographing on the Isle of Wight during a holiday in 1857 when he visited the <mask>s and photographed their children and the children of her neighbour, Alfred Tennyson, before <mask> took up the

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 medium in earnest. Perhaps the most important photographer to influence <mask>'s work was David Wilkie Wynfield. <mask>'s style of close-up portraits resembling Titian may well have been learned from Wynfield, since she took a lesson from him and later wrote "I consult him in correspondence whenever I am in difficulty". Much like <mask>, Wynfield published an album of soft-focus portraits of friends dressed up as characters from history or literature. The press compared their photographic work and noted the similarities in style and their consideration of the medium as fine art.She later wrote that "to my feeling about his beautiful photography I owed all my attempts and indeed consequently all my success". Concept of genius and beauty
<mask>'s portraits are partly the product of her intimacy and regard for the subject, but also intend to capture "particular qualities or essences—typically, genius in men and beauty in women". Mike Weaver, a scholar who wrote about <mask>'s photography in work published in 1984, framed her idea of genius and beauty "within a specifically Christian framework, as indicative of the sublime and the sacred". Weaver supposes that <mask>'s myriad influences informed her concept of beauty: "the Bible, classical mythology, Shakespeare's plays, and Tennyson's poems were fused into a single vision of ideal beauty." <mask> herself indicated her desire to capture beauty. She wrote, "I longed to arrest all the beauty that came before me and at length the longing has been satisfied" and "My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real & Ideal & sacrificing nothing of Truth by all possible devotion to poetry and beauty." Her female subjects were typically chosen for their beauty, particularly the "long-necked, long-haired, immature beauty familiar in Pre-Raphaelite paintings".In Virginia Woolf's farcical play Freshwater, which described the cultural scene at Freshwater, <mask>'s character comically expresses her commitment to beauty:I have sought the beautiful in the most unlikely places. I have searched the police force at Freshwater, and not a man have I found with calves worthy of Sir Galahad. But, as I said to the Chief Constable, "Without beauty, constable, what is order? Without life, what is law?" Why should I continue to have my silver protected by a race of men whose legs are aesthetically abhorrent to me? If a burgler came and he were beautiful, I should say to him: Take my fish knives! Take my cruets, my bread baskets and my soup tureens.What you take is nothing to what you give, your calves, your beautiful calves. Portraits
<mask>'s photographs are generally placed into three categories: distinguished portraits of men, delicate portraits of women, and illustrative allegories based on religious and literary works. Men
<mask>'s portraits of men were a kind of hero-worship. To Thomas Carlyle, <mask> wrote "When I have had such men before my camera my whole soul has endeavoured to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment of a prayer." Most of these men are well-known scientists, writers, or clergymen of the Victorian era. <mask> turned to Old Master paintings and the contemporary idea — based in phrenology — of the ideal "type" to capture the greatness that she perceived in these eminent Victorian individuals.Her aspiration to record this greatness resulted in powerful images displaying a masterly command of chiaroscuro that resulted in "the finest and most revealing gallery of eminent Victorians in existence". Janet Malcom notes the attention <mask> paid to hair as an expressive element in her portraits, writing that "Her closeups of Tennyson, Carlyle, Darwin, Longfellow, Taylor, Watts, and <mask> are as much celebrations of beards as of Victorian eminence." Women
Her images of women are decidedly softer than those of men. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional than her images of men. <mask> almost exclusively photographed younger women, never making a portrait even of her neighbour and good friend Emily Tennyson. According to a biographer of Charles Darwin, <mask> refused to take a picture of Darwin's wife, saying that "no woman must be photographed between the ages of eighteen and seventy." Her mature photographs of women are noted for their subtle but suggestive representation of the obscurity and malleability of female identity.Many of her images of young women obscure their individuality and represent their identity as multifaceted and changeable by showing them "in pairs, or reflected in a mirror... frequently expressive of a deep ambiguity and anxiety." Janet Malcolm again notes <mask>'s attention to the hair of her subjects, writing that "Like the little girls whose hair was mussed to rid it of its prim nursery look, the bigger girls were made to undo their buns and chignons so that their hair would poetically stream or flow or twist around their faces". Children
Children — her own children, those of relatives, and young locals — were often models for <mask>. Children were popular subjects in the Victorian era and <mask> kept with the prevailing notion of them as innocent, kind, and noble. She regularly depicted them as angels or as children from Bible stories. The children in her images were not always cooperative, and her attempts to cast them as allegorical figures were often frustrated by the children's boredom, indignation, distraction — moods which are often evidenced in her images. Allegories and illustrations
<mask> may have found these illustrative group portraits more challenging than her other images.With more people in the image, the chances were greater that someone would move during the long exposures, so more light was needed to shorten the exposure time and arrest the motion. More sitters also meant a greater depth of field was necessary to put everyone in focus, further complicating the compositions. <mask>'s narrative portraits of women were influenced by tableaux vivants and amateur theatre. The women in her images are typically depicted in the idealised Victorian roles of mother and wife. Religion

<mask> made over 50 images representing the Madonna, often played by her household servant Mary Hillier. These images present "an ideal of femininity that combines wholesomeness with qualities of sensuality and vulnerability". She represented the Virgin Mary in various scenes from the Bible, such as the Annunciation and the Salutation, but also created a number of images illustrating more obscure religious figures.Literature

<mask> took literature as inspiration for her illustrative photographs, representing characters from Shakespeare, Elizabethan poems, novels, plays, and the work of her contemporaries: Alfred Tennyson, Henry Taylor, Christina Rossetti, Robert Browning, and George Eliot. Idylls of the King

In 1874, Alfred Tennyson asked <mask> to create illustrations for a new edition of his Idylls of the King, a popular series of poems about Arthurian legends. <mask> worked on this commission for three months, capturing several images in her notable soft focus style. She was unhappy with the final publication, and complained that the small size of her images depleted their significance. This prompted <mask> to issue a deluxe version of the Idylls of the King which featured a series of twelve photographs as full-size prints. This series of images, influenced in part by Watts, was her last large-scale project and is considered the peak of her illustrative work. Reception and legacy

Contemporary reception
In her own time, <mask>'s photographs found a contentious audience, with many criticising her use of soft focus and her unretouched prints.In 1865, The Photographic Journal reviewed her images, commenting:Mrs. <mask> exhibits her series of out-of-focus portraits of celebrities. We must give this lady credit for daring originality, but at the expense of all other photographic qualities. A true artist would employ all the resources at his disposal, in whatever branch of art he might practise. In these pictures, all that is good in photography has been neglected and the shortcomings of the art are prominently exhibited. We are sorry to have to speak thus severely on the works of a lady, but we feel compelled to do so in the interest of the art.The Photographic News echoed this sentiment:What in the name of all the nitrate of silver that ever turned white into black have these pictures in common with good photography? Smudged, torn, dirty, undefined, and in some cases almost unreadable, there is hardly one of them that ought not to have been washed off the plate as soon as it appeared We cannot but think that this lady's highly imaginative and artistic efforts might be supplemented by the judicious employment of a small boy with a wash leather, and a lens screwed a trifle less out of accurate definition. The Illustrated London News provided an alternative perspective, writing that her images were "the nearest approach to art, or rather the most bold and successful applications of the principles of fine-art to photography".Early impact
<mask>'s niece <mask> Stephen (née Jackson; 1846–1895) wrote a biography of <mask> that appeared in the first edition of the Dictionary of National Biography, 1886. A few years later, George Bernard Shaw reviewed a posthumous exhibition of <mask>'s, writing:While the portraits of Herschel, Tennyson and Carlyle beat hollow anything I have ever seen, right on the same wall, and virtually in the same frame, there are photographs of children with no clothes on, or else the underclothes by way of propriety, with palpably paper wings, most inartistically grouped and artlessly labelled as angels, saints or fairies. No-one would imagine that the artist who produced the marvellous Carlyle would have produced such childish trivialities.Virginia Woolf wrote a comic portrayal of the "Freshwater circle" in her only play Freshwater. Later, in collaboration with Roger Fry, Woolf also edited the first major collection of <mask>'s photographs, Victorian Photographs of Famous Men and Fair Women, published in 1926. In the introduction to this collection, Fry wrote that <mask>'s allegorical photographs "must all be judged as failures from an aesthetic viewpoint". He was more charitable toward her other work, writing that she had "a wonderful perception of character as it is expressed in form" and that her work was superior to the portraits of James Abbott McNeill Whistler and George Frederic Watts. Despite the publication of this collection, <mask>'s work remained obscure until the mid-1940s.Mid-century rediscovery
Helmut Gernsheim, after seeing photographs that <mask> had donated to a railway station in Hampshire hanging in the waiting room of the station, published a book on her work that helped establish her reputation. Gernsheim's review of <mask>'s work echoed the earlier sentiments of George Bernard Shaw and Roger Fry, criticising her allegorical and illustrative photos while praising her more straightforward portraits:If the majority of Mrs. <mask>'s subject pictures seem to us affected, ludicrous and amateurish, and appear in our opinion to be failures, how masterly, on the other hand, are her straightforward, truthful portraits, which are entirely free from false sentiment, and which compensate for the errors of taste in her studies.In 1984, Mike Weaver disputed this analysis in his book Julia Margaret Cameron 1815–1879, where he elevated <mask>'s tableauxs as sincere religious interpretations. Weaver also criticised the characterisations of <mask>'s personality that focused on her supposed eccentricities. 21st century reception
Colin Ford, in the Encyclopedia of Nineteenth-Century Photography calls her images "extraordinarily powerful" and "arguably the first 'close-up' photographs in history". He continues:Her visualisations of poetry are different in style and achievement from those of any other photographer of the time. Her contemporaries decorated books of poetry by Burns, Gray, Milton, Scott, Shakespeare and others with picturesque landscapes, occasionally peopling these with attractively disposed figures in the scenery, but rarely illustrating actual characters or incidents from the story.For the Metropolitan Museum of Art's Heilbrunn Timeline of Art History, Malcolm Daniel writes:Her artistic goals for photography, informed by the outward appearance and spiritual content of fifteenth-century Italian painting, were wholly original in her medium. She aimed for neither the finish and formalized poses common in the commercial portrait studios, nor for the elaborate narratives of other Victorian "high art" photographers such as H. P. Robinson and O. G. Rejlander.Janet Malcolm, in "The Genius of the Glass House" writes that "<mask>'s compositions have more connection to the family album pictures of recalcitrant relatives who have been herded together for the obligatory group picture than they do to the masterpieces of Western painting" but that "The beauty that <mask> found, and in a surprising number of cases was able to arrest, among the aging and aged men of the Victorian literary and art establishment is a cornerstone of her achievement".In 2003, the J. Paul Getty Museum published a complete catalogue of <mask>'s known surviving photographs. One caption of a portrait of Alice Liddell (whom <mask> photographed as Alethea, Pomona, Ceres, and St. Agnes in 1872) claims that "<mask>'s photographic portraits are considered among the finest in the early history of photography".In 2018, The Norman Album was deemed by the Reviewing Committee on the Export of Works of Art to be of "outstanding aesthetic importance and significance to the study of the history of photography and, in particular, the work of <mask> <mask>—one of the most significant photographers of the 19th century." Retrospectives
In 2013, the Metropolitan Museum of Art curated an exhibition of <mask>'s work, which garnered significant reviews. In 2015 the Victoria and Albert Museum in London drew on their extensive collection of her work for a 200th anniversary retrospective of <mask>'s career that also travelled to Sydney, Australia. An exhibition at the National Portrait Gallery in London in March 2018 placed her work in relationship to the work of her Victorian contemporaries, Lady Clementina Hawarden, Oscar Rejlander, and Lewis Carroll. The following retrospective exhibitions have focused on <mask>'s oeuvre:

Albums

List of selected publications

 <mask>, J. M. P. (1875). Illustrations by <mask> <mask> of Alfred Tennyson's Idylls of the King and other poems
 <mask>, J. M. P. (1889).Unfinished autobiography "Annals of my glass house" by <mask> <mask>, written 1874, first published 1889
 <mask>, J. M. (1975). The Herschel album: an album of photographs. London (2 St Martin's Place, WC2H 0HE): National Portrait Gallery
 Cameron, J. M., & Ford, C. (1975). The Cameron Collection: an album of photographs. Wokingham: Van Nostrand Reinhold for the National Portrait Gallery
 <mask>, J. M. P., & Weaver, M. (1986). Whisper of the muse: the Overstone album & other photographs. Malibu: J. Paul Getty Museum

Footnotes

References

Further reading

 Rosen, Jeff (2016).<mask> <mask>'s 'Fancy Subjects''' Manchester University Press
  also available through MOMA here''

External links

<mask> <mask> at The Museum of Modern Art
<mask> <mask> at The J. Paul Getty Museum
<mask> <mask> family papers, circa 1777-1940 at the Getty Research Institute, Los Angeles, Accession No. 850858. <mask> <mask> at the National Portrait Gallery
<mask> <mask> at the National Gallery of Art
<mask> <mask> at the Art Institute of Chicago
<mask> <mask> at the National Galleries of Scotland
Alfred Tennyson's Idylls of the King, illustrated by <mask> <mask>

Pioneers of photography
1815 births
1879 deaths
English women photographers
British portrait photographers
Artists from Kolkata
English people of French descent
People from Freshwater, Isle of Wight
Women of the Victorian era
19th-century English photographers
19th-century British women artists
19th-century women photographers
People of British

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<mask> (June 1, 1804 – April 30, 1880) was a Virginia lawyer, plantation owner and politician who was twice elected as a U.S. Representative from Virginia during the American Civil War, and as a U.S. Senator immediately following the conflict, but whom fellow legislators refused to allow to assume his seat due to Virginia's secession and delayed readmission to the Union. Early and family life
Born in King William County, Virginia, Segar received a private education appropriate to his class. He studied law. He married Mary (1808-1886), who would survive him. They had several children, including a son John F<mask> (b. 1836) and a daughter, <mask> (b.1846) mentioned in the 1850 census. The second Mary Segar was still living with <mask>'s household in 1860, as was a young man with middle initial misspelled as Arthur B <mask> (born 1843). The latter was actually his nephew, Arthur Simpkins <mask>, one of the sons of his slightly younger brother John A<mask> (1805-1848), who had married Charlotte Simpkins in 1832 and moved to Virginia's Eastern Shore, where they had a large family. <mask>r accepted his seven-year old nephew into his home in 1851, and paid for his education at two military schools, first the Hampton Academy, then the Danville academy. As the American Civil War began, on May 31, 1861, Arthur S<mask> in Hampton, Virginia enlisted in a Confederate rifle company as a private (the Wythe Rifles incorporated into the 32nd Virginia Infantry according to one source, the nominally Mississippi Hatchie Rifles according to another). By 1862  with his year-older brother John A<mask> (Jr.) (1843-1918) he joined the 6th Virginia Infantry defending Norfolk. For his efforts in the Seven Days Battles, A.S<mask> received a Virginia lieutenant's commission and with his brother was assigned to the 38th Virginia Infantry.Career
Admitted to the bar, <mask>r practiced law in various counties in the Hampton Roads area, Elizabeth City County being across Chesapeake Bay from Norfolk, Virginia. Segar held several local offices, and was elected to represent Elizabeth City County and various neighboring counties several times (part time) in the Virginia House of Delegates, 1836–1838, 1848–1853, and 1855-1861. He also owned slaves, and relatives lived with the family. In 1840, his household included five slaves. In 1850 the household also included two female relatives, <mask> (b. 1820) and Sally F<mask> (b. 1843).By 1860, Segar called himself a farmer rather than lawyer, probably because he operated a plantation in the seaside suburb of Hampton called (for its dunes) Fox Hill (and his son John also called himself a farmer). Segar owned seven slaves in 1860, all but two of them over fifty years old. Although not mentioned in the census forms, Segar actually owned the Hygeia Hotel and most of the land between Fort Monroe and what became the Hampton Institute. When Union troops secured Fort Monroe in May 1861, Massachusetts troops converted the late former President John Tyler's summer home, Villa Margaret, into barracks and Federal troops also encamped on the Segar farm at the Hampton end of a bridge over what was sometimes called Mill Creek or Comfort Creek, for it led near Old Point Comfort. The camp was initially called Camp Troy, but later Camp Hamilton to honor then Lt.Col. Schuyler Hamilton, secretary to Gen. Winfield Scott. Congressional career
Segar presented credentials as a Unionist Member-elect to the Thirty-seventh Congress from an election held on October 24, 1861, but the House on February 11, 1862, decided he was not entitled to the seat.<mask> was subsequently elected to the same Congress and served from March 15, 1862, to March 3, 1863. In the Thirty-eighth Congress (1863–1865), no Virginia representatives were seated. Segar presented credentials, but was declared not entitled to the seat by resolution of May 17, 1864, though he was paid for mileage and pro-rated salary. Segar presented credentials on February 17, 1865, as a United States Senator-elect to fill the vacancy in the term commencing March 4, 1863, caused by the death of Lemuel J. Bowden, but was not permitted to take his seat. In the first session of the Virginia General Assembly following passage of VIrginia's Constitution of 1869, his nephew Arthur S<mask> was one of Norfolk City's two delegates, alongside Republican Henry M. Bowden. On January 25, 1870, in the Forty-first Congress, Segar claimed an at-large ninth seat for Virginia in the U.S. House, but was not seated. The recent Virginia constitutional convention had asserted the ninth seat, but Congress only allowed eight seats to Virginia, since its apportionment of eleven seats had been reduced by the three seats assigned to the new state of West Virginia in 1863.Segar was an unsuccessful Republican candidate for election in 1876 to the Forty-fifth Congress. Later life
After the Civil War, Segar went bankrupt, as did diehard rebel Jefferson Sinclair, a prominent landowner in Hampton who often cross-signed notes with Segar. During the administration of President Rutherford B. Hayes, Segar received an appointment to the Spanish Claims Commission, serving from 1877 to 1880. Segar died on a steamer while en route from Norfolk, Virginia, to Washington, D.C., on April 30, 1880. He was interred in St. John's Cemetery, Hampton, Virginia, where his widow joined him eight years later. His grateful nephew, A.S. Segar would continue his uncle's legal and political legacy in the Hampton Roads area, becoming a schoolteacher, then a lawyer and Conservative Party politician who represented Norfolk for a single term in the Virginia General Assembly (1869-1870), and later won election as the Commonwealth Attorney for Elizabeth City County and served eight years before resuming his private legal practice representing the Chesapeake and Ohio Railroad and the Newport News Shipyard, among prominent clients. References

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1804 births
1880 deaths
People from King William County, Virginia
Unionist Party members of the United States House of Representatives from Virginia
Virginia Republicans
Virginia Unionists
Members of the Virginia House of Delegates
Virginia lawyers
19th-century American lawyers
19th-century American politicians
Southern Unionists in the American Civil War
Members of the United States House of Representatives from Virginia

masks:
Joseph Eggleston Segar
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Virginia Segar
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Joseph Sega
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<mask>, FRSE FRS FGS (20 April 1798 – 22 June 1875), was a Canadian-born geologist and the founder and first director of the Geological Survey of Canada. Life

<mask> was born into a well-to-do Montreal family in 1798, the third son of <mask>, a baker and owner of real estate, and <mask>, both originally from Scotland. <mask> was sent to Edinburgh to receive an education. As was common at the time for young men of means, he learned languages (French, Spanish, some Gaelic and German), music (flute), and became an accomplished artist. In the 1830s, <mask> became fascinated with geology while managing a copper-smelting works near Swansea, Wales, on behalf of his uncle, <mask>. His self-taught talent for the subject soon brought his geological maps and interpretations to the attention of the most eminent geologists of Great Britain, and it was their later recommendations that clinched <mask>'s appointment as the founding director of the Geological Survey of Canada (GSC). The need for an organization that could chart the mineral resources of the newly established Province of Canada (following the merger of Upper and Lower Canada) had been under discussion for over a decade.Government funds were allocated in 1841 and <mask> took up his duties in 1842. By the spring of 1843, <mask> had established the Survey's headquarters in what he described as a "small and dark room" in Montreal. He had also hired Scottish-born Alexander Murray, a former naval officer, as his assistant. The rapid industrial advances in England since the late 18th century had shown how essential coal was to economic expansion. With the accepted belief that North America's destiny lay in applying industrial technology to rich natural resources, the search for coal became the Survey's first priority. The 1843 field season saw <mask> working between Pictou, Nova Scotia, and the Gaspé, as well as Murray between Lake Erie and Lake Huron. The following year, <mask> mapped the north shore of the Gaspé Peninsula and then explored inland to the mountains along the Cap Chat River.<mask>'s assistants named the highest peak in his honour (this Mount <mask> is not to be confused with Canada's highest mountain, which is located in Yukon and also named for him). Based on information gathered during the first two field seasons, <mask> was able to report that no coal deposits were to be found in the Province of Canada. <mask>'s conclusion undoubtedly made the idea of amalgamating with the coal-rich Maritime Provinces attractive, and was one of the factors leading to Confederation in 1867. <mask> also made many important discoveries in the early days of the Survey. For example, he identified several broad geological divisions: folded rocks covering Quebec's Gaspé Peninsula and Eastern Townships; the nearly flat-lying limestones that extend west from Montreal to Lake Huron; and much older crystalline rocks extending north an unknown distance from Kingston, Ottawa, and Montreal. The latter soon proved to be the southernmost exposed section of Canada's mineral-rich Precambrian Shield. After failing to find any extensive coal deposits in British North America, <mask> became interested in the bitumen deposits in Enniskillen Township as a potential substitute.In the Report of the Geological Survey for 1849–1850, Thomas Sterry Hunt analyzed a one hundred pound sample of bitumen that was sent to <mask>, noting that the material could be used to create asphalt, caulking material for ships or lamp fuel. The Survey's reports caught the attention of Charles and Henry Tripp, who established the International Mining and Manufacturing Company in 1854, the world's first petroleum company. In addition to <mask>'s skills at geological observation and surviving in the wilds, he was an adept manager; during the 1850s he built up the staff of the GSC, adding a paleontologist, a chemist, more geologists, and a museum technician, amongst others. He also lobbied the government successfully for continued funding for the GSC, although he would use his own funds when necessary; he was an independently wealthy man, and to the despair of many parents hoping to snag him as a son-in-law, his response was always that he was "married to the rocks." By the late 1850s, <mask> had built the GSC into a well-rounded organization capable of conducting rigorous exploration, making maps, analyzing and identifying mineral and fossil specimens, producing reports, and maintaining a public museum. The 1850s saw the beginning of the great international expositions, and <mask> was a talented promoter of Canada's mineral resources abroad, starting with the Exhibition of the Industry of All Nations, the 1851 world fair at the Crystal Palace in London, England. A second similar opportunity came in 1855 with the Universal Exposition in Paris.Canada's participation in these high-profile events stimulated international interest in Canadian minerals and brought personal honours to <mask>. <mask> exhibited Charles and Henry's asphalt, where it won an honorable mention. He received the French Cross of the Legion of Honour from Napoleon III in 1855, and his greatest honour, his knighthood bestowed by Queen Victoria at Windsor Castle in 1856. That same year he was awarded the Wollaston Medal, the highest award of the Geological Society of London. Throughout his career, <mask> was to receive dozens of prestigious awards. <mask> was also an influential museum builder. In 1856, he was authorized by the government to establish a Geological Museum open to the public – which he did at the GSC headquarters in Montreal.This museum was to grow through the years, and both the Canadian Museum of Nature and the Canadian Museum of History trace their roots to it. One of the most important accomplishments of the GSC under <mask> was the publication in 1863 of the Geology of Canada. Representing all the work of the organization up to that date, this 983-page book recorded everything known about Canadian geology. It received national and international acclaim for its content, style, and precision. In 1864 <mask> founded the Geological Survey of Newfoundland, on request of the colonial government and appointed Alexander Murray as the first director. In 1869, <mask>'s geological map of Canada was published (the map is actually dated 1866). On a scale of 1 inch to 25 miles, it showed the geology and geography of southeastern Canada as far west as Manitoba and as far north as lakes St. John, Timiskaming, Nipigon, and St. Joseph.In 1864, a smaller scale version of this same map (1 inch to 125 miles) had been printed in atlas form, making it the first comprehensive illustration of the geology of what is now the southern part of Ontario and Quebec. <mask> retired in 1869 at the age of 71. He died at Castle Malgwyn in Wales, the home of his sister, Elizabeth Gower, on 22 June 1875, and is buried in the churchyard of St Llawddog at Cilgerran, Pembrokeshire, Wales. Posthumous honours
 <mask>, Canada's highest mountain, was named in <mask>'s honour in 1890 by I.C. Russell of the U.S. Geological Survey. The rare mineral Weloganite, discovered by GSC scientist Ann Sabina at the Francon Quarry in Montreal in 1966 was named in his honour. The Geological Association of Canada awards the Logan Medal, established in 1964, annually as its highest honour.Maclean's magazine, in July 1998, named <mask> 'Canada's Greatest Scientist' in their feature "The 100 Most Important Canadians in History." In 2005, the Literary Review of Canada chose <mask>'s landmark publication Geological Survey of Canada: Report of Progress from its Commencement to 1863 as one of the 100 most important Canadian books. The list was intended to identify the books that had "changed our country's psychic landscape." Bibliography
 Winder, C. Gordon, LOGAN, Sir WILLIAM EDMOND, Dictionary of Canadian Biography, Vol. X, http://www.biographi.ca/en/bio/logan_william_edmond_10E.html. Vodden, Christy, No Stone Unturned: The First 150 Years of the Geological Survey of Canada, Minister of Supply and Services, Ottawa, 1992
 Harrington, Bernard, J., Life of Sir <mask><mask>, Dawson Brothers, Montreal, 1883
 Smith, Charles and Dyck, Ian (editors), <mask><mask>'s 1845 Survey of the Upper Ottawa Valley, Canadian Museum of Civilization, Gatineau, 2007
 Winder, C. Gordon, <mask> <mask> (1798–1875): Knighted Canadian Geologist, Trafford on Demand Publishing, 2004

References

External links

 Written in Stone: <mask><mask> and the Geological Survey of Canada(English and French)
 Sir <mask> 1798 - 1875
 Biography at the Dictionary of Canadian Biography Online
 <mask> <mask> (1798–1875): Canada's Super-Rocker!! Sir <mask> Online
 Sir <mask>, 200th birthday essay
 The History of the Geological Survey of Canada in 175 Objects
 L’histoire de la Commission géologique du Canada illustrée par 175 objets

1798 births
1875 deaths
19th-century Canadian scientists
19th-century Scottish people
Scientists from Montreal
People educated at the Royal High School, Edinburgh
Alumni of the University of Edinburgh
Université de Montréal alumni
19th-century Canadian civil servants
Geological Survey of Canada personnel
Canadian geologists
Canadian knights
Canadian people of Scottish descent
Honorary Fellows of the Royal Society of Edinburgh
Fellows of the Royal Society
Recipients of the Legion of Honour
Royal Medal winners
Wollaston Medal winners
Knights Bachelor
Persons of National Historic Significance (Canada)
Scottish civil servants
Scottish expatriates in Canada
Scottish geologists
Scottish knights

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Sir William Edmond Logan
William Edmond Logan
William Logan
Janet Edmond
Logan
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Hart Logan
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. Logan
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William Edmond
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William Logan
William Edmond
Logan
William Logan
William Logan


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<mask>. (born August 26, 1989) is an American professional basketball player for the Philadelphia 76ers of the National Basketball Association (NBA). He is one of the NBA's most prolific scorers and has been called the best shooting guard in the NBA, as well as one of the top overall players in the league. He played college basketball for the Arizona State Sun Devils, where he was named a consensus All-American and Pac-10 Player of the Year in 2009. Harden was selected with the third overall pick in the 2009 NBA draft by the Oklahoma City Thunder. In 2012, he was named NBA Sixth Man of the Year with the Thunder and helped the team reach the NBA Finals, where they lost to the Miami Heat in five games. Unhappy with his role playing behind team stars Kevin Durant and Russell Westbrook, he refused a contract extension offer from the Thunder, who traded him to the Houston Rockets before the 2012–13 season. In his first season with the team he set or matched several team records and was named to his first All-NBA Team (a third-team selection), as well as his first NBA All-Star team.Over the next seven and a half seasons with the team he would lead the league in scoring three times and assists once, and was named the NBA Most Valuable Player in . During his time in Houston, he was named to eight consecutive NBA All-Star teams and earned All-NBA Team honors seven times, including six first-team selections. In the beginning of the 2020–21 season, <mask> was traded to the Brooklyn Nets as part of a four-team trade. With the Nets, he was named to his ninth and tenth consecutive All-Star games. In October 2021, Harden was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Harden is a two-time member of the United States national team, winning gold medals at the 2012 Summer Olympics and 2014 FIBA World Cup. High school career
Harden attended Artesia High School in Lakewood, California.In his sophomore year, he averaged 13.2 points as Artesia went 28–5. He improved his stats to 18.8 points, 7.7 boards and 3.5 assists in his junior season and led Artesia to the California state title and a 33–1 record. Artesia repeated as state champions in <mask>'s final year after going 33–2. Harden had similar stats during the previous season: 18.8 points, 7.9 rebounds, and 3.9 assists. He was named a McDonald's All-American, and also earned second-team Parade All-American honors. He also helped his AAU team, Pump-N-Run Elite, to the 2006 Las Vegas Adidas Super 64 championship. Harden had 34 points in the victory over a DC Assault team which included Michael Beasley, Nolan Smith and Austin Freeman.In the game against Houston Hoops, played on the same day, Harden had 33 points. In the final, Pump-N-Run Elite beat Kevin Love's Southern California All-Stars. College career
<mask>'s freshman year, Arizona State was picked to finish ninth in the Pac-10 Conference. Behind his 17.8 points, 5.3 rebounds and 3.2 assists per game, the Sun Devils went 21–13 (9–9) and finished tied for fifth in the Pac-10. They were considered a bubble team for the 2008 NCAA Tournament. Left out of the tournament, they were selected to the 2008 NIT field and defeated Alabama State and Southern Illinois before falling to defending national champion Florida. After his freshman year, Harden was named first team All-Pac-10 and was named to the conference all-freshman team.He was also named first team All-District by the NABC and the USBWA. Entering his sophomore year, Harden appeared on many pre-season All-American lists and on the cover of the Sports Illustrated college basketball preview issue. He was named to the Wooden Award preseason watch list. On November 30, 2008, Harden scored a career-high 40 points in an 88–58 victory over UTEP. Harden finished his sophomore campaign with averages of 20.1 points, 5.6 rebounds, and 4.2 assists. He was named to the 2009 All-Pac 10 Tournament Team following Arizona State's defeat by USC at the Staples Center. Following the conference season, Harden was named the Pacific-10 Conference's Player of the Year.He was also named a consensus All-American. After the conclusion of the season (a second-round NCAA tournament loss to Syracuse), <mask> declared for the 2009 NBA draft. He employed Rob Pelinka as his agent. Professional career

Oklahoma City Thunder (2009–2012)

<mask> was selected with the third overall pick in the 2009 NBA draft by the Oklahoma City Thunder. He recorded the fourth highest 3-point percentage in NBA history (.375) for a player under the age of 21 (minimum of 150 attempts) during the 2009–10 season. He connected on seven straight 3-point field goals over two games (November 18 and 20), recording the most consecutive 3-point makes by a rookie since Houston guard Michael Dickerson made eight straight in May 1999. He posted a season-high 26 points against the Golden State Warriors on December 7, 2009.He was subsequently named to the NBA All-Rookie Second Team. During the 2010–11 season, he scored 10-plus points on 54 occasions, including a season-high 26 points against the Phoenix Suns on March 6, 2011. Harden averaged 16.8 points, 4.1 rebounds and 3.7 assists in 62 games (two starts) during the lockout-shortened 2011–12 season, as he received the NBA Sixth Man of the Year Award. Harden scored in double-figures in all but four of his appearances during the season. He scored a season-high 40 points against Phoenix on April 18, 2012, becoming the first NBA player in a reserve role to score 40 points since Dallas guard Rodrigue Beaubois in March 2010. Harden helped the Thunder reach the 2012 NBA Finals, where they were defeated in five games by the Miami Heat. During the 2012 free agency period, Oklahoma City attempted to sign Harden to a four-year contract extension worth between $52 and $55 million.Harden later contended that he was given too little time to consider the offer. Houston Rockets (2012–2021)

2012–13 season

After failing to agree on a contract extension with the Thunder, <mask> was traded to the Houston Rockets on October 27, 2012, along with Daequan Cook, Cole Aldrich and Lazar Hayward, in exchange for Kevin Martin, Jeremy Lamb, two first round picks (which became Steven Adams in 2013 and Mitch McGary in 2014), and a second round pick (which became Álex Abrines in 2013). Rockets general manager Daryl Morey called Harden a "foundational" player and expected him to be Houston's featured player despite previously only playing a supporting role behind Kevin Durant and Russell Westbrook. On October 31, 2012, Harden signed a contract extension with the Rockets for five years worth $80 million. That same day, he became the first-ever NBA player to score 37 or more points while registering a double-digit assist total in his team debut, posting 37 points, a career-high 12 assists, six rebounds, four steals and one block in a 105–96 win over the Detroit Pistons. He became just the fourth NBA player in the last 25 years to post those totals in a single game and matched the third-highest point total for any NBA player in his team debut (most for Rockets debut). Two days later, he scored 45 points against the Atlanta Hawks.His 82 total points were the most scored by a player in his first two games with a team in NBA history, surpassing the previous mark held by Wilt Chamberlain, who scored 79 points in his first two career games with the Philadelphia Warriors in 1959. He registered the first triple-double of his career on February 2, 2013 against the Charlotte Bobcats, recording 21 points, 11 rebounds and 11 assists. <mask> was named as a reserve for the 2013 NBA All-Star Game, marking his first All-Star selection. He recorded 15 points, six rebounds and three assists in a 143–138 win by the West over the East. On February 20, 2013, <mask> scored a career-high 46 points in a 122–119 win over his former team, the Oklahoma City Thunder. Harden had one of the greatest statistical seasons in team history in his first campaign with Houston. He averaged 25.9 points (fifth-best in the NBA), 4.9 rebounds and 5.8 assists in 78 games (all starts), becoming just the fifth player in team history to reach 2,000 points in one campaign (2,023 points).He surpassed Moses Malone's team mark for free throws made in a season (630 FTM in 1981–82), joining Malone as the only two Rockets players to ever reach 600 free throws made in a single season. Harden joined Gilbert Arenas (2005–06 and 2006–07), Kobe Bryant (2005–06 and 2007–08) and Jerry Stackhouse (2000–01) as the only four players in NBA history to record at least 600 free throws made and hit 150 or more 3-pointers in one season. Harden joined Tracy McGrady (four times in 2004–05) and Hakeem Olajuwon (three times in 1992–93) as the only Rockets to ever capture Player of the Week honors three or more times in one season. He was named to the 2012-13 All-NBA Third Team, marking his first career All-NBA Team selection while becoming just the seventh player in Rockets history to earn All-NBA recognition. 2013–14 season
<mask> was selected by the head coaches as a reserve for the 2014 NBA All-Star Game, which marked his second consecutive All-Star selection. He was later named as a replacement starter for the All-Star Game, where he recorded eight points, five assists, one rebound and one steal in 23:46 of action. He was twice named Western Conference Player of the Week during the season, both coming in consecutive weeks (February 24 – March 2; March 3–9).He became the first Rockets player ever to pick up Player of the Week honors in consecutive weeks in the same season. On December 26, 2013 against the Memphis Grizzlies, <mask> became the first player in NBA history to register at least 27 points on two or fewer field goals made (2-9 FG), finishing with a career-best 22-of-25 from the stripe and tying the Rockets single-game record for free throws made (22-27 FT by Sleepy Floyd in February 1991). On February 5, 2014 against the Phoenix Suns, Harden played in his 120th game with Houston, scoring 23 points on 12-for-12 from the foul line to become just the third player to score at least 3,000 points in his first 120 games played with the Rockets, joining Elvin Hayes (3,320) and Tracy McGrady (3,056). On February 25, 2014, he scored a season-high 43 points in a 129–103 win over the Sacramento Kings. At the season's end, he earned All-NBA First Team honors. 2014–15 season
Over the first two months of the season, <mask> was in MVP contention. On December 11, 2014, he scored a season-high 44 points in a 113–109 overtime win over the Sacramento Kings.On December 13, 2014, he recorded his third career triple-double with 24 points, 10 assists and 10 rebounds in a 108–96 win over the Denver Nuggets. On December 22, 2014, he tied his season high with 44 points in a 110–95 win over the Portland Trail Blazers. On January 19, 2015, Harden set a new season high with 45 points against the Indiana Pacers. He tied that mark with 45 points against the Trail Blazers on February 8, 2015. On February 23, 2015, he recorded his second triple-double of the season with 31 points, 11 rebounds and 10 assists in a 113–102 win over the Minnesota Timberwolves. On March 6, 2015, he recorded his third triple-double of the season with 38 points, 12 rebounds and 12 assists in a 103–93 win over the Detroit Pistons. On March 19, 2015, he scored a career-high 50 points against the Denver Nuggets.He topped that mark with 51 points against the Kings on April 1, 2015. It was his 33rd 30-point game of the season and his ninth 40-point game of the season. He became the first player in franchise history to have two 50-point games in a season. Four days later, he had 41 points against the Oklahoma City Thunder for his 10th 40-point game of the season. In the Rockets' regular season finale on April 15, Harden recorded his fourth triple-double of the season with 16 points, 11 rebounds and 10 assists in a 117–91 win over the Utah Jazz. He helped the Rockets win their first division title since 1994 and clinched the No. 2 seed in the Western Conference.<mask> was again named to the All-NBA First Team, and finished second in the NBA MVP voting behind Stephen Curry. <mask> was later voted the inaugural National Basketball Players Association's MVP for the 2014–15 season. In Game 5 of the Rockets' second round playoff series against the Los Angeles Clippers, Harden recorded his first career playoff triple-double with 26 points, 11 rebounds and 10 assists. In Game 4 of the Western Conference Finals against the Golden State Warriors, Harden scored a playoff career-high 45 points. In Game 5 of the Western Conference Finals, Harden had a forgettable finale, with a playoff-record 13 turnovers and 14 points on 2-of-11 shooting. 2015–16 season
<mask> scored 43 points against the Sacramento Kings on November 6, followed by 46 points against the Los Angeles Clippers the next night. He subsequently became the first Rocket to score 43-plus points in consecutive games since Malone had two streaks of three games doing so during the 1981–82 season.On November 18, head coach Kevin McHale was fired after the Rockets began the season with a 4–7 record. Later that night, <mask> scored 45 points in a 108–103 overtime win over the Portland Trail Blazers. On November 27, he scored 50 points in a 116–114 win over the Philadelphia 76ers. <mask> was 14 for 28 from the field and 16 for 20 at the line in his third career game with 50 or more points. On January 20, <mask> had his first triple-double of the season and seventh of his career with 33 points, a career-high 17 rebounds and 14 assists in a 123–114 loss to the Detroit Pistons. He became the first player to have at least 33 points, 17 rebounds and 14 assists in a game since Wilt Chamberlain had 53 points, 32 rebounds and 14 assists for Philadelphia in March 1968. On January 24, he recorded his second triple-double of the season with 23 points, 15 rebounds and 10 assists in a 115–104 win over the Dallas Mavericks.On March 25, he recorded his third triple-double of the season with 32 points, 13 assists and 11 rebounds in a 112–109 win over the Toronto Raptors. <mask> finished March with 457 points, 152 assists and 102 rebounds, becoming the first player to record at least 450 points, 150 assists and 100 rebounds in a single month since Oscar Robertson did it in December 1967. Harden finished the 2015–16 season with 374 turnovers, besting Artis Gilmore's mark of 366 in 1977–78, the first season the NBA recorded turnovers. Harden set career marks in points (29), assists (7.5) and rebounds (6.1) to join LeBron <mask>, Michael Jordan and Oscar Robertson as the only players in NBA history to average at least 29 points, seven assists and six rebounds in a season. 2016–17 season

On July 9, 2016, Harden signed a four-year, $118.1 million contract extension with the Rockets. In September 2016, new Rockets head coach Mike D'Antoni announced that Harden would take on the point guard role to begin the 2016–17 season. In the Rockets' season

masks:
James Edward Harden Jr
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