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<mask> (March 22, 1895 – May 5, 1968) was an American pediatric surgeon and one of the earliest physicians to focus on the surgical treatment of heart problems in children. <mask> set up one of the country's first pediatric surgery programs at Children's Memorial Hospital (later renamed Lurie Children's Hospital) in Chicago. A graduate of the University of Chicago and Rush Medical College, <mask> was known for introducing a surgery to address the heart defects that resulted in blue baby syndrome; the procedure became known as the Potts shunt. In addition, <mask> performed the first successful repair of a cardiovascular abnormality known as a pulmonary artery sling. He also invented several surgical instruments, with a particular emphasis on devices used in surgery on major blood vessels. <mask> remained a surgeon at Children's Memorial Hospital and a faculty member at the Northwestern University Medical School well into the 1960s. He retired to Sarasota, Florida, where he died of a heart attack at the age of 73.Early life
Born in 1895 in Sheboygan, Wisconsin, <mask> moved with his family to a farm in nearby Cedar Grove when he was four years old. After his father died, <mask> and an older brother ran the farm. Once he earned enough money, he enrolled in a private school in Cedar Grove and then studied at Hope College in Michigan. <mask>, who had learned Dutch from his grandparents, studied Latin, Greek and German at Hope. During his senior year there, he joined the U.S. Chemical Warfare Service and fought overseas in World War I. After the war, <mask> resumed his studies in Chicago in 1919. He graduated from the University of Chicago with a Bachelor of Science.(Upon his graduation, Hope College awarded him a Bachelor of Arts.) <mask> applied to medical school at the University of Chicago, which at that time involved two years at the University of Chicago and two years at Rush Medical College. He was one chemistry credit short of the requirements for admission to medical school, but chemistry department head <mask> allowed him to complete the credit if he could submit the required work in the 18 days that were left the university's academic term. Medical career

Beginnings
Having completed the chemistry course, <mask> was able to enroll in medical school. He held a job at a restaurant so that he could afford school. After graduating from medical school, he undertook general surgery training at Presbyterian Hospital in Chicago and at Rush Medical College. In 1925, <mask> opened a general practice as a physician and surgeon in Oak Park, Illinois.He did not make much money at first, but by 1930 he had sufficient funds to go to Frankfurt for further surgical training. After spending 1930 and 1931 in Frankfurt, <mask> returned to Chicago and practiced general surgery there for several years. In 1942, he went to the Pacific to serve in World War II, setting up the 25th Evacuation Hospital. When he was discharged three years later as a colonel. Return to Chicago
Returning to Chicago after World War II, <mask> decided to focus on problems in pediatric surgery. He worked briefly as Chief of Surgery at West Suburban Hospital. In late 1946, he was appointed Surgeon-in-Chief at Children's Memorial Hospital (CMH).His position came with a faculty appointment at the Northwestern University Medical School. At the time of <mask>' appointment at CMH, only a few childhood illnesses could be addressed surgically; appendicitis and pyloric stenosis were two of the most common pediatric surgical problems. <mask> recruited experts in several surgical specialties and asked them to commit themselves to developing surgical solutions for pediatric problems. As he was setting up the pediatric surgery program, <mask> went to Boston Children's Hospital for three months to observe the workings of that pediatric surgery program. The Potts shunt
Potts spent considerable time thinking about the surgical correction of heart defects. Working with CMH pediatric cardiologist Stanley Gibson and with pathologist <mask>, <mask> helped create a collection of more than 200 anatomic specimens of various heart defects. The collection was later used extensively by cardiovascular pathologist Maurice Lev.<mask>, Gibson, and research fellow Sidney Smith became interested in treating blue baby syndrome, the group of heart defects that result in insufficient blood flow to the lungs. They became intrigued by the idea of somehow connecting the aorta (the body's largest artery, which sends blood to all of the body's tissues) to the nearby pulmonary artery (which sends blood to the lungs). In 1946, <mask> and Smith devised an operation for blue baby syndrome. The surgery involved making a tiny incision in the aorta and a tiny incision in the pulmonary artery and then sewing the two openings together. They performed the procedure successfully on 30 dogs before Gibson sent them a 19-month-old patient named Diane Schnell. Schnell was turning blue and fainting frequently. The team felt that she would not live much longer without surgery, so they decided to make her the first patient to receive a Potts shunt.She did well after the surgery and was known to be alive and well in the late 1960s. Potts, Smith and Gibson published an article in JAMA: The Journal of the American Medical Association in November 1946 in which they described saving three children's lives. They wrote that the new Potts shunt was safer than the standard treatment at the time, the Blalock-Taussig shunt, which sometimes resulted in paralysis or death. Other contributions, awards and recognition
In 1953, <mask> was the first surgeon to successfully repair a pulmonary artery sling, an abnormality in which the lung blood vessels wrap around and compress the patient's windpipe. The patient who underwent this first repair was a five-month-old girl. She was still alive at nearly 25 years of age; like many of the patients who underwent <mask>' version of this repair, she had decreased blood flow to the left lung, but she was doing well. <mask> and his team also advanced the treatment of a heart defect known as transposition of the great arteries.<mask>' work with heart surgery included the invention of at least three surgical devices. His neighbor, Bruno Richter, worked for a medical instrument manufacturer and assisted him with these innovations. The Potts-Smith aortic exclusion clamp closed off only a portion of the aorta so that the Potts shunt could be completed while maintaining blood flow to the spinal cord. He also developed the Potts vascular clamp, which allowed vessels to be clamped without being crushed; this moved vascular surgery forward significantly. A third device, the pulmonary valvulotome, helped surgeons to minimize bleeding when they entered the right ventricle to repair a child's pulmonary valve. Non-cardiac surgical problems in children also interested <mask>. Imperforate anus was one of his special clinical interests.<mask> made technical improvements to the surgery that was used for infant girls who had imperforate anus with a low rectovaginal fistula. In 1959, he attempted the separation of a set of conjoined twins who shared a heart. Both twins were weakening, but <mask> hoped to save the stronger of the two; the child died within four hours of the procedure. He consulted on another case of conjoined twins the next year, but he declined to operate because he felt that the surgery had no chance of success. In 1955, <mask> wrote an editorial in JAMA in which he criticized the overall quality of pediatric surgical care in the United States. <mask> pointed out that despite the proliferation of U.S. children's hospitals, only eight hospitals had pediatric surgery programs run by full-time pediatric surgeons. He noted that there were only 33 members of the surgical section of the American Academy of Pediatrics and that 12 of those members had practices that were not fully focused on children.While he acknowledged that increasing levels of specialization created new challenges in medical education, he said that parents would soon demand the same quality of care for their children as they did for themselves. <mask> served as the president of several medical organizations, including the Institute of Medicine of Chicago, the Chicago Surgical Society and the Chicago Heart Association. He won several awards, including an American Medical Association Gold Medal and the William E. Ladd Medal from the American Academy of Pediatrics. In 1964, Hope College awarded an honorary Doctor of Science to <mask>. Personal life
A Unitarian, <mask> was deeply religious. Colleague Thomas Baffes wrote that <mask> was "comfortable enough in his relationship with his God and secure enough in his technical excellence and genius not to feel threatened by the ambitious young people he attracted about him." A 1965 newspaper article called him "probably the world's only hymn-singing surgeon", noting that he might sing "Nobody Knows the Trouble I've Seen" during a difficult surgery versus "Jesus Loves Me" during an easy case.<mask> married Henrietta Neeken in 1922, and they had three children. In 1948, <mask>' son, a married 21-year-old father of two, disappeared from the University of Rochester for about two months before he was located in Texas. Later life
<mask> wrote two books, The Surgeon and the Child (1959) and Your Wonderful Baby (1966). In 1960, he gave up his administrative duties at CMH to devote his time to patient care, but he said that he looked to his younger colleagues to complete the difficult surgeries. Open heart surgery had become common by this time, and <mask> said that it should be performed "by young men whose fingers are nimble, whose minds are agile, and whose coronaries are pliable." In June 1965, a retirement celebration was held for <mask> at the Sheraton Blackstone Hotel; some of <mask>' former "blue babies" were among the 300 people who honored Potts that night. When <mask> retired, he moved to Sarasota, Florida.<mask>' congenital heart surgery research center was renamed in his honor. In a 1966 interview with the Associated Press, <mask> warned about the risks of antibiotic misuse in treating colds and similar illnesses. He died of a heart attack in 1968; influenza had also contributed to his death. He was predeceased by two brothers and a sister, and he was survived by a sister, his wife, three children and 14 grandchildren. Legacy
<mask> made early and important advances in pediatric surgery, though the surgical shunt bearing his name has been mostly replaced by other surgical techniques. Over time, surgeons found it difficult to judge the appropriate size for a <mask> shunt; they were often made either too small (resulting in insufficient blood flow to the lungs and continued hypoxia) or too large (resulting in too much blood flow to the lungs and congestive heart failure). Some babies with a <mask> shunt experienced aneurysm formation in the left pulmonary artery and others had severe bleeding when surgeons attempted to "take down" the shunt.Since the early 21st century, the Potts shunt has occasionally been brought back into use as a palliative treatment for children with pulmonary arterial hypertension. References

1895 births
1968 deaths
American pediatric surgeons
American cardiac surgeons
People from Sheboygan, Wisconsin
University of Chicago alumni
Hope College alumni
Rush Medical College alumni
Northwestern University faculty
People from Cedar Grove, Wisconsin
20th-century surgeons
United States Army personnel of World War I

masks:
Willis John Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Julius Stieglitz
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Joseph Boggs
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts
Potts


type: original

texts:
<mask> (30 August 1850 – 4 February 1921) was a prolific Swiss painter and illustrator from Moudon, Switzerland. Born of prosperous parents who taught him to appreciate art and the countryside, he first trained as an architect but quickly realised his vocation was painting. He studied art in Geneva and Paris then settled in Versailles. In the course of his life he travelled widely and lived at various times in Florence, Montpellier, Seppey (Moudon) and Neuchâtel. His later years were spent in Paris where he died a celebrated and well respected artist both in Switzerland and France. He was primarily a realist painter of nature. Most of his works were of rural scenes, often with animals, the depiction of which he was a master.He increasingly painted human figures and by the end of his career could be called a portraitist whose skill revealing character was profound. A deeply religious man, his Protestant beliefs led him to include more religious works that he put his stamp of realism on, and he became best known in Europe for his illustrations of "The Parables", that was published in French, German and English versions over four decades. His works are now widely distributed in museums and private collections throughout the world and in his own dedicated museum in Moudon. His final project was a series of 104 pastel portraits of allied WW1 participants of all nationalities that was incomplete when he died; a unique body of work that was subsequently published as a book in 1922 and recently republished in 2010. <mask> was a good living family man who kept detailed records of his life and work that facilitate a thorough understanding of his methods and motives. He, his wife Julia and family of eight children, including two sets of twins, moved with him as his work took him around France and Switzerland. His traditional style ensured a conventional appreciation that he and his family enjoyed, but brought some criticism and conflict with contemporaries who were embracing modern art.Burnand was greatly influenced by artists such as Jean-François Millet and Gustave Courbet. This is reflected in perhaps his best known work, The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection 1898, which hangs in the Musée d'Orsay in Paris. Biography

Early life
He was born on 30 August 1850 in Chateau Billens, the property of his grandfather <mask>, in Moudon, Vaud, Switzerland, a French speaking region north of Lausanne. His parents, (Colonel) <mask> and Henriette (née Foltz) were part of the Protestant bourgeois establishment of the town. His father was a forestry inspector who travelled considerably, invented the Prélaz-Burnand rifle in 1859 and had "the gifts and temperament of an artist, and drew and painted all his life as an amateur". <mask> was the youngest of three surviving children. His older brothers had already left home when he was born and were working in France.The family soon moved to Chateau Carouge in the Moudon Ville Haute. Both his parents were well educated and cultured and he had a mature relationship with them. He travelled often with his father throughout the Canton of Vaud in the course of his work and this instilled in him a love of, and familiarity with the region. Up to the age of ten his formal education was in Moudon. The family moved to Florence in late 1860 where his father was charged with introducing the Prélaz-Burnand rifle to the Tuscan army. Seven months later they returned to Switzerland and set up residence in Schaffhouse, but meantime <mask> had done well at school in Florence and its artistic heritage had made a lasting impression on him. His secondary education continued in Schaffhouse in German and in 1867 he somewhat reluctantly took his father's advice to study architecture at Zurich so he might have a reliable means of earning a living.His artistic talents shone however, and he changed over to study painting, and after four years in Zurich he gained his architecture diploma and went to Geneva to study for a short time under the celebrated Barthélemy Menn whose style he greatly admired. Artistic career 1872 to 1895
In 1872 he entered the Fine Arts School in Paris under Jean-Léon Gérôme and he later became a pupil. He spent time with his brother Ernest in Provence in 1873 and loved this region in which he painted many scenes over the years. One of his first works from that time 'Donkeys in the Midi' is shown here. In 1877 he spent time in Florence and Rome but returned to France the following year when he married and settled in Versailles, acquiring new skills from the workshop of his wife's family, who were the well known painters and engravers Girardet. He produced many successful paintings of animals in Provence, particularly in the Camargue region. 'Troupeau de boeufs au bord de la mer" was another typical study at this time.In 1879 he produced one of his impressive large works, 'La Pompe à Feu' measuring 200 x 310 cm, an action picture with men and horses. The beautiful and sunny 'Gleaners' followed in 1880. He became publicly noticed in 1884 with the publication of 'Mireille', an epic poem by Frédéric Mistral illustrated by <mask>. The same year he produced 'Bull in the Alps', another large striking picture which further demonstrated his skill painting animals. He moved to Paris in 1885 and stayed four years, during which time he, with other Swiss artists organised the Swiss fine arts section for the Paris International Exhibition of 1889, a task that caused some difficult relationships with other artists later on. Moving from Paris to Montpellier he completed 'La Descente des troupaux' 200 x 120 cm OOC in 1890. He moved back to Switzerland to be near his sick father in 1892 and completed several canvases of Swiss scenes including Lake Geneva.Following the death of his father and soon after his mother in 1894 he remained in the family home at Seppey near Moudon and produced 'The Peasant farmer' and his only major historical painting 'La Fuite de Charles le Téméraire (après la bataille de Morat)', 'The flight of Charles the Bold after the battle of Morat'. By this time he had produced over one hundred catalogued works. Artistic career 1886 to 1921
His move in late 1895 to a new rural residence at Fontfroide-le-Haut, a few miles from Montpellier, seemed to provide him with the environment and inspiration for a concentration on religious themes for his pictures, notably, 'Retour de l'enfant Prodigue (Return of the prodigal son) 1896-7', 'L'Invitation au festin (Invitation to the feast) 1899, and the picture by which he is now best known, 'Les Disciples Pierre et Jean courant au sépulchre le matin de la Résurrection', 'The Disciples Peter and John running to the sepulchre on the morning of the Resurrection' 1898, which is in the Musée d'Orsay, Paris. At the start of the 20th century he was at the height of his fame and he and other artists contributed to the ceiling of the now famous "Train Bleu" buffet in the Gare de Lyon, Paris, that at the time was major part of the new building work to mark the Paris International Exhibition of 1900. <mask> painted "Le Mont-Blanc vu de Clergère". Another large major picture with a religious theme was started in this period, "La Prière sacerdotale", done during a temporary move to Florence for the winter of 1900-1. He changed the head of Christ several times and the final version was done in 1918.As with most of his paintings of this type, he used models from his large circle of friends and neighbours, many of whom were local tradesmen. The individuals in this painting are carefully described in <mask>'s biography of his father. The image shown here is the final version. Before he moved back to Switzerland in 1903 so his family could re-establish their Swiss roots, many other religious works were completed such as "Jésus à Béthanie (Jesus at Bethany)", "L'Invitation au festin (Invitation to the Feast)" and "L'Homme de douleur (Man of sorrow)". The location in which he chose to live back in his native Switzerland was the village of Hauterive, close to Neuchatêl, in a large old house with a terrace with old trees, a setting that provided all the backdrops he needed for his "Les Paraboles" project, that took him most of the four years he spent there. It became a book of thirty-two parables illustrated by 76 paintings, drawings and sketches. It was first published in 1908 in French, later in German, and an English edition in 1948.This book and the pictures from it made him well known, and were very widely used by religious organisations in Europe and throughout the world and can still be found today. The pictures are characterised by uniquely individual people showing the emotion and gravitas of the stories, which he achieved by once again using models from the people in his locality and often his wife Julia for the females required. He believed that religious messages in art should depict everyday people showing their humanity. A web facsimile of his "Parables" in English is available. He also completed the large canvas, "La Voie Douloureuse (Via Dolorosa)" while at Hauterive. He moved back to Paris with his family in 1907 and it remained his main base until his death. The war years 1914-18 were spent back at Seppey, and there were many trips in the furtherance of painting projects to locations such as Monpellier, Marseille and Assisi where worked on the pictures for the book "The Little Flowers of Saint Francis".He painted "Le samedi saint (Holy Saturday)" 1907-8, and prepared the cartoons for one of his most important works, the stained glass windows of the "Sermon on the Mount" 1910 in the Reformed church at Herzogenbuchsee, near Berne. His series "Types vaudois" at this time, portraits of regional characters of Vaud, probably set the style for his later military types. His last large canvas "Labour dans le Jorat" was done at Seppey

masks:
Eugène Burnand
Eugene Burnand
Charles Burnand
Ėdouard Burnand
Eugène
Eugène
Burnand
Burnand
René Burnand


texts:
 in 1915 but was destroyed in a fire at Lausanne in early 1916. He had repainted the canvas within a year. <mask>'s last enterprise was possibly his greatest and most ambitious, but is little known today. In 1917, with the experience of his limited series of "Types Vaudois" behind him, he set out to make a series of pencil and pastel portraits of "types" that were engaged with the military in the war that had started in 1914. <mask> was fascinated by the wide range of people from varied races from all over the world who had been drawn into the conflict on the side of the Allies.He was more interested in the lowly than the leaders and travelled about France to find his subjects in ports and barracks. He got to know them first, often to meet his family and give hospitality. That way he got to know their true feelings and attitudes, which he depicted with great skill. He had completed 40 by 1918 at the end of the war, but the military remained active for a long time afterwards, and he completed 104 in all. Eighty were exhibited at the Luxembourg Museum, Paris, in 1919 to great public acclaim, and 100 were exhibited a year later as a prelude to their publication as a book in 1922. Most (101) of the originals were purchased by American philanthropist William Nelson Cromwell for the French Nation and they are now held by the French Legion of Honour where 72 of the 101 are displayed at their museum in Paris. One hundred and two have recently been published again in a book to mark the Great War centenary and the battle of Verdun.They can also be viewed online. By 1900 <mask> was one of western Europe's foremost artists and his subsequent focus on religious themes, particularly 'The Parables', elevated him to popularity among the general public. His work has been considered too 'photographic' by critics to gain the same merit by academics and consequently he has not remained well known even in Switzerland and France. He was never very well known in the English speaking world but has recently been reviewed well, and is being re-evaluated as an artist who was able to represent the soul of his country through cool, honest, and deeply insightful draughtsmanship. His picture of the "Disciples running to the Sepulchre" is finding a new appreciative audience and the centenary of the First World War has generated interest in its art, to which <mask> made a large contribution and is getting new attention. People interested in Burnand may find a new publication of help as it is the first book about him in English focusing on the war portraits but also covering other works. 18 X 35 cm
 1909 - " Tête de femme " in a medal on the left of the 1000 Swiss franc banknote issued in 1911.1884 - " Mireille " Paris Hachette; 25 etchings outside the text, engravings of <mask>and and 55 drawing in the text re-edited in 1891
 1888 - " François le Champi " de George Sand, Illustrations by  E. Burnand Edt Calmann Lévy et Cie 1888
 1890 - illustration of; " L'Orphelin " by Urbain Olivier
 1896 - illustration of a report of the " Bohémiens aux Saintes-Maries de la Mer " by Marie-Anne de Bovet for the revue : L'Illustration  16 May
 1908 - " Les Paraboles " <mask>, Berger-Levrault, Paris 1908, volume in 175 pages, 61 drawing, 11 plates, foreword by <mask> de Vogüé, Member of the Académie française. 1909 - " Le Samedi Saint "
 1919 - " The Little Flowers of Saint Francis  " Translation by Thomas Okey with 30 drawings by <mask>. JM Dent & Sons Ltd, London 1919
 1920 - " Les petites fleurs  " Saint Francis of Assisi, Berger-Levrault 271 pages with illustrations by <mask>. Camargue " " OOC 40 x 80 cm
 1879 - "  La Pompe à feu  " OOC 200 x 310 cm
 1880 - "  Les Glaneuses  " OOC 200 cm x 150 cm
 1880 - " " La Dent du Midi " " OOC 40 x 30 cm
 1881 - " " Le Braconnier " " OOC 31 x 23 cm
 1881 - "  Bäuerin beim Füttern der Schweine  " OOC 29 x 28 cm
 1882 - "  La Ferme Suisse "  OOC 201.5 x 286 cm
 1883 - "  Pâturage d'Anzeindaz  " OOC 50 x 73 cm
 1884 - "  Taureau dans les Alpes  " OOC, 201 x 271 cm
 1886 - "  Le Faucheur  " OOC;S; Dim: H:149.5 cm X L:120 cm (Museum Eugène Burnand, Moudon)
 1887 - "  L'Abreuvoir  " OOC;   (San Francisco Museum, USA)
 1890 - "  La Descente des Troupeaux (Provence) "OOC 124 x 200 cm. Bâle, Öffentliche Kunstsammlung
 1890 - "  Dans les Hauts pâturages  " OOC;     For the Nestlé Company
 1892 - "  Panorama des Alpes Suisses  " Dim; H: 17 meters x 11.5 meters, with Auguste Baud-Bovy Toured but accidentally destroyed
 1893 - "  Un Mousse  " OOC;    (San Francisco Museum, USA)
 1893 - "  Méditation " OOC;   (San Francisco Museum, USA )
 1893 - "  Le Lac Léman (Premier Printemps) " OOC 111 x 201 cm (Glion, Hôtel Victoria Collection)
 1894 - "  La fuite de Charles le Téméraire  " OOC. 226–232
 1898 - " Quelques réflexions sur la beauté " Extrait de l'Annuaire des Universités chrétiennes de la Suisse romande Lausanne Imp Viret-Genton 1898
 1898 - " Lettre sur le Pont Eloi  " Gazette de Lausanne 27/12/1897 et 10/02/1898
 1903 - préface du livre de Fatio Guillaume: " Ouvrons les yeux, voyage esthétique à travers la Switzerland " Édt Atar 1903 illustration de J.J. Redmond, A Pellegrini, C. Robina
 1903 -1904 - " Notes sur l'Art religieux italien " Lausanne Association Chrétienne suisse d'étudiant P.1-30
 1904 - "  L'Art religieux italien " Conférence prononcée par Eugène Burnand à Montpellier, Lausanne et Paris en 1902 et 1903
 1914 - "  Le Sermon sur la Montagne  " Illustration of E. Burnand for Sermon on the Mount from the pictures for the church at Herzogenbuchsee (Switzerland) stained glass windows. Berger-Levrault 1914,XLVIII,57p
 1922 - " Les Alliés dans la Guerre des Nations " 100 portraits of military types in pencil and pastel, photogravure reproductions, 10 monochrome, 90 colour in the De Luxe version.Commentaries by Robert Bernand. Preface by Marchal Foch. Crété, Paris. 2010 - "  Portraits de la Grande Guerre. Sermon on the Mount)

Exhibitions, galleries
 1874 - First participation in the national Swiss Fine Arts Society exhibition
 1875 - First hanging in the Salon Paris
 1883 - Exhibition at Zurich
 1886 - Exhibition in New-York
 1889 - Paris Universal Exhibition
 1890 - Exhibition Genève, Lausanne, Neuchâtel, Montpellier, Toulouse
 1896 - Geneva
 1897 - Dowdeswell Gallery, London
 1897 - Royal Academy London
 1897 - Autumn exhibition of Walker Art Gallery  Liverpool
 1897 - Carnegie Art Galleries, Pittsburg
 1900 - Universal Exhibition, Paris. Painters of mountains
 1901 - London
 1903 - Swiss Nationals exhibition, Fine Arts Museum, Lausanne
 1911 - Exhibition of stained glass cartoons at the International Exhibition of Art Chrétien organised by the Société de Saint-Jean
 1913 - Kinsthalle, Basel
 1914 - Berne
 1916 - La Grenette, Lausanne (Le Labour dans le Jorat ) Destroyed by fire in this location
 1985 - La peinture religieuse suisse au XIXe siècle  Lucerne Kunstmuseum
 2005 - Lausanne; Exhibition dedicated to the painter <mask>. Museums
 Cantonal Museum of Fine Art, Lausanne, Switzerland
 Eugène Burnand Museum, Moudon, Vaud, Switzerland
 San Francisco Fine Art Museum USA ( Au couvent - Lessiveuse)
 Institute of Arts Minneapolis USA (Buried Treasure)
 Metropolitan Museum of Art USA (Le village de la Celle-sous-Moret)
 Luxembourg Museum, Paris
 Legion of Honour Museum, Paris ( 101  pastels of military 'types' on the Allied side).Donated 1924, 72 are on display
 Musée d'Orsay Paris (" Les Disciples running to the tomb on the morning of the resurrection ")
 Musée du Louvre Graphic art department ( Les Chevaux)
 Berne Museum, Switzerland
 Basel Museum, Switzerland
 Vevey Museum, Switzerland
 Geneva Museum, Switzerland
 National Museum of Fine Arts in Santiago, Chile
 Adelaide Museum, Australia
 Philadelphia Museum, USA
 Fine Art Museum of La Chaux-de-Fonds ( Le Samedi-Saint ) Acquired by the museum as a consequence of a public subscription
 Grenoble Museum, France (La Gardeuse de moutons)
 Museum of Compiègne, Oise, France, (  Portrait d'Alphonse Daudet )
 Museo Provincial de Bellas Artes Rosa Galisteo de Rodríguez, Santa Fe, Argentina. Bibliography

 <mask> : " Liber Veritatis  " Journal of the artist. Archived in the University of Lausanne
 De Flandrezy, Bouzanquet: "  Le Taureau Camargue  " Edt du Cadran 1925
 Michel de Rivaz: " Le billet de banque Suisse, 1907-1997  " Collection: la Mémoire de l'œil
 <mask>: " <mask>and, l'homme, l'artiste et son œuvre " 1926 biography by his son René; Berger et Levrault 1926
 <mask>:  "  <mask>and au pays de Mireille " SPES, 1941
 Junod Louis: " Moudon " Edt du Griffon, Neuchâtel 1956
 Philippe Kaenel: " <mask> (1850-1921) Peintre naturaliste " Edt 5 Continents , 255p. 2004
 Philippe Kaenel: " <mask>and la peinture d'après nature " Cabédita Coll: Archives vivantes 297p 2006
 Collectif: " Le Train Bleu Edt; Édition Presse Lois Unis Service Paris 1990, Imp par U.F.I France,
 Etienne Burnand: " Une vie, un peintre  " 1994
 Fontanaaz Monique: " La ville de Moudon et ses musées  " 2002
 Marc Grelet: " Eugène Burnand, sa vie, son œuvre " Edt SPES paru(sd)
 Henri Niggeler: " Eugène Burnand illustrateur " Bibliothèque cantonale et universitaire, Palais de Rumine, Lausanne, 1991
 Henri Niggeler: " L'illustration de Mireille par Eugène Burnand " , in Arlésienne: le mythe? Museon Arlaten, Arles, 1999
 Henri Niggeler, Philippe Kaenel: " Eugène Burnand. Une vie en faces. " Bibliothèque cantonale & universitaire, Lausanne, 2001
 Shirley Darlington: "Eugene Burnand.In Search of the Swiss Artist (1850-1921)" Uniform 2016,

External links
Musée Eugène-Burnand, Moudon. English

English language site about <mask>, many examples of his work, and all the WW1 pastels
Peter and John running to the tomb. Bible Gallery English

References

1850 births
1921 deaths
19th-century Swiss painters
19th-century male artists
Swiss male painters
20th-century Swiss painters
20th-century male artists
Currency

masks:
Eugène Burnand
Burnand
Burnand
Burnand
Eugène Burn
Eugène Burnand
Eugène Melchior
Eugène Burnand
Eugène Burnand
Eugène Burnand
Eugène Burnand
René Burnand
Eugène Burn
René Burnand
Eugène Burn
Eugène Burnand
Eugène Burn
Eugène Burnand


texts:
<mask><mask> is an Indian-American engineer, researcher and educator known for contributions to transportation systems analysis, transportation infrastructure economics and management, transportation safety, and the use of emerging technologies in transportation. He has served as Edgar B. and Hedwig M. Olson Distinguished Professor of Civil Engineering at Purdue University. since 1998. <mask>
<mask> received his bachelor's degree from Jadavpur University in India in 1961, and his master's and doctoral degrees from the University of Connecticut in 1966 and 1968, respectively. He was a faculty member at Marquette University for six years before joining the School of Civil Engineering at Purdue in 1974. <mask> served as Head of the Transportation and Infrastructure Systems Area in the School of Civil Engineering at Purdue from 1981 to 2001 and Director of the Joint Transportation Research Program of Purdue University and the Indiana Department of Transportation from 1995 to 2010. He was a visiting professor of Civil Engineering at the Massachusetts Institute of Technology in fall 1980 and at the Indian Institute of Technology-Roorkee, India, in spring 1981.He was also Lockheed Martin Guest Professor of Engineering and Computer Science at the University of Central Florida during 2015–2016 and Hagler Fellow and Eminent- Scholar-in-Residence at Texas A&M University during 2016–2017. He has been an Honorary or a Guest Professor at five universities in China. <mask> conducts research in the areas of highway infrastructure planning, engineering and management. One of his chief contributions is the development of an integrated approach to highway-asset-management based on facility condition modeling, treatment effectiveness and life-cycle costing. <mask>'s studies on system performance, costing, and network optimization have informed pavement, bridge and safety management systems developed by the American Association of State Highway and Transportation Officials (AASHTO) and the U.S. Army Corps of Engineers. He has also served as a consultant for the World Bank and the United Nations Environmental Program, conducting transportation systems analysis and planning in countries such as Bangladesh, China, Georgia, India, Iran, Nepal, Palestine and Yemen, among others. He was one of the early advocates for the use of advanced technologies in transportation.He and his colleagues at Purdue were early researchers conducting experiments for shared mobility service. <mask>'s most recent work examines the impacts of  autonomous transportation and connected vehicles. He is the co-author (with Samuel Labi) of Transportation Decision Making: Principles of Project Development and Programming (Wiley & Sons, 2007). <mask> is the Editor-in-Chief Emeritus of the Journal of Transportation Engineering (ASCE), and he serves on the editorial boards of Transportation and Statistics (Bureau of Transportation Statistics, US DOT), the Journal of Transportation in Developing Economies (Springer), the Journal of Transportation (Institute of Transportation Engineers), and the Archives of Transport Quarterly (Polish Academy of Sciences). He has served as President of the Transportation & Development Institute of the American Society of Civil Engineers (ASCE), President of the Research and Education Division of the American Road and Transportation Builders Association (ARTBA), and President of the Council of University Transportation Centers (CUTC). He also served as a member of the Executive Committee of the Transportation Research Board (2011–2017), Strategic Highway Research Program Oversight Committee (2009–2015), Blue Ribbon Panel of Experts, US National Surface Transportation Policy and Revenue Study Commission (2006–2007), and Federal Advisory Council on Transportation  Statistics (2001–2005). Honors and awards
<mask> was elected member of the National Academy of Engineering in 2008 “for contributions to the advancement of highway infrastructure engineering and management and to the education of transportation professionals worldwide.” He was recognized as a Distinguished University Alumnus of Jadavpur University, India in 2017,  an Honorary Member of the American Society of Civil Engineers in 2005 and a member of the University of Connecticut School of Engineering's Academy of Distinguished Engineers (2004).<mask> has received many awards including the inaugural Lifetime Achievement Award presented at the 8th International Conference on Maintenance and Rehabilitation of Pavements (2016), the ASCE James Laurie Prize (2011), the Transportation Research Board's Roy W. Crum Award (2009), the Council of University Transportation Centers Lifetime Achievement Award for University Transportation Education and Research (2004), the Wilbur S. Smith Distinguished Transportation Educator Award (2002) given jointly by the Institute of Transportation Engineers and several other professional organizations, the ASCE Francis C. Turner Lecture Award (2001), the American Road and Transportation Builders Association Steinberg Award (1999), the ASCE Harland Bartholomew Award (1996), the Distinguished Engineering Alumni Award of the University of Connecticut (1995), the ASCE Arthur Wellington Prize (1992), the ASCE Frank M. Masters Transportation Engineering Award (1986), and the Fred Burggraf Award of the Transportation Research Board (1972). <mask> was also recognized as a National Associate of the National Academies in 2005 for his involvement in numerous committees and panels of the National Research Council. Publications
Fwa, T.F. and <mask>, K.C. (1986), A Unified Approach for Allocation of Highway Pavement Costs , Transportation Research –A, Vol. 20A, No.3, 211–221. Doherty, M.J., Sparrow, F.T.and <mask>, K.C. (1987), Public (Shared) Use of Autos: Mobility Enterprise Projec t, ASCE Journal of Transportation Engineering, Vol. 113, No.1, 84-100. Feighan, K.J., Shahin, M.Y., Sinha, K.C. and White, T.D. (1989), Application of Dynamic Programming and Other Mathematical Techniques to Pavement Management Systems, Transportation Research Record 1200, 90–98. Sharaf, E.A., Shahin, M.Y.and <mask> (1989), Analysis of the Effect of Deferring Pavement Maintenance, Transportation Research Record 1205, 29–35. Saito, M., <mask>, K.C. and Anderson, V. (1991), Statistical Models for the Estimation of Bridge Replacement Models, Transportation Research-A, Vol. 25A, No.6, 339–350. Karlaftis, M.G., Latoski, S., Richards, N. and <mask>, K.C. (1999), ITS Impacts on Safety and Traffic Management: An Investigation of Secondary Crash Causes, ITS Journal, Vol.5, 39–52. <mask>, K.C., Sustainability and Urban Public Transportation (2003), ASCE Journal of Transportation Engineering, Vol.129, No. 4, 331–341. Li, Z. and <mask>, K.C. (2004), Methodology for Multi-Criteria Decision-Making in Highway Asset Management, Transportation Research Record 1885, 79–87. Bai, Q., Labi, S., <mask>, K.C. (2012). Tradeoff Analysis for Multiobjective Optimization in Transportation Asset Management by Generating Pareto Frontiers Using Extreme Points Non-dominated Sorting Genetic Algorithm II, ASCE Journal of Transportation Engineering, Vol.138, No.6, 798-806

Everett, S., Xiong, Y., Sinha, K.C. and  Fricker (2013). Ex Post Facto Evaluation of Indiana’s Highway Investment Program, Transportation Research Record 2345, 24–30. Kumar, I., Tyner, W.E. and <mask>, K.C. (2016). Input–output Life Cycle Environmental Assessment of Greenhouse Gas Emissions from Utility Scale Wind Energy in the United States, Energy Policy.89: 294-301

<mask>, K.C., Labi, S. Agbelie, B., (2017). Transportation Infrastructure Asset Management in the New Millennium: Continuing Issues, and Emerging Challenges and Opportunities, Transportmetrica Part A: Transport Science 13(7), 591–606

References

External links
Purdue University Profile

Year of birth missing (living people)
Living people
Members of the United States National Academy of Engineering
20th-century Indian engineers
21st-century Indian engineers
Indian civil engineers
American civil engineers
20th-century American engineers
21st-century American engineers
University of Connecticut alumni
Marquette University faculty
Purdue University faculty
Indian emigrants to the United States

masks:
Kumares C
. Sinha
Career
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha
Sinha


texts:
<mask> (May 28, 1943 – June 9, 1984) (Tewa name: Tsa-sah-wee-eh, which means "Little Standing Spruce") was a Native American painter. She started making and selling paintings, participated in University of Arizona's Southwest Indian Art Project and was featured in Seventeen magazine, all before she was 18 years of age. Creating art was a means of spiritual expression that developed from her Roman Catholic upbringing and Native American heritage. She created contemporary works of art with geometric patterns based upon Native American symbols and motifs, like corn, katsinas, and chiefs. In 1976 she was featured in the PBS American Indian artists series. Early life and education
<mask> was born on May 28, 1943 in Albuquerque, New Mexico, the daughter of Pablita Velarde, Santa Clara Pueblo artist, and <mask>, a European-American former police officer and Chief of Public Safety. Hardin's first language was Tewa.She was named Tsa-Sah-Wee-Eh at a naming ceremony at the Santa Clara Pueblo about a month after she was born. Hardin was raised by her artistic mother and her family at the Santa Clara Pueblo and she went to school and lived among the Anglo world for much of her life. She saw herself as "Anglo socially and Indian in [her] art." At six years of age Hardin won first prize for a drawing. Her works were sold when she was nine with her mother's at Gallup ceremonial events. Although she was influenced by her mother's techniques and works, Hardin wanted to create her own style. Her relationship with her mother became increasingly difficult as Hardin became more artistic and as a consequence of her parents' divorce in 1957 or 1959.She studied drafting at Albuquerque's St. Pius X High School, a parochial Catholic school. In the summer of 1960 Hardin attended the University of Arizona's Southwest Indian Art Project, funded by the Rockefeller Foundation. Also while in high school she was featured in Seventeen magazine. In 1961 and 1962 she attended the University of New Mexico, where she studied architecture and art, although her mother wanted her to study business. Her mother also said she didn't like her paintings. Hardin considered her own work to be non-traditional, yet she was influenced by native pictographs, petroglyphs and pottery designs and the works of her teacher Joe Herrera, who was a Cubist from the Cochiti Pueblo. Hardin's relationship with her high school boyfriend, Pat Terrazas, continued after graduation and they had a daughter, Margarete Bagshaw, in 1964.Hardin had to sneak opportunities to paint because both her boyfriend and her mother disapproved She went to Bogotá, Colombia in 1968 as a respite from the abusive relationship with Terrazas and an unhealthy relationship with her mother. She said of that time, "I awoke to the fact that I was twenty-four years old, I was locked into an unhappy [relationship], and I was not painting. I didn't know who I was or what I was. In search of personal freedom, I took Margarete... and left the country." Art

She was a studio artist, who from the 1960s to mid 1970s lectured and exhibited paintings at Albuquerque's Enchanted Mesa Gallery. Hardin's early artistic works were characterized as traditionally realistic and she signed them with her Tewa name, Tsa-Sah-Wee-Eh. She was influenced by her spirituality and the protective, supportive "angels" in her life.Up to 26 layers of paint - including ink washes, acrylics, airbrush and varnish - were applied to create her works; Hardin painted tiny dots called stipples; spattered paint with a toothbrush, like Anasazi pottery; and applied transparent washes. In 1964 Hardin made the painting Medicine Talk for her first major solo exhibition at Enchanted Mesa. While with her father in 1968 in Bogotá, Colombia, she began painting in earnest and had a successful show at the American Embassy, where she sold 27 paintings. Since her reputation in the United States was tied with her mother's success, she had not been sure the degree to which she had success based upon her own merit. In Colombia her success was based on her talent alone. When she returned to United States, her art became more geometric and abstract, and she used deep colored paints. Hardin was said to have brought a "new look" to Native American art by New Mexico Magazine.The publicity was a turning point in her career, its publicity led to greater success and recognition. In 1971 she had a show in Guatemala City. As her career matured and she gained confidence, Hardin became known for painting complex works that combined colorful images and symbols from her Native American heritage with modern abstract art techniques. Her work frequently incorporated images of women, chiefs, kachinas and designs from pueblo pottery, and integrated modern elements as her career advanced. For instance, the paintings of kachinas and blanketed chiefs integrated geometric patterns made with drafting templates, rulers and protractors. Kachinas, or heavenly messengers, had special spiritual meaning, similar to the saints from her Catholic tradition, connecting between people on earth and heaven. She was filmed in 1976 for a series on American Indian artists for Public Broadcasting System (PBS).Other filmed artists included R. C. Gorman, Charles Loloma, Allan Houser, Joseph Lonewolf, and Fritz Scholder. Bountiful Mother made in 1980 represents two aspects of motherhood from the Pueblo and Hopi culture: Corn Mother and Mother Earth. The cultivation and consumption of corn was so central to the pueblo culture that it was "... a living entity with a body similar to man's in many respects ...the people built its flesh into their own." In the work, the woman's fertility is symbolized by the kernels of blue corn of her body. In 1981 she made the self-portrait Metamorphosis: "The features were contained within a perfect circle, a Jungian archetype of psychic wholeness and the symbol for Hardin of life itself, but everything else about the painting was fragmented, jagged and asymmetrical," said Jay Scott, her biographer, of the "tormented pieces of her life." From 1980 through 1984, she completed 23 copper plate etchings, including a series that included Changing Woman, Medicine Woman, and Listening Woman. Creative Woman was intended to be part of the series but the she died before it was created.These etchings portrayed the "intellectual, emotional, and sensitive" aspects of womanhood. Hardin was commissioned to create children's book illustrations for Clarke Industries and design coins for Franklin Mint's History of the American Indian series. Hardin's work was part of Stretching the Canvas: Eight Decades of Native Painting (2019–21), a survey at the National Museum of the American Indian George Gustav Heye Center. Personal life
In 1973 Hardin married Cradoc Bagshaw, a professional photographer. Her relationship with her mother improved in the 1980s, and Velarde began to be supportive of her work. Hardin was diagnosed with breast cancer in 1981 and died in New Mexico in 1984. Awards
She received honors for her work at the Heard Museum, Scottsdale National Indian Arts Exhibition, Philbrook Art Center, the Inter-Tribal Ceremonial at Gallup, New Mexico, and the Santa Fe Indian Market.At these shows she won "Best of Show", first prize and grand awards. Collections
Her works are in the collections of:

 Heard Museum, Phoenix, Arizona
 Indian Arts & Crafts Board, U.S. Department of the Interior, Washington, D.C.
 Loyola Law School, Los Angeles, CA
 Millicent Rogers Museum, El Prado, New Mexico
 Museum of New Mexico, Santa Fe
 Southwest Museum, Los Angeles, CA
 University of Oklahoma Museum of Art, Norman
 Wheelwright Museum of the American Indian, Santa Fe, New Mexico. Works
A select number of her works include:

 Bountiful Mother, 1980, 45.7 × 40.64 cm, etching and intaglio
 Changing Woman
 Listening Woman
 Looking at Myself I Am Many Parts
 Medicine Talk, 1964, approximately 71.12 × 35.56 cm, casein
 Medicine Woman, 1981, approx. 61 × 45.7 cm, four-color copper plate etching. Notes

Further reading
 LouAnn Faris Culley. "<mask>in: A Retrospective." American Indian Art 4, Summer 1979, 68-75.Jane B. Katz, editor. This Song Remembers: Self-Portraits of Native Americans in the Arts. Boston: Houghton Mifflin, 1980. Betty LaDuke. Women Artists: Multi-Cultural Visions. Trenton, NJ: Red Sea Press, Inc., 1992. Kate Nelson.<mask>: A Straight Line Curved. Santa Fe, Little Standing Spruce Publishing, 2012. 978-0-9857636-1-9. Jay Scott, Changing Woman: The Life and Art of <mask>'', Northland Publishing, 1989,  (hardcover),  (softcover)

External links
 A transcendent journey through the motherline:a voyage with <mask>, southwest artist, by Kate Donohue, 2001
 The Collector's Guide: <mask>in

Santa Clara Pueblo people
Native American painters
Painters from New Mexico
1943 births
1984 deaths
American women painters
Pueblo artists
20th-century American women artists
Native American women artists
20th-century Native Americans
20th-century Native American women

masks:
Helen Hardin
Helen Hardin
Herbert Hardin
Helen Hard
Helen Hardin
Helen Hardin
Helen Hardin
Helen Hard


texts:
<mask> (), also spelled Syncellus (c. 760 – 4 January 846), was a Greek Orthodox Arab Christian priest, monk and saint. He held the administrative office of synkellos of the patriarchate of Jerusalem (c. 811–815) and the patriarchate of Constantinople (843–846). He was involved in disputes over the filioque clause and over Byzantine iconoclasm, which landed him in prison for the period 815–843. He nevertheless wrote extensively, producing grammar, theology, hagiographies, hymns and poetry. He wrote in Greek and made at least one translation from Arabic. Life
<mask> was born in Jerusalem in or about 761. He was of Arab origin.He was the only son of his parents and had several older sisters. His mother dedicated him at the age of three to the Church of the Holy Sepulchre, where he was given the rank of anagnostes (reader). Around 786, when he was twenty-five, his father died, his mother and sisters entered a convent and he entered the lavra of Mar Saba as a monk. In 797 or 798, he was ordained a priest by the patriarch of Jerusalem. After two years in Jerusalem, he returned to Mar Saba. In 800, he accepted the brothers Theodore and Theophanes as his monastic disciples. The period following the death of Hārūn al-Rashīd (809) until the accession of al-Maʾmūn (813) was one of unrest that greatly affected the churches of Palestine.Between 808 and 812, probably about 811, <mask> was named synkellos of the patriarch of Jerusalem. With his two disciples, he moved into the monastery of the Spudaioi near the Holy Sepulchre. Between about 811 and 813, he visited Edessa, where he wrote his treatise on syntax. In 812 or 813, Patriarch Thomas I of Jerusalem sent <mask> on a mission to Constantinople and Rome, accompanied by his disciples Theodore, Theophanes and Job. The purpose of <mask>'s mission was to bring letters from Thomas to Pope Leo III referring to him the controversy over the filioque that had erupted in Jerusalem in 809 and to request financial assistance in the West for the churches in Palestine following the imposition of fines by the Islamic authorities. <mask> and his disciples arrived in Constantinople during the reign of <mask> I, that is, before July 813. For reasons unknown, they remained in Constantinople for some time and never got to Rome.They stayed at the Chora monastery and became involved in disputes over the re-introduction of iconoclasm by the Emperor Leo V in 815. The four were arrested, beaten, imprisoned in Phiale and offered money to recant their iconodulism. While Theodore and Theophanes were sent away, <mask> and Job remained in Phiale. Following the accession of <mask> in 820, the two were exiled to the monastery of Prousias (or Prousa) near Mount Olympus. In 834, the Emperor Theophilos had them placed in solitary confinement in the Praitorion in Constantinople. In 836, <mask> was moved to a new cell, where he was attended by the nun Euphrosyne. In 843, <mask> was released by the Emperor <mask>, who repudiated iconoclasm.He was elected patriarch of Constantinople, but refused the honour. He was instead appointed synkellos of the patriarchate and hegoumenos (abbot) of the Chora. He set about restoring the monastery with patriarchal and imperial assistance, dying there on 4 January 846. He was immediately regarded as a saint and an anonymous contemporary wrote a hagiography of him. Nikephoros Gregoras later also wrote a biography. Writings
The identification of the writings of <mask> is complicated by the existence of three or four 9th-century writers named <mask> who were identified by their office of synkellos. <mask> is sometimes, but not always, identified as "of Jerusalem" or "of Constantinople".There was even another <mask> who was synkellos of Constantinople. Those extant works which are surely attributed to him include:

Methodos peri tēs tou logou syntaxeos, the earliest surviving medieval treatise on Greek syntax, written between 811 and 813. It contains eight chapters on the parts of speech. It became very popular in the 13th century and exists in around 100 manuscripts. An encomium on Dionysius the Areopagite, written during his confinement in Prousias (820–834). A translation into Greek of an Arabic profession of the Chalcedonian faith by the Sabaite monk Theodore Abu Qurrah addressed to the Armenians around 813. Libellos peri tes orthodoxou pisteos, a short book on orthodoxy.An anacreontic poem on the restoration of icons. Four canons (hymns). Extant works the attribution of which to him is disputed include:

A letter addressed to Theodore and Theophanes. It is incorporated into his anonymous biography, but its authenticity is disputed. It was written in 836 after the two were brought back to Constantinople from their exile for questioning and tattooing. An account of the 42 martyrs of Amorion. According to a manuscript of 1023, it was read out on 7 March 843, 844 or 845, which would make it one of <mask>'s last works.An encomium on Zechariah, father of John the Baptist; two encomia on the angels; one on the archangels Gabriel and <mask>; one on Saint Mocius; and one on Saints Isaac and Dalmatius. An account of the life and miracles of John of Damascus and Cosmas of Maiuma and another biography of John of Damascus. Two orations or homilies, one on the dead and one on the Holy Girdle. A polemical refutation of Islam with an account of its origins. This is found in the passage 697.12–702.9 of the Chronicon syntomon of George Hamartolos, who refers to <mask>'s summary (epitome) on the topic. This may indicate that George was using an epitome made by <mask> either of a work of his own or a work by another. Several lost writings by <mask> are known from his biography:

His correspondence with the Greek monks of Byzantine Sicily concerning the filioque.His correspondence with other iconodules during his confinement in Prousias. His correspondence during solitary confinement with the iconodules Stephen the asekretis and Kallonas the spatharios. Notes

Bibliography

760s births
846 deaths
People from Jerusalem
8th-century Christian monks
9th-century Christian monks
8th-century people of the Abbasid Caliphate
9th-century people of the Abbasid Caliphate
9th-century Byzantine people
9th-century linguists
Arab Christian saints
Eastern Orthodox Christians from Palestine
Christianity in the Abbasid Caliphate
Byzantine Iconoclasm
Filioque
Byzantine hymnographers
Christian hagiographers
Translators from Arabic
Translators to Greek

masks:
Michael Synkellos
Michael
Michael
Michael
Michael
Michael
Michael
Michael
Michael II
Michael
Michael
Michael III
Michael Synkellos
Michael
Michael Synkellos
Michael
Michael
Michael
Michael
Michael
Michael


texts:
James "<mask><mask> (1 January 1891 – 2 March 1971) also known as <mask> was an Australian comedian, circus clown, acrobat, writer, director and troupe leader and filmmaker. He is generally regarded as one of the four leading post-World War I comedians to work the Australasian variety circuits, the others being Nat Phillips, Roy Rene, and George Wallace. Biography
Born at Darlington, New South Wales, <mask> was the seventh son of Stephen Australia Fitzgerald, a tailor turned actor, and his wife Mary Ann, née Ingram. In his youth <mask> played truant from school to watch acrobats practising on the sandhills behind Centennial Park, learned to tumble and haunted his uncles' circus. Three of his brothers also went on the stage using the names 'Max Clifton', 'Lance Vane' and 'Cliff Stevens'. In 1898 his father apprenticed him to Oscar Pagel's Circus. He subsequently travelled the world, including South Africa, Africa, the Far East and North America for around ten years.Back in Australia by c.1907–1908, <mask> found employment with several circuses; and as 'Diabolo' was billed as the first man to loop the loop on a motorcycle. In 1910 he and two of his brothers, Lance Vane and Max Clifton, appeared in The Life and Adventures of John Vane, the Notorious Australian Bushranger. That film, also directed by his father, is now viewed as a significant landmark in the history of Australian cinema, being the first recorded involvement in narrative film production by Charles Cozens Spencer (a leading figure in the early Australian film industry). <mask>'s "move into variety entertainment began in 1912 when he toured with his father's All Stars drama and vaudeville company as both comedian and acrobat. Although he soon afterwards signed with Sir Benjaman Fullers, Fullers' Theatres vaudeville circuit]]. <mask> was immediately leased to Stanley McKay for his touring pantomime company, and over the next five to six years appeared throughout Australia and New Zealand as a specialist pantomime dame Within a year of joining McKay's company <mask> married Esther Patience Futcher, a 27-year-old actress known by stage name Essie Jennings (1886-1969). The ceremony took place on 21 July 1913 at St Peter's Anglican Church, Wellington, New Zealand,.The two latter formed a highly popular knockabout comedy sketch act, appearing in sketches such as "The Actress and the Paperhanger" and "The new Recruit." Fitzgerald enlisted in the Australian Imperial Force on 5 May 1916 and served in Mesopotamia as a driver with the 1st Australian and New Zealand Wireless Signal Squadron. Discharged on 12 October 1918, he returned to the Fullers' circuit and was soon asked by (Sir) Benjamin Fuller to write and produce his own revue sketches. He had seen the funny side of soldiering in Mesopotamia and his act, 'The New Recruit', remained popular for years. Unlike his contemporaries Roy Rene and George Wallace, <mask> was 'unashamedly international' in his work. Almost every Christmas he played the dame in pantomimes. He made some thirty silent films in the United States of America in 1928, and was influenced by Sir Charlie Chaplin whom he greatly admired.When the Fullers folded in 1933, <mask> continued to play six-month seasons in Sydney and Melbourne under various managements. In 1935-36 he appeared in several revues at the Garrick Theatre, including Don't Spare the Horses. Returning to Sydney, in May 1936 he featured in Shout for Joy. One critic wrote that he 'cannot particularly sing nor does he know much about dancing, but he is undoubtedly a master of patter, of quick, well-timed delivery and retort'. <mask> signed a contract with the Australian Broadcasting Commission in February 1939; he starred in 'Jim and Jitters' with <mask>'s A.B.C. Dance Band and conducted the Saturday 'After-Dinner Show'. Next year he formed his own radio-production company.On 10 April 1941 <mask> was appointed honorary lieutenant colonel in the A.I.F. Placed in charge of the Entertainment Unit, he embarked for the Middle East on 1 September in the Queen Elizabeth. A shrewd organizer and an experienced producer, he gathered Davidson and his band, comedians, singers, jugglers, acrobats and trick cyclists, as well as backstage technicians, 'among them costume designers, seamstresses and electricians'. At his headquarters at Tel Aviv, Palestine, he recruited a female chorus line. The first performance at Gaza of All in Fun was 'received with rapturous applause'. Home again in October 1942, <mask> transferred to the retired list on 31 December. He joined the Tivoli circuit and appeared in the revue, Stripped for Action (1943).In 1951 he played the happy roué in Ladies' Night in a Turkish Bath. He shared top billing with Wallace in Thanks for the Memory, at AusStage: Gateway to the Performing Arts. (sighted 19 January 2014)</ref> at the Princess Theatre, Melbourne, in 1953 and toured for three years in that revue. He was 'as uproariously funny as ever though not as spry' in The Good Old Days (Sydney, 1957). Next year he retired to St Kilda, Melbourne. <mask> enjoyed watching any kind of sport, but his passion was for motoring: he owned a succession of cars which he drove across America, through Europe, the Middle East and Britain, and all over Australia. After Essie's death in 1969, he moved into a home at Rosebud.He died there on 2 March 1971 and was cremated. '<mask> was probably best remembered for his versatility—as a big-eared oaf in baggy pants and shapeless hat, as a seemingly rubber-boned and pathetically droll clown and as Australia's greatest pantomime dame.' Notes
 A number of secondary sources (including an earlier version of this Wikipedia entry) have incorrectly claimed that <mask> was a nephew to Dan and Tom Fitzgerald (Fitzgerald Brother's Circus) and their younger brother John Daniel Fitzgerald (1862-1922), a prominent Sydney barrister, social reformer and Labor parliamentarian. In her 1996 entry on <mask> for the Australian Dictionary of Biography, Martha Rutledge writes, for example, that he was a "nephew of J. D. Fitzgerald,' and that he 'haunted his uncle's circus.' In this respect she is possibly referencing and expanding on Charles Norman's comment in When Vaudeville Was King (1983). On page 224 Norman writes: '<mask> came from a circus family. Some of his uncles were the top names of the day.'Robert Colomb, retired Reader in Information Systems, School of Information Technology and Electrical Engineering (University of Queensland) has discovered through extensive historical and genealogical research that the two Fitzgerald families were unrelated. In correspondence with the Australian Variety Theatre Archive (April 2013) he draws attention to Stephen Australia Fitzgerald's father, Stephen Fitzgerald, having been born in Clifton, Gloucester (England) in 1820. Columbs' evidence is given further credibility through Bede Nairn's biography of John 'Jack' Fitzgerald (Australian Dictionary of Biography). In this entry she records that he and his older brothers Dan and Tom were the sons of schoolteacher John Daniel Fitzgerald and his wife Mary Ann, née Cullen, both from Limerick, Ireland. Dan and Tom were born in New Zealand in the late 1850s, while "Jack" was born in Shell Harbour, New South Wales in 1862. There is no reference to S.A. Fitzgerald because he came from an entirely different Fitzgerald family
 The Companion to Theatre in Australia (1995) claims that <mask> began his career in variety with Harry Clay (p. 243). However, extensive research into Clay's operations by his great-great-great nephew, Clay Djubal, has failed to find any evidence of <mask> ever having working for the Sydney-based showman.<mask>'s statement in a 1928 Everyone's interview that he "started with the Fullers and planned to finish with them" (22 February 1928, p. 46), puts further doubt on the Harry Clay claim. References

External links
"<mask>" at Australian Variety Theatre Archive (sighted 19 January 2014)
"<mask>" at AustLit: The Australian Literature Resource (subscription service)
"Jim Gerald Revue Co" at Australian Variety Theatre Archive (sighted 19 January 2014)

1891 births
1971 deaths
Australian male comedians
20th-century Australian comedians

masks:
Jim
" Gerald
James Gerald Diabolo
Gerald
Jim
Gerald
Gerald
Gerald
Gerald
Gerald
Gerald
Gerald
Jim Davidson
Gerald
Gerald
Gerald
Jim Gerald
Jim Gerald
Gerald
Jim Gerald
Gerald
Gerald
Gerald
Jim Gerald
Jim Gerald


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Shuhada Sadaqat (born <mask>'Connor on 8 December 1966) is an Irish singer-songwriter. Her debut album, The Lion and the Cobra, was released in 1987 and charted internationally. Her single "Nothing Compares 2 U" was released in 1990 and named the number one world single for the same year by the Billboard Music Awards. While maintaining her singing career since then she has occasionally encountered controversy, partly due to her statements and gestures. These include her ordination as a priest, despite being a woman with a Roman Catholic background, and strongly expressing views on organised religion, women's rights, war, and child abuse. In addition to her ten solo albums, her work includes many singles, songs for films, collaborations with many other artists, and appearances at charity fundraising concerts. In 2017, O'Connor changed her name to Magda Davitt.After converting to Islam in 2018, she changed it to Shuhada' Sadaqat (). However, she continues to record and perform under her birth name. Early life
O'Connor was born in Glenageary, County Dublin on 8 December 1966. She was named <mask> after <mask> de Valera, the wife of Irish President Éamon de Valera, Marie after the mother of the doctor presiding over the delivery, and Bernadette in honour of Saint Bernadette of Lourdes. She is the third of five children; her siblings are novelist Joseph, Eimear, John, and Eoin. Her parents are Sean O'Connor, a structural engineer later turned barrister and chairperson of the Divorce Action Group, and Marie O'Connor. In 1979 O'Connor left her mother and went to live with her father and his new wife.At the age of 15, her shoplifting and truancy led to her being placed for eighteen months in a Magdalene asylum, the Grianán Training Centre run by the Order of Our Lady of Charity. In some ways, she thrived there, especially in the development of her writing and music, but she also chafed under the imposed conformity. Unruly students there were sometimes sent to sleep in the adjoining nursing home, an experience of which she later commented, "I have never—and probably will never—experience such panic and terror and agony over anything." O'Connor's mother Marie died in an car accident in 1986, when O'Connor was nineteen. In June 1993, O'Connor wrote a public letter in The Irish Times which asked people to "stop hurting" her: "If only I can fight off the voices of my parents / and gather a sense of self-esteem / Then I'll be able to REALLY sing ..." The letter repeated accusations of abuse by her parents as a child which O'Connor had made in interviews. Her brother Joseph defended their father to the newspaper but agreed regarding their mother's "extreme and violent abuse, both emotional and physical". O'Connor said that month, "Our family is very messed up.We can't communicate with each other. We are all in agony. I for one am in agony." Musical career

1980s
One of the volunteers at Grianán was the sister of Paul Byrne, drummer for the band In Tua Nua, who heard O'Connor singing "Evergreen" by Barbra Streisand. She recorded a song with them called "Take My Hand" but they felt that at 15, she was too young to join the band. Through an ad she placed in Hot Press in mid-1984, she met Colm Farrelly. Together they recruited a few other members and formed a band called Ton Ton Macoute.The band moved to Waterford briefly while O'Connor attended Newtown School, but she soon dropped out of school and followed them to Dublin, where their performances received positive reviews. Their sound was inspired by Farrelly's interest in world music, though most observers thought O'Connor's singing and stage presence were the band's strongest features. O'Connor's time as singer for Ton Ton Macoute brought her to the attention of the music industry, and she was eventually signed by Ensign Records. She also acquired an experienced manager, Fachtna O'Ceallaigh, former head of U2's Mother Records. Soon after she was signed, she embarked on her first major assignment, providing the vocals for the song "Heroine", which she co-wrote with U2's guitarist The Edge for the soundtrack to the film Captive. O'Ceallaigh, who had been fired by U2 for complaining about them in an interview, was outspoken with his views on music and politics, and O'Connor adopted the same habits; she defended the actions of the Provisional IRA and said U2's music was "bombastic". She later retracted her IRA comments saying they were based on nonsense, and that she was "too young to understand the tense situation in Northern Ireland properly".Her first album The Lion and the Cobra was "a sensation" when it was released in 1987 on Chrysalis Records, and it reached gold record status, earning a Best Female Rock Vocal Performance Grammy nomination. The single "Mandinka" was a big college radio hit in the United States, and "I Want Your (Hands on Me)" received both college and urban play in a remixed form that featured rapper MC Lyte. In her first US network television appearance, O'Connor sang "Mandinka" on Late Night with David Letterman in 1988. The single "Troy" was also released as a single in the UK, Ireland, and the Netherlands, where it reached number 5 on the Dutch Top 40 chart. O'Connor named Bob Dylan, David Bowie, Bob Marley, Siouxsie and the Banshees and The Pretenders as the artists who influenced her on her debut album. In 1989 O'Connor joined The The frontman Matt Johnson as a guest vocalist on the band's album Mind Bomb, which spawned the duet "Kingdom of Rain". 1990s
Her second album – 1990's I Do Not Want What I Haven't Got – gained considerable attention and mostly positive reviews: it was rated "second best album of the year" by the NME.She was praised for her voice and her original songs. She was also noted for her appearance: her trademark shaved head, often angry expression, and sometimes shapeless or unusual clothing. The album I Do Not Want What I Haven't Got featured Marco Pirroni and Kevin Mooney, of Adam and the Ants fame, and contained her international breakthrough hit "Nothing Compares 2 U", a song written by Prince and originally recorded and released by a side project of his, The Family. Hank Shocklee, producer for Public Enemy, remixed the album's next single, "The Emperor's New Clothes", for a 12-inch that was coupled with the Celtic funk of "I Am Stretched on Your Grave". Pre-dating but included on I Do Not Want What I Haven't Got was also "Jump in the River", which originally appeared on the Married to the Mob soundtrack; the 12-inch version of the single had included a remix featuring performance artist Karen Finley. Also in 1990, O'Connor starred in a small independent Irish movie Hush-a-Bye Baby directed in Derry by Margo Harkin. In 1990, she joined many other guests for former Pink Floyd member Roger Waters' massive performance of The Wall in Berlin.(In 1996, she would guest on Broken China, a solo album by Richard Wright of Pink Floyd.) In 1991, her take on Elton John's "Sacrifice" was acclaimed as one of the best efforts on the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. In 1990, she contributed a cover of "You Do Something to Me" to the Cole Porter tribute/AIDS fundraising album Red Hot + Blue produced by the Red Hot Organization. Red Hot + Blue was followed by the release of Am I Not Your Girl?, an album of standards and torch songs that she had listened to while growing up. The album received mixed-to-poor reviews, and was a commercial disappointment in light of the success of her previous work. Also in 1990, she was criticised after she stated that she would not perform if the United States national anthem was played before one of her concerts. Frank Sinatra threatened to "kick her in the ass".After receiving four Grammy Award nominations, she withdrew her name from consideration. Although nominated for the Brit Award for International Female Solo Artist (which she won) she did not attend the awards ceremony, but did accept the Irish IRMA in February 1991. She spent the following months studying Bel canto singing with teacher Frank Merriman at the Parnell School of Music. In an interview with The Guardian published 3 May 1993 she reported that her singing lessons with Merriman were the only therapy she was receiving, describing Merriman as "the most amazing teacher in the universe." Also in 1992, she contributed backing vocals on the track "Come Talk To Me", and shared vocals on the single "Blood of Eden" from the studio album Us by Peter Gabriel. The 1993 soundtrack to the film In the Name of the Father featured "You Made Me the Thief of Your Heart", with significant contributions from U2 frontman Bono. The more conventional Universal Mother (1994) did not succeed in restoring her mass appeal; however the music videos for the first and second singles, "Fire on Babylon" and "Famine", were nominated for a Grammy Award for Best Short Form Music Video.She toured with Lollapalooza in 1995, but dropped out when she became pregnant. The Gospel Oak EP followed in 1997, and featured songs based in an acoustic setting. In 1994, she appeared in A Celebration: The Music of Pete Townshend and The Who, also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey of The Who in celebration of his 50th birthday. A CD and a VHS video of the concert were issued in 1994, followed by a DVD in 1998. She appeared in Neil Jordan's The Butcher Boy in 1997, playing the Virgin Mary. In 1998, she worked again with the Red Hot Organization to co-produce and perform on Red Hot + Rhapsody.2000s

Faith and Courage was released in 2000, including the single "No Man's Woman", and featured contributions from Wyclef Jean of the Fugees and Dave Stewart of Eurythmics. Her 2002 album, Sean-Nós Nua, marked a departure in that O'Connor interpreted or, in her own words, "sexed up" traditional Irish folk songs, including several in the Irish language. In Sean-Nós Nua, she covered a well-known Canadian folk song, "Peggy Gordon", interpreted as a song of lesbian, rather than heterosexual, love. In her documentary, Song of Hearts Desire, she stated that her inspiration for the song was her friend, a lesbian who sang the song to lament the loss of her partner. In 2003, she contributed a track to the Dolly Parton tribute album Just Because I'm a Woman, a cover of Parton's "Dagger Through the Heart". That same year, she also featured on three songs of Massive Attack's album 100th Window before releasing her double album, She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty. This compilation contained one disc of demos and previously unreleased tracks and one disc of a live concert recording.Directly after the album's release, O'Connor announced that she was retiring from music. Collaborations, a compilation album of guest appearances, was released in 2005—featuring tracks recorded with Peter Gabriel, Massive Attack, Jah Wobble, Terry Hall, Moby, Bomb The Bass, The Edge, U2, and The The. Ultimately, after a brief period of inactivity and a bout with fibromyalgia, her retirement proved to be short-lived. O'Connor stated in an interview with Harp magazine that she had only intended to retire from making mainstream pop/rock music, and after dealing with her fibromyalgia she chose to move into other musical styles. The reggae album Throw Down Your Arms appeared in late 2005. On 8 November 2006, O'Connor performed seven songs from her upcoming album Theology at The Sugar Club in Dublin. Thirty fans were given the opportunity to win pairs of tickets to attend along with music industry critics.The performance was released in 2008 as Live at the Sugar Club deluxe CD/DVD package sold exclusively on her website. O'Connor released two songs from her album Theology to download for free from her official website: "If You Had a Vineyard" and "Jeremiah (Something Beautiful)". The album, a collection of covered and original Rastafari spiritual songs, was released in June 2007. The first single from the album, the Tim Rice and Andrew Lloyd Webber classic "I Don't Know How to Love Him", was released on 30 April 2007. To promote the album, O'Connor toured extensively in Europe and North America. She also appeared on two tracks of the new Ian Brown album The World Is Yours, including the anti-war single "Illegal Attacks". 2010s
In January 2010, O'Connor performed a duet with R&B singer Mary J. Blige produced by former A Tribe Called Quest member Ali Shaheed Muhammad of O'Connor's song "This Is To Mother You" (first recorded by O'Connor on her 1997 Gospel Oak EP).The proceeds of the song's sales were donated to the organisation GEMS (Girls Educational and Mentoring Services). In 2012 the song "Lay Your Head Down", written by Brian Byrne and Glenn Close for the soundtrack of the film Albert Nobbs and performed by O'Connor, was nominated for a Golden Globe Award for Best Original Song. In 2011, O'Connor worked on recording a new album, titled Home, to be released in the beginning of 2012, titled How About I Be Me (and You Be You)?, with the first single being "The Wolf is Getting Married". She planned an extensive tour in support of the album but suffered a serious breakdown between December 2011 and March 2012, resulting in the tour and all other musical activities for the rest of 2012 being cancelled. O'Connor resumed touring in 2013 with The Crazy Baldhead Tour. The second single "4th and Vine" was released on 18 February 2013. In February 2014, it was revealed that O'Connor had been recording a new album of original material, titled The Vishnu Room, consisting of romantic love songs.In early June 2014, it O'Connor's new album was retitled I'm Not Bossy, I'm The Boss, with an 11 August release date. The title derives from the Ban Bossy campaign that took place earlier the same year. The album's first single is entitled "Take Me to Church". In November 2014, O'Connor's management was taken over by Simon Napier-Bell and Björn de Water. On 15 November, O'Connor joined the charity supergroup Band Aid 30 along with other British and Irish pop acts, recording a new version of the track "Do They Know It's Christmas?" at Sarm West Studios in Notting Hill, London, to raise money for the West African Ebola virus epidemic. Retirement announced and retracted
On 4 June 2021, O'Connor announced her immediate retirement from the music industry.While her final studio album, No Veteran Dies Alone, is due to be released in 2022, O'Connor stated that she would not be touring or promoting it. Announcing the news on Twitter, she said "This is to announce my retirement from touring and from working in the record business. I've gotten older and I'm tired. So it's time for me to hang up my nipple tassels, having truly given my all. NVDA in 2022 will be my last release. And there'll be no more touring or promo." Later, on 7 June, she retracted this statement, describing the original announcement as "a knee-jerk reaction" to an insensitive interview, and that she would be doing her already scheduled 2022 tour.Controversies

Saturday Night Live performance

On 3 October 1992, O'Connor appeared on Saturday Night Live as a musical guest. She sang an a cappella version of Bob Marley's "War", which she intended as a protest against sexual abuse of children in the Catholic Church, referring to child abuse rather than racism. She then presented a photo of Pope John Paul II to the camera while singing the word "evil", after which she tore the photo into pieces, said "Fight the real enemy", and threw the pieces towards the camera. The incident occurred nine years before John Paul II acknowledged the sexual abuse within the Church. Saturday Night Live had no foreknowledge of O'Connor's plan; during the dress rehearsal, she held up a photo of a refugee child. NBC Vice-President of Late Night Rick Ludwin recalled that when he saw O'Connor's action, he "literally jumped out of [his] chair". SNL writer Paula Pell recalled personnel in the control booth discussing the cameras cutting away.The audience was completely silent, with no booing or

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 applause; executive producer Lorne Michaels recalled that "the air went out the studio". He ordered that the applause sign not be used. A nationwide audience saw O'Connor's live performance, which the New York Daily Newss cover called a "Holy Terror". NBC received more than 500 calls on Sunday and 400 more on Monday, with all but seven criticising O'Connor; the network received 4,400 calls in total. Contrary to rumour, NBC was not fined by the Federal Communications Commission for O'Connor's act, as the FCC has no regulatory power over such behaviour. NBC did not edit the performance out of the West coast tape-delayed broadcast that night. , NBC broadcasts reruns of the episode using footage from the dress rehearsal.During his opening monologue the following week, Catholic-raised host Joe Pesci held up the photo, explaining that he had taped it back together, to huge applause. Pesci also said that if it had been his show, "I would have gave her such a smack". In a 2002 interview with Salon, when asked if she would change anything about the SNL appearance, O'Connor replied, "Hell, no!" In her 2021 book Rememberings, O'Connor said of the incident: "Everyone wants a pop star, see? But I am a protest singer. I just had stuff to get off my chest. I had no desire for fame."Madonna's reaction
When Catholic-raised Madonna appeared later that season on SNL, after singing "Bad Girl", she held up a photo of Joey Buttafuoco and, saying "fight the real enemy", tore it up. Madonna also roundly attacked O'Connor in the press for the incident, telling the Irish Times: "I think there is a better way to present her ideas rather than ripping up an image that means a lot to other people." She added, "If she is against the Roman Catholic Church and she has a problem with them, I think she should talk about it." The New York Times called it "professional jealousy" and wrote:

Bob Guccione, Jr. in a 1993 Spin editorial was adamant in his defence of O'Connor, writing:

In November 1991, a year prior to the incident, O'Connor had told Spin magazine:

Bob Dylan tribute performance
Two weeks after the Saturday Night Live appearance, she was set to perform "I Believe in You" at the Bob Dylan 30th Anniversary tribute concert in Madison Square Garden. She was greeted by a thundering mixture of cheers and jeers. During the booing, Kris Kristofferson told her not to "let the bastards get you down", to which she replied, "I'm not down." The noise eventually became so loud that O'Connor saw no point in starting the scheduled song.She called for the keyboard player to stop and the microphone to be turned up, and then screamed over the audience with an improvised, shouted rendition of "War", which she stopped just after mentioning child abuse, emphasizing the point of her previous action. She then looked straight to the audience for a second and left the stage. Kristofferson then comforted her, as she cried. After Dark appearance

In January 1995, O'Connor made an appearance on the British late-night television program After Dark during an episode about sexual abuse and the Catholic church in Ireland. The discussion included a Dominican friar and another representative of the Catholic church, along with former Taoiseach Garret FitzGerald. Host Helena Kennedy described the event:

Open letter to Miley Cyrus
O'Connor published an open letter, on her own website, to American singer and actress Miley Cyrus on 2 October 2013 in which she warned Cyrus of the treatment of women in the music industry and alleged that sexuality is a factor in this, which was in response to Cyrus' music video for her song "Wrecking Ball". O'Connor stated:

Remarks about Prince
Speaking about her relationship with Prince in an interview with Norwegian station NRK in November 2014 she said, "I did meet him a couple of times.We didn't get on at all. In fact we had a punch-up." She continued: "He summoned me to his house after 'Nothing Compares 2U'. I made it without him. I’d never met him. He summoned me to his house – and it's foolish to do this to an Irish woman – he said he didn't like me saying bad words in interviews. So I told him to fuck off....He got quite violent.I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine." In a 2004 interview with Graham Norton, O'Connor claimed that the story was "much exaggerated by the press" and referred to him as "a sweet guy". In her 2021 memoir Rememberings, O'Connor described her meeting with Prince in detail, which ranged from having his butler serve soup repeatedly despite no desire for soup to hitting her with a hard object placed in a pillowcase after wanting a pillow fight to stalking her with his car after she left the mansion. Tweets about non-Muslims

After her conversion to Islam, O'Connor called those who were not Muslims "disgusting" and criticised Christian and Jewish theologians on Twitter in November 2018. She wrote: "What I'm about to say is something so racist I never thought my soul could ever feel it. But truly I never wanna spend time with white people again (if that's what non-muslims are called).Not for one moment, for any reason. They are disgusting." Later that month, O'Connor stated that her remarks were made in an attempt to force Twitter to close down her account. In September 2019, she apologised for the remarks, saying "They were not true at the time and they are not true now. I was triggered as a result of islamophobia dumped on me. I apologize for hurt caused. That was one of many crazy tweets lord knows."Personal life

Name
In 2017, she changed her legal name to Magda Davitt, saying in an interview that she wished to be "free of the patriarchal slave names. Free of the parental curses." On her conversion to Islam in October 2018, she adopted the name Shuhada, and before mid-2019 also changed her surname from Davitt to Sadaqat. Personal and public image
While her shaved head was initially an assertion against traditional views of women, years later, O'Connor said she had begun to grow her hair back, but that after being asked if she was Enya, O'Connor shaved it off again. "I don't feel like me unless I have my hair shaved. So even when I'm an old lady, I'm going to have it." Marriages and children
O'Connor has had four children and has been married four times.She had her first son, Jake, with her first husband, music producer John Reynolds, who co-produced several of her albums, including Universal Mother. Reynolds and O'Connor married in 1987. Soon after the birth of her daughter Roisin in 1995, O'Connor and the girl's father, Irish journalist John Waters, began a long custody battle that ended with O'Connor agreeing to let Roisin live in Dublin with Waters. In 1991, O'Connor had an abortion after things did not work out with the father. She later wrote the song "My Special Child" about the experience. In mid-2001, O'Connor married British journalist Nick Sommerlad; the marriage ended in 2004. She had her third child, son Shane, in 2004 with musician Donal Lunny.In 2006, she had her fourth child, Yeshua Francis Neil Bonadio, whose father is Frank Bonadio. O'Connor was married a third time on 22 July 2010, to longtime friend and collaborator Steve Cooney, and in late March 2011, made the decision to separate. Her fourth marriage was to Irish therapist Barry Herridge. They wed on 9 December 2011, in Las Vegas, but their marriage ended after having "lived together for 7 days only". The following week, on 3 January 2012, O'Connor issued a further string of internet comments to the effect that the couple had re-united. On 18 July 2015, her first grandson was born to her son Jake Reynolds and his girlfriend Lia. On 7 January 2022, two days after her 17-year-old son Shane was reported missing from Newbridge, County Kildare, he was found dead at Bray, County Wicklow, by Irish police.O’Connor stated that her son, custody of whom she lost in 2013, had been on "suicide watch" at Tallaght Hospital, and had "ended his earthly struggle". O'Connor harshly criticised Ireland's family services agency, Tusla, and the national health authority, the HSE, with regard to their handling of her son's case. Three days later, O'Connor apologised to Tusla, saying "Ok, I’m gonna do the right thing here and apologise for my lashing out. Tusla are working with very limited resources. They loved Shane. They are broken-hearted. They are human.I am sorry I have upset them." She added, "Tusla did their best. We all did: and I am deeply sorry to have blamed anyone." In January 2022 a week after the suicide of her 17 year old son Shane, she herself was then hospitalized on her own volition following a series of tweets in which she indicated she was going to take her own life. Health
On a 4 October 2007, broadcast of The Oprah Winfrey Show, O'Connor disclosed that she had been diagnosed with bipolar disorder four years earlier, and had attempted suicide on her 33rd birthday on 8 December 1999. Then, on Oprah: Where Are They Now? of 9 February 2014, O'Connor said that she had received three "second opinions" and was told by all three that she was not bipolar.In August 2015, she announced that she was to undergo a hysterectomy after suffering with gynaecological problems for over three years. O'Connor would later blame the hospital's refusal to administer hormonal replacement therapy after the operation as the main reason for her mental health issues in the subsequent years, stating "I was flung into surgical menopause. Hormones were everywhere. I became very suicidal. I was a basket case." Having smoked cannabis for 30 years, O'Connor went to a rehabilitation center in 2016, to end her addiction. O'Connor is an agoraphobic.In August 2017, O'Connor posted a 12-minute video on her Facebook page in which she stated that she has felt alone since losing custody of her 13-year-old son, Shane, that for the prior two years she had wanted to kill herself, with only her doctor and psychiatrist "keeping her alive". The month after her Facebook post, O'Connor appeared on the American television talk show Dr. Phil on the show's 16th season debut episode. According to Dr. Phil, O'Connor wanted to do the interview because she wanted to "destigmatize mental illness," noting the prevalence of mental health issues among musicians. Shane died in January 2022. A week later, following a series of tweets in which she indicated that she was going to kill herself, O'Connor was hospitalised. Sexuality
In a 2000 interview in Curve, O'Connor commented, "I'm a dyke... although I haven't been very open about that and throughout most of my life I've gone out with blokes because I haven't necessarily been terribly comfortable about being a big lesbian mule. But I actually am a dyke."However, soon after in an interview in The Independent, she stated, "I believe it was overcompensating of me to declare myself a lesbian. It was not a publicity stunt. I was trying to make someone else feel better. And have subsequently caused pain for myself. I am not in a box of any description." In a magazine article and in a programme on RTÉ (Ryan Confidential, broadcast on RTÉ on 29 May 2003), she stated that while most of her sexual relationships had been with men, she has had three relationships with women. Politics
O'Connor is a vocal supporter of a united Ireland, and called on the left-wing republican Sinn Féin party to be "braver".In December 2014 it was reported O'Connor had joined Sinn Féin. O'Connor has called for the "demolition" of the Irish Republic and its replacement with a new, united country. She has also called for key Sinn Féin politicians like Gerry Adams to step down because "they remind people of violence", referring to the Troubles. In a 2015 interview with the BBC, O'Connor wished that Ireland had remained under British rule (which ended after the Irish War of Independence, except for Northern Ireland), because the church took over the country instead. Following the Brexit referendum in 2016, O'Connor wrote on Facebook "Ireland is officially no longer owned by Britain". Religion
In the late 1990s, Bishop Michael Cox of the Irish Orthodox Catholic and Apostolic Church (an Independent Catholic group not in communion with the Catholic Church) ordained O'Connor as a priest. The Roman Catholic Church considers ordination of women to be invalid and asserts that a person attempting the sacrament of ordination upon a woman incurs excommunication.The bishop had contacted her to offer ordination following her appearance on the RTÉ's Late Late Show, during which she told the presenter, Gay Byrne, that had she not been a singer, she would have wished to have been a Catholic priest. After her ordination, she indicated that she wished to be called Mother Bernadette Mary. In August 2018, via an open letter, she asked Pope Francis to excommunicate her, as she had asked of Pope Benedict XVI and Pope John Paul II. In a July 2007 interview with Christianity Today, O'Connor stated that she considers herself a Christian and that she believes in core Christian concepts about the Trinity and Jesus Christ. She said, "I think God saves everybody whether they want to be saved or not. So when we die, we’re all going home... I don't think God judges anybody.He loves everybody equally." In an October 2002 interview, she credited her Christian faith in giving her the strength to live through and overcome the effects of her child abuse. On 26 March 2010, O'Connor appeared on Anderson Cooper 360° to speak out about the Catholic sexual abuse scandal in Ireland. On 28 March 2010, she had an opinion piece published in the Sunday edition of the Washington Post in which she wrote about the scandal and her time in a Magdalene laundry as a teenager. Writing for the Sunday Independent she labelled the Vatican as "a nest of devils" and called for the establishment of an "alternative church", opining that "Christ is being murdered by liars" in the Vatican. Shortly after the election of Pope Francis she described the office of the Pope as an "anti-Christian office." O'Connor stated:

Asked whether from her point of view, it is therefore irrelevant who is elected to be Pope, O'Connor replied,
In October 2018, O'Connor converted to Islam, calling it "the natural conclusion of any intelligent theologian's journey".The ceremony was conducted in Ireland by Sunni Islamic theologian Shaykh Umar Al-Qadri. She also changed her name to Shuhada' Davitt. In a message on Twitter, she thanked fellow Muslims for their support and uploaded a video of herself singing the adhan, the Islamic call to prayer. She also posted photos of herself wearing a hijab. Memoir
O'Connor's memoir, Rememberings, was published in June 2021. Discography

 1987: The Lion and the Cobra
 1990: I Do Not Want What I Haven't Got
 1992: Am I Not Your Girl? 1994: Universal Mother
 2000: Faith and Courage
 2002: Sean-Nós Nua
 2005: Throw Down Your Arms
 2007: Theology
 2012: How About I Be Me (and You Be You)?<mask>: Her Life and Music. Warner Books, 1991. .
 Hayes, Dermott. <mask> O'Connor: So Different''. Omnibus Press, 1991. . External links

Living people
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