texts:
 "Apocalypse". Billboard wrote that she "has found a brand-new sound. The 16-year-old singer ... is taking a step outside the classical world that made her famous"; but <mask> told Billboard: "I'm not going to get rid of my classical ... roots". A reviewer for The New Yorker found the track "cloying", writing that Evancho "sounds unremarkable outside her genre". She also released a video of the song and performed it on the Today show and Live! with Kelly and Michael.<mask> entertained at the 2016 Project Sunshine benefit gala and returned to Washington, DC, to participate in the 2016 broadcast and live performance of A Capitol Fourth. In September, <mask> sang at the David Foster Foundation's 2016 fundraiser at the MTS Centre in Winnipeg, Manitoba, Canada, to help pay for pediatric organ transplants and support patients' families. She performed at the Memphis Music Hall of Fame induction ceremony in November and ended the year with a performance in AGTs first Christmas special. <mask> sang the US national anthem at the presidential inauguration of Donald Trump in January 2017. She stated that her decision to perform was apolitical,Ferguson, Amber and Jessica Carro. "<mask> Says Singing at Donald Trump's Inauguration Is 'Not Political'", The Huffington Post, January 19, 2017 but her selection drew comment on social media and in the press, "from both sides of the political spectrum".St. Felix, Doreen."The Uses of the Classical", January 4, 2017 On the same day, she released a recording titled Together We Stand, containing three songs: "The Star-Spangled Banner", "America the Beautiful" and "God Bless America". <mask> stated that profits from the release would go to LGBT "charities in support of my sister Juliet". The three songs charted at No. 2, 4 and 5, respectively, on Billboard's Classical Digital Song sales chart. Juliet, who is transgender, has advocated for a US federal law to allow transgender students to use bathrooms and other public school facilities designated for the gender with which they identify. <mask> led a TV special in August 2017, on the TLC television network, called "Growing Up Evancho", focusing on the <mask>s' family life and efforts to secure transgender rights. In 2019, asked if she learned any lessons from the Inauguration experience, <mask> said: "Yes ... if you have a bad gut feeling, and your team still pushes you to do something, don't give in, don't do it!"In 2018, <mask> performed at the annual "Romance of the Mission" benefit gala to preserve and support the Mission San Juan Capistrano in California. In 2019, she presented a concert at the August Wilson Center in Pittsburgh to benefit The Brave Heart Foundation, which supports homeless LGBTQ young adults. In July she headlined a benefit, accompanied by Pacific Symphony, as part of the dedication festivities of Christ Cathedral in Garden Grove, California. In October she sang in a concert of songs from the new rock musical Get Jack, with music by Kip Winger, lyrics and book by Damien Gray and direction by Kelly Devine. <mask> has stated that her career was interrupted in late 2019 by a mental breakdown related to the eating disorder and body dysmorphia that has she struggled with since 2015; she also stated that during the COVID-19 pandemic she was in a car accident in which she fractured her back, and her parents divorced.LaMar, Scott. "<mask> comes to Central Pa.", Smart Talk: NPR (WITF-FM), December 14, 2021 (podcast at 3:25) In 2020, she competed on season 3 of The Masked Singer as "Kitty", finishing in fifth place. <mask> performed a concert titled "Home for the Holidays" in December 2021 at Millersville University in Millersville, Pennsylvania.Acting and modeling
<mask> performed as a young child in several musicals, including Little Red Riding Hood, in which she played the title role. She also appeared as an extra in the 2010 film She's Out of My League. Her first featured television appearance was in the 2011 episode "Back to Max", in the Disney Channel series Wizards of Waverly Place, where her character sang "America the Beautiful" to work off school detention.Sauers, Kathleen. "<mask> Makes Appearance on Disney's Wizards TV Show ", Pine-Richland Patch, February 28, 2011, accessed October 17, 2012

<mask> appeared in the feature film The Company You Keep, a 2013 political thriller.Sinichak, Jessica. "<mask> Appears at Kean Quest Finals", Pine-Richland Patch, April 6, 2013; and Vancheri, Barbara. "<mask>'s debut on film The Company You Keep is serendipitous", Pittsburgh Post-Gazette, April 26, 2013, accessed April 16, 2014 She played Isabel, the eleven-year-old daughter of a widowed attorney turned fugitive, played by Robert Redford, who also directed the film. Jon Weisman wrote that Evancho "showed she's more than a singing prodigy with her earnest sweetness".Evancho modeled for GUESS Kids in 2012"Guess Kids Campaign Stars <mask>", InStyle magazine, September 17, 2012; Lutz, Elliston. "Photographer Elliston Lutz shoots the newest advertising campaign for GUESS KIDS featuring ... <mask>", UtopiaNYC.com, July 2, 2012; and "GUESS Kids Fall 2012: Party Rock Featuring <mask>", YouTube, August 13, 2012, accessed June 28, 2014 and for Justice Girls Clothing in 2014, and she occasionally has appeared in other product advertisements and public service announcements. Reception and reputation

Earliest assessments
Christopher Hahn, General Director of the Pittsburgh Opera, observed: "It's very unusual for a young child to have a voice that sounded so rich and developed." "I thought she was just lovely, sweetly compelling". Hahn particularly praised Evancho's phrasing. Composer Tim Janis commented that Evancho "takes a classical piece and makes it friendly and accessible. ...Her voice is so pure and natural, there's no flaw in it. People say 'I can hear her potential coming,' but no, it's here, it's now." Claudia Benack, Assistant Professor of musical theatre at Carnegie Mellon University, said that <mask> "has an unusually adult feel for the repertoire. ... She sings to the important part of the phrase, and then backs off. That's instinctual. ... She takes breaths sometimes where an adult would not, but that's just because she's young and little. ... She sings from the healthy part of her voice."Jia Tolentino of The New Yorker later called Evancho's YouTube audition for AGT "supernaturally blissful", and commented that she delivered "O mio babbino caro" with "graceful phrasing, a controlled, slow vibrato, and a tone that resonates impersonally, like a bell". Critic Tim Page, however, wrote that Evancho "has many years of work ahead of her before she becomes any sort of musician". Andrew Druckenbrod, of the Pittsburgh Post-Gazette, reviewing Evancho's 2011 Pittsburgh Opera concert, stated that "what was most impressive ... was how musical she was ... her focus on phrasing and an understanding of the emotion in the ... musical numbers." The review also praised "her reverberant chest voice [and] her head voice, hitting the highest register with intonation and purity" and echoed Janis: "That she continues to be greeted with skepticism is unfair. ... Yes, the concert showed that <mask> is a young girl, yet one with artistry to be appreciated now without debating about what her future might hold." Antony Walker, Pittsburgh Opera's music director, said: "she has a very sincere way of singing.... Her voice has a lovely quality to it. It's very simple singing but it comes from the heart. You rarely hear someone so young with such a beautiful voice". Nekesa Mumbi Moody, writing for Associated Press, commented that, although "there is a youthful quality in <mask>'s voice, it's hardly childlike: It's a soprano that deftly traverses the musical scales". Mark Kanny, in the Pittsburgh Tribune-Review, called her voice "beautifully in tune and well supported. ... Evancho's sincerity of delivery was affecting".Bob Boilen of NPR wrote, "I simply couldn't believe my eyes and ears. Seeing <mask> sing for the first time is nearly beyond belief." He called her voice "beyond-beautiful" when she performed "for a stunned audience at the NPR Music offices". A review of her 2011 Sun Valley concert stated that "Evancho transported [her audience] with pure, joyous, unaffected notes". Marcia Adair of the Los Angeles Times commented, in reviewing Dream With Me: [W]hat makes us feel like she will survive the journey from child star to adult performer is her magnificent sense of pitch, her natural ability to shape phrases and the ease with which she performs." Jon Caramanica, in The New York Times, reviewed her Avery Fisher Hall concert: "In the first half of the show Ms. Evancho often receded, but toward the end of the night she found purpose, delivering 'A Time for Us' with punch, and closing out Sarah McLachlan's 'Angel' with what felt like real yearning". The Wall Street Journal called <mask>'s 2011 performance of the song "Angel" on the Tonight Show "moving".A San Francisco Chronicle review of a 2012 concert judged her singing "an impressive thing to witness, and Evancho's technical precision and enormous range only serve to make it seem less fluky", but felt that "every selection sounded alike". A reviewer for The Denver Post wrote that <mask> "displayed her famous combo of poise and articulation". A Naples Daily News review stated: "Her poise. Her control. Her range. ... Her voice and her performance exhausted all of the superlatives in the dictionary."In 2013, an Atlanta reviewer commented: "Her pure and well-formed vowel sounds touched the hearts of everyone at the concert." A review in The Atlanta Journal-Constitution called Evancho "awesomely talented" and "technically flawless". The Buffalo News reviewer wrote: "there is a poignancy to the sound of this mature voice coming out of this child. Her high notes are a joy." 2014 and later
In 2014, Chris Payne commented for Billboard magazine: "Evancho's stratospheric vocals are of course impressive for someone her age, though pipes like this are incredible for just about anyone." in 2015, the reviewer for Digital Journal wrote: "The control she displays over her voice is tremendous, and she tackles the high notes ... effortlessly, showcasing her angelic vocals and piercing pipes." Robin Leach wrote of Evancho's 2015 concert in Las Vegas: "She's still got the voice of an angel.It's remarkable, and her power is growing as she grows up. [She] had the audience on its feet with wild applause at the end of every song". Some reviewers, beginning in 2015, noticed a lack of connection with the text; a review in The Washington Post called her voice a "bell-like instrument, devoid of any messy human emotions [with] an ethereally floating tone. ... But imagine what Evancho can achieve once she stops obsessing over just sounding pretty, and actually listens to the words she's singing." Reviewing one of Evancho's 2016 concerts, Steve Barnes similarly wrote for the Times Union that her voice is "an instrument of pristine beauty. It peals with the purity of bells and lofts tones that shimmer with celestial iridescence" but that her performance lacks "an apparent interpretive style or emotional connection to the material".A chapter in the 2016 book, Voicing Girlhood in Popular Music: Performance, Authority, Authenticity, by Dana Gorzelany-Mostak, Assistant Professor of Music at Georgia College, is devoted to analyzing Evancho's career and influence. Gorzelany-Mostak writes:

Will Friedwald wrote of Evancho's 2017 concert series at Café Carlyle, that "this superhuman voice is housed in the person of someone relatively inexperienced in terms of relating to an audience and especially in a New York nightclub. (It will be years, if ever, before she can connect with a crowd like, for instance, Marilyn Maye.) ... She covers a lot of bases musically. ... Her rendition of "Music of the Night" is especially moving. ...Hearing <mask>cho in such an intimate space is a rare chance to experience perfection at close proximity." Linda Amiel Burns praised Evancho's voice but thought that some of the song choices were odd, and that sometimes "it was difficult to understand the lyrics". She felt that Evancho sounded more comfortable in her classical selections, but that pop songs require "a different vocal technique with more emphasis on the lyrics ... she has to watch her phrasing ... breathe in the right places, and find the deeper meaning and longing that the song expresses." A reviewer for New Jersey Stage wrote that, at her December 13, 2019 concert, "Evancho sings with feeling. [Her] voice floats out over the audience … with precision and grace, her runs and tone spot on". A review of her 2020 cover of "River" in American Songwriter praised "her lilting soprano vocals and the purity and perfection she finds within her upper register". Honors
Evancho appeared on the National League of Junior Cotillions' list of "Ten Best-Mannered People of 2011" for "demonstrating humility and politeness as a young performer".Tillotson, Kristin."Q&A – <mask>: Teen singer known for good manners", The Columbus Dispatch, May 16, 2013 She was honored in 2012 by the Senator John Heinz History Center at its 20th Annual History Makers Award Dinner as one of five "distinguished Pittsburghers ... recognized for their exceptional contributions to the history of Western Pennsylvania, the nation, and the world".Micco, Cindy Cusic. "<mask>cho Honored as a History Maker in Western Pennsylvania", Pine-Richland Patch, April 14, 2012, accessed February 22, 2017 Evancho was the youngest person ever to be so honored. The Kean Quest Talent Search, since 2011, has given an annual "Jackie Evancho Award" to a contestant who "exemplifies courage and motivation and pushes through to follow their dreams". In both 2011 and 2012, Billboard magazine named Evancho to its list of "21 Under 21: Music's Hottest Minors". In 2017, <mask> was named to the "2018" Forbes 30 Under 30 list of musicians. DiscographyBillboard ranked Evancho the No. 1 Classical Albums Artist of 2011, as she released three of the top four albums on the Billboard 2011 year-end Classical Albums chart.She was the No. 10 Billboard 200 Artist of 2011, and the No. 3 Internet Albums Artist. Billboard ranked Evancho the No. 2 Classical Albums Artist of 2012, as three of her albums ranked in the top seven albums on the Billboard 2012 year-end Classical Albums chart. She was the No. 37 Billboard 200 Artist of 2012.Billboard ranked Evancho the No.5 Classical Albums Artist of 2013, the No. 7 Classical Albums Artist of 2014 and the No. 4 Classical Albums artist of 2015, as Awakening was the No. 3 classical album of 2015. <mask> was ranked the No. 12 Classical Albums Artist of 2016, as her 2016 holiday album, Someday at Christmas, was the No. 27 best-selling classical album of 2016, and Awakening was the No.31 best-selling classical album of 2016. <mask>'s 2017 and 2019 albums, Two Hearts and The Debut, were her seventh and eighth consecutive releases to reach No. 1 on the Billboard'' Classical Albums chart. References

External links

 Podcast interview of <mask> with The Expressionist Magazine, October 2009
 "Super Humans: Wonder Girl <mask>", ABC 20/20 report, July 2011
 "Ombra Mai Fu", NPR Tiny Desk Concert, May 2011

2000 births
Living people
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from Pittsburgh
American child actresses
American child singers
American film actresses
American sopranos
America's Got Talent contestants
Catholics from Pennsylvania
Child classical musicians
Child pop musicians
Columbia Records artists
Musicians from Pittsburgh
Opera crossover singers
Singers from Pennsylvania
Pine-Richland High School alumni
Forbes 30 Under 30

masks:
Evancho
Evancho
Evancho
Evancho
Jackie Evancho
Evancho
Evancho
Evancho
Evancho
Evancho
Evancho
Jackie Evancho
Evancho
Evancho
Jackie Evancho
Evancho
Jackie Evancho
Jackie Evancho
Jackie Evancho
Jackie Evancho
Jackie Evancho
Evancho
Jackie
Jackie
Jackie Evancho
Evancho
Evancho
Jackie Evan
Jackie Evancho
Jackie Evan
Evancho
Evancho
Evancho
Evancho
Jackie Evancho


type: original

texts:
<mask> (14 December 1836 – 3 June 1879) was an English religious poet and hymnwriter. Take My Life and Let it Be and Thy Life for Me (also known as I Gave My Life for Thee) are two of her best known hymns. She also wrote hymn melodies, religious tracts, and works for children. She did not occupy, and did not claim for herself, a prominent place as a poet, but she carved out a niche for herself. Early life and education
<mask> was born into an Anglican family, at Astley in Worcestershire, 14 December 1836. Her father, <mask> (1793–1870), was a clergyman, writer, composer, and hymnwriter. Her brother, <mask>, was a priest in the Church of England and an organist.When she was five, her father moved to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, who had a strong influence on her. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed. In 1852/3, she studied in the Louisenschule, Düsseldorf, and at Oberkassel. Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew. On her return to England, she was confirmed in Worcester Cathedral, 17 July 1853.Career
In 1860, she left Worcester upon her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswell Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. It was during this time—1873—that she read J. T. Renford's little booklet All For Jesus, which "lifted her whole life into sunshine, of which all she had previously experienced was but as pale and passing April gleams, compared with the fullness of summer glory." She led a quiet life, not enjoying consistent good health. She supported the Church Missionary Society. Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswall & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; and (7) Life Echoes, 1883.About fifteen of the more important of Havergal's hymns, including “Golden harps are sounding,” “I gave my life for thee," “Jesus, Master, Whose I am,” “Lord, speak to me,” “O Master, at Thy feet,” “Take my life and let it be,” “Tell it out among the heathen," &c., are annotated under their respective first lines. The rest, which are in collections, number nearly fifty. These are noted here, together with dates and places of composition, from the Havergal manuscripts and the works in which they were published. Those which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c.) and those in Caswall's series (C., 1873, &c). Most of these hymns are given in Snepp's Songs of Grace and Glory, and many of them are also in several other hymn-books, including Hymns Ancient and Modern, Hymns and Sacred Lyrics, Church Hymns, The Hymnal Companion, and some of the leading American collections. Death and legacy

Havergal died of peritonitis near Caswell Bay on the Gower Peninsula in Wales at age 42. She is buried in the far western corner of the churchyard at St Peter's parish church, Astley, together with her father and near her sister, Maria Vernon Graham Havergal.Her sisters saw much of her work published posthumously. Havergal College, a private girls' school in Toronto, is named after her. The composer <mask> Brian adopted the name as a tribute to the Havergal family. Style and themes
Her hymns praised the love of God, and His way of salvation to this end, and for this object, her whole life and all her powers were consecrated. She lived and spoke in every line of her poetry. Her religious views and theological bias were distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings was a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions.Selected works

Books

Ministry of Song (1870)
Take My Life and Let It Be (1874)
Under the Surface (1874)
The four happy days (1874)
Like a river glorious is God's perfect peace (1876)
Who Is on the Lord's Side? Who will Serve the King? (1877)
Royal Commandments (1878)
O Merciful Redeemer
Loyal Responses (1878)
Kept for the Master's Use (1879) memoir
Life Chords (1880)
Royal Bounty (1877)
Little Pillows, or Goodnight Thoughts for the Little Ones (1880)
Morning bells, or, Waking thoughts for the little ones (1880)
Swiss Letters and Alpine Poems (1881) edited by J. M. Crane
Under His Shadow: the Last Poems of <mask> Havergal (1881)
The Royal Invitation (1882)
Life Echoes (1883)
Poetical Works (1884) edited by M. V. G. <mask> and <mask> Shaw
Coming to the King (1886)
Jesus, Master, Whose I am  Hymns of the Christian Life 1936
My King and His Service (1892)
Forget Me Nots of Promise, Text from Scripture and verses by <mask> Havergal, Marcus Ward&Co. Hymns

 A happy New Year! Even such may it be. (Occasion or theme: New Year.) From Under the Surface, 1874.Certainly I will be with thee. Birthday. September 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Church of God, beloved and chosen.(Occasion or theme: Sanctified in Christ Jesus.) 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879. God Almighty, King of nations. (Occasion or theme: Sovereignty of God.)1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. God doth not bid thee wait.. (Occasion or theme: God faithful to His promises.) 22 October 1868, at Okehampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879.God of heaven, hear our singing. (Occasion or theme: A Child's hymn for Missions.) 22 October 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880. God will take care of you, All through the day. (Occasion or theme: The Good Shepherd.) In Mrs. Brock's Children's Hymn Book, 1881.God's reiterated all. (Occasion or theme: New Year.) 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879. Have you not a word for Jesus?.(Occasion or theme: Boldness for the Truth.) November 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. He hath spoken in the darkness. (Occasion or theme: Voice of God in sorrow.)10 June 1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. Hear the Father's ancient promise. (Occasion or theme: Promise of the Holy Spirit.) August 1870.Published in Under the Surface, 1874, and Life Mosaic, 1879. Holy and Infinite! Viewless, Eternal. (Occasion or theme: Infinity of God.) IST2. Published in Under the Surface, 1874, and Life Mosaic, 1879. Holy brethren, called and chosen.(Occasion or theme: Motive for Earnestness.) 1872. of Snepp's Songs of Grace and Glory, 1876. I am trusting Thee, Lord Jesus. (Occasion or theme: Faith.) September 1874, at Ormont Dessons. (P. 1874.)Published in Loyal Responses, 1878, and Life Chords, 1880. <mask>'s tune, "Urbane" (Snepp's Songs of Grace and Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death. I bring my sins to Thee. (Occasion or theme: Resting all on Jesus.) June, 1870. (P.1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880. I could not do without Thee. (Occasion or theme: Jesus All in All.) 7 May 1873. (P.1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879. In full and glad surrender. (Occasion or theme: Confirmation.) Havergal's sister says this hymn was "The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a hymn of personal consecration to God at all times. In the evening there is weeping.(Occasion or theme: Sorrow followed by Joy.) 19 June 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Schynige Platte; I wrote "Evening Tears and Morning Songs." (Marg. reading of Ps. xxx.5.)" (P. 1870.) Published in Under the Surface, 1874. Increase our faith, beloved Lord. (Occasion or theme: Increase of Faith desired.) In

masks:
Frances Ridley Havergal
Frances Ridley Havergal
William Henry Havergal
Henry East Havergal
Havergal
Frances Ridley
Havergal
Frances Anna
Frances Ridley
Havergal


texts:
 Loyal Responses, 1878, in 11 st. of 4 I., on St. Luke xvii.5. It is usually given in an abridged form. Is it for me, dear Saviour?. (Occasion or theme: Heaven anticipated.) November 1871, at Perry Barr. (P. 1872.)Published in Under the Surface, 1874, and Life Mosaic, 1879. Israel of God, awaken. (Occasion or theme: Christ our Righteousness.0 May 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Jehovah's covenant shall endure.(Occasion or theme: The Divine Covenant), 1872. Published in Charles Busbridge Snepp's Songs of Grace and Glory, 1876. Jesus, blessed Saviour. (Occasion or theme: New Year.) 25 November 1872, at Leamington. (P. 1873.)Printed in the Day, spring Magazine, January 1873, and published in Life Chords, 1880. Jesus only! In the shadow. (Occasion or theme: Jesus All in All.) 4 December 1870, at Pyrmont Villa. (P. de C. 1871.)Published in Under the Surface, 1874, and in Life Mosaic, 1879. Joined to Christ by [in] mystic union. (Occasion or theme: The Church the Body of Christ.) May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879.Just when Thou wilt, 0 Master, call. (Occasion or theme: Resignation.) In Loyal Responses, 1878, in 5 st. of 4 l., and Whiting's Hys. for the Church Catholic, 1882. King Eternal and Immortal. (Occasion or theme: God Eternal.) Written at Perry Willa, Perry Barr, 11 February 1871, and published in Snepp's Songs of Grace and Glory, 1876; Under the Surface, 1874; and Life Mosaic, 1879.Light after darkness, Gain after loss. (Occasion or theme: Peace in Jesus, and the Divine Reward.) In Sankey's Sac. Songs and Solos, from her Life Mosaic, 1879. Like a river glorious, Is God's perfect Peace. (Occasion or theme: Peace.) In her Loyal Responses, 1878, in 3 st. of 8 l., with the chorus, "Stayed upon Jehovah."In several collections. Master, speak! Thy servant heareth. (Occasion or theme: Fellowship with and Assistance from Christ desired.) Sunday evening, 19 May 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and Life Mosaic, 1879. It is very popular.New mercies, new blessings, new light on thy way. (Occasion or theme: New Life in Christ.) 1874, st Winterdyne. (0. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880. Not your own, but His ye are.(Occasion or theme: Missions.) 21 January 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hyl. for Church Missions, 1884. Now let us sing the ' song.(Occasion or theme: Christmas.) In her Life Mosaic, 1879; and W. R. Stevenson's School Hymnal, 1880. Now the daylight goes away. (Occasion or theme: Evening.) 17 October 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, "Now the light has gone away."Now the sowing and the weeping. (Occasion or theme: Sorrow followed by Joy.) 4 January 1870, at Leamington. Printed in Sunday at Home, 1871; and published in Under the Surface, 1874, and Life Mosaic, 1879. O Glorious God and King. (Occasion or theme: Praise to the Father.) February 1872.Published in Under the Surface, 1874, and Life Mosaic, 1879. O Saviour, precious holy! Saviour. (Occasion or theme: Christ worshipped by the Church.) November 1870, at Leamington. (P. 1870.)Published in Under the Surface, 1874, and Life Mosaic, 1879. 0 thou chosen Church of Jesus. (Occasion or theme: Election.) 6 April 1871. Published in Under the Surface, 1874, and Life Mosaic, 1879. 0 what everlasting blessings God outpo His own. (Occasion or theme: Salvation everlasting.)12 August 1871, Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Our Father, our Father, Who dwellest in light. (Occasion or theme: The blessing of the Father desired.) 14 May 1872.Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn. Our Saviour and our King. (Occasion or theme: Presentation of the Church to the Father.) (Heb. ii. 13.)May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Precious, precious blood of Jesus. (Occasion or theme: The precious Blood.) September 1874, at Ormont Dessons.(C.) Published in Loyal Responses, 1878, and Life Chords, 1880. Sing, 0 heavens, the Lord hath done it. (Occasion or theme: Redemption.) In The Life Mosaic, 1879, and the Universal H. Bk., 1885. Sit down beneath. His shadow.(Occasion or theme: Holy Communion.) 27 November 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Sovereign Lord and gracious Master. (Occasion or theme: Grace consummated in Glory.)22 October 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. Standing at the portal of the opening year. (Occasion or theme: New Year.) 4 January 1873.Published in Under the Surface, 1874, and Life Chords, 1880. To Thee, 0 Comforter divine. (Occasion or theme: Praise to the Holy Spirit.) 11 August 1872, at Perry Barr. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn. True-hearted, whole-hearted, faithful and loyal.(Occasion or theme: Faithfulness to the Saviour.) In her Loyal Responses, 1878, and the Universal Hymn Book, 1885. What know we, Holy God, of Thee!. (Occasion or theme: God's Spirituality.) 1872. Published in Under the  Surface, 1874, and Life Mosaic, 1879.
 Who is on the Lord's side!. (Occasion or theme: Home Missions.)13 October 1877. Published in Loyal Responses, 1878, and Life Chords, 1880. With quivering heart and trembling will. (Occasion or theme: Resignation.) 10 July 1866, at Luccombe Rectory. (P. 1866.)Published in Ministry of Song, 1869, and Life Mosaic, 1879. Will ye not come to Him for life?. (Occasion or theme: The Gospel footation.) 1873. Published in Snepp's Songs of Grace and Glory d: G., 1876. Worthy of all adoration. (Occasion or theme: Praise to Jesus as the Lamb upon the throne.)26 February 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and “Amen "choruses in Handel's Messiah. Ye who hear the blessed call. (Occasion or theme: The Invitation of the Spirit and the Bride.)March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association. Yes, He knows the way is dreary. (Occasion or theme: Encouragement.)1867. Published in Ministry of Song, 1869. Gallery

Covers and inscriptions

Illustrations

See also

English women hymnwriters (18th to 19th-century)

 Eliza Sibbald Alderson
 Augusta Amherst Austen
 Sarah Bache
 Charlotte Alington Barnard
 Sarah Doudney
 Charlotte Elliott
 Ada R. Habershon
 Katherine Hankey
 Maria Grace Saffery
 Anne Steele
 Emily Taylor
 Emily H. Woodmansee

References

Citations

Attribution

Bibliography
<mask> Havergal Janet Grierson, The Havergal Society, Worcester 1979
<mask> <mask>'s Last Week (1879) Maria Vernon Graham Havergal
Memorials of <mask> Havergal, by her Sister (1880) M. V. G. Havergal, including an autobiography
Florence Nightingale, <mask> Havergal, Catherine Marsh, Mrs Ranyard (1885) Lizzie Alldridge
<mask> Havergal: a full sketch of her life, (1904) Edward Davies
Women who have worked and won : the life-story of Mrs. Spurgeon, Mrs. Booth-Tucker, F.R<mask>, and Pandita Ramabai (1904) Jennie Chappell
In Trouble and in Joy: Four Women Who Lived for God, (2004) Sharon James, . Biographies of Margaret Baxter (1639–1681), Sarah Edwards (1710–1758), Anne Steele (1717–1778) and <mask> Havergal
 <mask> Havergal - Opened Treasures : 366 Choice Meditations - Loizeaux Bros, New York, 1979

Further reading
 Waite, Yvonne S. Take My Life: a Portrait of <mask>. Collingswood, N.J.: The Bible for Today, [ca. 2000].25 p. N.B. : Transcript of a bio-dramatic text, for public recitation, about the life, religious piety, and accomplishments of this lady hymnist. External links

 The Havergal Trust – The purpose of the Havergal Trust is to complete, publish, and disseminate very widely – to make available to many – the poetry, prose, and music of <mask> Havergal. The Cyber Hymnal page on <mask> Havergal. <mask>l biographies
Page on <mask>l reading J.T. Wrenford's All For Jesus, with bibliographic citations.1836 births
1879 deaths
People from Malvern Hills District
English Anglicans
English women poets
English hymnwriters
Deaths from peritonitis
Women religious writers
19th-century English women writers
19th-century British writers
19th-century English musicians
British women hymnwriters
19th-century British women

masks:
Frances Ridley
Frances Ridley
Havergal
Frances Ridley
Frances Ridley
Frances Ridley
. Havergal
Frances Ridley
Francis Ridley
Frances Havergal
Frances Ridley
Frances Ridley
Frances Haverga
Frances Haverga


texts:
<mask> (; 15 October 1836 – 8 August 1902), Anglicized as <mask> (), was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and figures from the Bible. Early life
<mask> was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats.A devout Catholic, <mask>'s mother instilled pious devotion in the future artist from a very young age. <mask>'s youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time <mask> was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of <mask>. By 1854 he was commonly known as <mask>; he may have adopted it because of his increasing interest in everything English.Early career

In 1856 or 1857, <mask> travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Jules-Élie Delaunay, <mask> enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of <mask>'s studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, <mask> also made the acquaintance of the American <mask> Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, <mask> exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust.These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom <mask> had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter von Cornelius and Moritz Retzsch. After <mask> had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Mature career

Émile Péreire supplied <mask>'s painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by <mask> were displayed at the London gallery of Ernest Gambart. In about 1863, <mask> suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, <mask> also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence.Degas painted a portrait of <mask> from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. <mask> fought in the Franco-Prussian War as part of the improvised defence of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. <mask> used the name Coïdé in Vanity Fair from 1869 to 1873.<mask> quickly developed his reputation as a painter of elegantly dressed women shown in scenes of fashionable life. By 1872 <mask> had bought a house in St John's Wood, an area of London very popular with artists at the time. According to The Oxford Dictionary of Art and Artists, "in 1874 Edmond de Goncourt wrote sarcastically that he had 'a studio with a waiting room where, at all times, there is iced champagne at the disposal of visitors'". He gained membership of The Arts Club in 1873. Paintings by <mask> appealed greatly to wealthy British industrialists during the second half of the 19th century. During 1872 he earned 94,515 francs, an income normally only enjoyed by those in the echelons of the upper classes. In 1874, Degas asked him to join them in the first exhibition organized by the artists who became known as the Impressionists, but Tissot refused.He continued to be close to these artists, however. Berthe Morisot visited him in London in 1874, and he travelled to Venice with Édouard Manet at about the same time. He regularly saw Whistler, who influenced Tissot's Thames river scenes. In 1875 or 1876, <mask> met Kathleen Newton, a divorcee who became the painter's companion and frequent model. He composed an etching of her in 1876 entitled Portrait of Mrs N., more commonly titled . She gave birth to a son, Cecil George Newton in 1876, who is believed to be Tissot's son. She moved into Tissot's household in St. John's Wood in 1876 and lived with him until her death in the late stages of consumption in 1882.<mask> frequently referred to these years with Newton as the happiest of his life, a time when he was able to live out his dream of a family life. After Kathleen Newton's death, <mask> returned to Paris. A major exhibition of his work took place in 1885 at the Galerie Sedelmeyer, where he showed 15 large paintings in a series called . Unlike the genre scenes of fashionable women he painted in London, these paintings represent different types and classes of women, shown in professional and social scenes. The works also show the widespread influence of Japanese prints, as he used unexpected angles and framing from that tradition. He created a monumental context in the size of the canvases. <mask> was among many Western artists and designers influenced at the time by Japanese art, fashion and aesthetics.Late career

In 1885, <mask> had a revival of his Catholic faith, which led him to spend the rest of his life making paintings about Biblical events. Many of his artist friends were skeptical about his conversion, as it conveniently coincided with the French Catholic revival, a reaction against the secular attitude of the French Third Republic. At a time when French artists were working in Impressionism, Pointillism, and heavy oil washes, <mask> was moving toward realism in his watercolors. To assist in his completion of biblical illustrations, <mask> traveled to the Middle East in 1886, 1889, and 1896 to make studies of the landscape and people. His series of 365 gouache (opaque watercolor) illustrations showing the life of Christ were shown to critical acclaim and enthusiastic audiences in Paris (1894–1895), London (1896) and New York (1898–1899), before being bought by the Brooklyn Museum in 1900. They were published in a French edition in 1896–1897 and in an English one in 1897–1898, bringing Tissot vast wealth and fame. During July 1894, <mask> was awarded the Légion d'honneur, France's most prestigious medal.<mask> spent the last years of his life working on paintings of subjects from the Old Testament. Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901 and engravings after them were published in 1904. Death and legacy
<mask> died suddenly in Doubs, France, on 8 August 1902, while living in the Château de Buillon, a former abbey which he had inherited from his father in 1888. His grave is in the chapel sited within the grounds of the chateau. Widespread use of his illustrations in literature and slides continued after his death with The Life of Christ and The Old Testament becoming the "definitive Bible images". In 1906, filmmaker Alice Guy-Blaché used the Tissot Bible as reference material for her largest production at Gaumont to date, The Passion, creating twenty-five episodes, with approximately three hundred extras. His images provided a foundation for contemporary films such as the design for the Ark of the Covenant in Raiders of the Lost Ark (1981) and lifestyle themes in The Age of Innocence (1993).In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices. Gallery

See also
 List of Orientalist artists
 Orientalism

References

Citations

General sources

 Biography of Tissot with recent information on Kathleen Newton
 Misfeldt, Willard E. "Tissot, <mask> [Jacques-Joseph]" in Oxford Art Online. Wentworth, Michael. "<mask>issot." Oxford: Clarendon Press, 1984. Print
 Wood, Christopher. "Tissot: Life and Work of Jacques Joseph <mask> 1836–1902."London: Weidenfeld and Nicolson, 1986. Print. External links

 209 works by <mask> at www.<mask>Tissot.org
 <mask>: The Life Of Christ. Exhibition at Brooklyn Museum 2009
 Commentary on <mask>'s etching of Kathleen Newton
Commentary on a portrait of Mrs. Newton

 Biblical art by <mask>
 Degas: The Artist's Mind, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on <mask> (see index)

1836 births
1902 deaths
19th-century French painters
French expatriates in the United Kingdom
French male painters
French military personnel of the Franco-Prussian War
Orientalist painters
People from Nantes
Vanity Fair (British magazine) artists

masks:
Jacques Joseph Tissot
James Tissot
Jacques Tissot
Tissot
Tissot
Tissot
James
James Tot
Tissot
Tissot
Tissot
Tissot
James McNeill
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
Tissot
James
James T
Tissot
James Tissot
James
James Tissot
Tissot
James Tissot
James Tissot


texts:
<mask> is an Australian actress, singer, dancer  who has worked extensively in the entertainment industry all around the world. <mask> attended the Gwen Mackay School of Dancing and trained in the Cechetti method of ballet with Jennifer Pollard in Adelaide, South Australia before making her first professional appearance on stage as Sillabub in the Australian Premiere Production of Cats at the Theatre Royal in Sydney. She is one of the few people in the world to date who has played both roles of Roxie Hart and Velma Kelly in the production of Chicago in the West End. <mask> created the role of Stephanie Mangano in the World Premiere Production of Saturday Night Fever opposite fellow Australian, Adam Garcia and produced by Adelaide born, Robert Stigwood. Personal life
<mask> was born in Adelaide, South Australia. Her mother Rosemary was a nursing sister and her father John was an architect. She grew up with five brothers, two older and three younger.Her eldest brother, Scott, died in a car accident only months after her opening night in the musical Cats. Her main ambition was to become a ballet dancer, but after being cast in her first role in Cats she realised she wanted to expand her career into singing and acting also. After playing roles such as Peron's Mistress in Evita, Sybil in Private Lives and Cosette in Les Misérables, all in Australia, <mask> then made her West End debut in the world premiere production of Sunset Boulevard. It was in London that she met the father of her daughter. Her daughter was born in 2000 in London.

masks:
Anita Louise Combe
Combe
Anita
Combe
Combe


texts:
<mask> (also , ; ; August 3, 1832 – December 16, 1914), was a Croatian composer, conductor, director, and teacher who dominated Croatia's musical culture for over forty years. Through his artistic and institutional reform efforts, he is credited with its revitalization and refinement, paving the way for new and significant Croatian musical achievements in the 20th century. He is often called the Croatian Verdi. Life

Childhood years

<mask> was born in Fiume, modern-day Rijeka, Croatia. His family migrated from Bratislava, Slovakia; his father, Johann Zaytz, was of Czech descent, and his mother, Anna Bodensteiner was of German descent. His musical talent was evident very early on in his life, as he began to study the piano and violin at the age of five, performed in public by the age of six, and even began to compose his own music by the age of twelve. Nevertheless, despite his early musical success, his military bandmaster father was opposed to the idea of a career in music and wanted him to study law instead following the completion of his secondary education.In the end, <mask>'s professors prevailed and he entered the Milan Conservatory in 1850 with his father's consent. Early success in Milan and Vienna

<mask> studied in Milan from 1850 to 1855, under the supervision of Stefano Ronchetti-Monteviti (counterpoint and composition), Alberto Mazzucato (orchestration), and Lauro Rossi (dramatic music). During this period, <mask> took his studies very seriously and regularly won prizes as one of the conservatory's most talented students. He was awarded first prize at his graduation examination for the opera La Tirolese (1855), which was performed on stage in the same year. <mask>'s future as a composer and conductor in Milan was secure, but the death of his parents in the meantime forced him to return to Rijeka. Back home, he accepted the post of conductor and concert master of the Town Theatre Orchestra, taught stringed instruments at the Philharmonic Institute, and simultaneously wrote numerous compositions with his characteristic speed and ease. In 1860, his opera Amelia ossia Il Bandito was met with great success, though two years later, after a prolonged illness, <mask> chose to move to Vienna, where opera and theatre were flourishing.His eight-year stay there (1862–70) was marked by further success, though he settled for composing operettas rather than operas. His first Viennese work, Mannschaft an Bord (1863), was enormously well received and his later operettas only served to strengthen his growing reputation. Yet it was in Vienna that Zajc became involved with the Croatian academic society Velebit and frequently met with young Croatian students. Influenced by such Croatian cultural figures as bishop Josip Juraj Strossmayer and poets Petar Preradović, <mask>, August Šenoa, and Matija Divković, <mask> chose patriotism over world fame and returned to Croatia. Return to Croatia

Upon his arrival in Zagreb in 1870, Zajc was presented with two posts:  director and conductor of the Croatian Opera and director and teacher at the Croatian Institute of Music. It was during this period that Zajc made his colossal contribution to Croatian musical culture, not only through his compositions, but also through his leadership in reorganizing Zagreb's musical institutions. He was also an excellent vocal teacher and succeeded in training several prominent singers.<mask> was an exceptionally prolific composer as evidenced by almost 1000 works, from Op. 234 to Op. 1202, produced during his time in Zagreb. Included in this number are Mislav (1870), Ban Leget (1872), his masterpiece Nikola Šubić Zrinski (1876), and Lizinka (1878), in addition to operettas, musical comedies, cantatas, songs and choral compositions, concerti, chamber music, and many other works. <mask>'s appointment at the opera was held until 1889, when owing to financial difficulties the organization lapsed for a time, but <mask> retained his post at the school until 1908, when he finally retired. He is credited with reviving Croatian music during a period of musical stagnation after the collapse of the Illyrian Movement and raising it to the artistic level where it stands today. His efforts paved the way for new and significant Croatian musical achievements in the early 20th century, which <mask> himself lived to see until his death on December 16, 1914 in Zagreb.List of major works

 La tirolese, Premiered in Milan on May 4, 1855
 Amelia ossia Il bandito, Rijeka, April 24, 1860
 Mannschaft an Bord, Vienna, December 15, 1863
 Fitzliputzli, Vienna, November 5, 1864
 Die lazzaroni vom Stanzel, Vienna, May 4, 1865
 Die Hexe von Boissy, Vienna, April 24, 1866
 Nachtschwärmer, Vienna, November 10, 1866
 Das Rendezvous in der Schweiz, Vienna, April 3, 1867
 Das Gaugericht, Vienna, September 14, 1867
 Nach Mekka, Vienna, January 11, 1868
 Somnambula, Vienna, January 21, 1868
 Schützen von einst und jetzt, Vienna, July 25, 1868
 Meister Puff, Vienna, May 22, 1869
 Mislav, Zagreb, February 2, 1870
 Symphony in C minor (also known as Symphonic Poem), Op. 394 (1870)
 Ban Leget, Zagreb, July 16, 1872
 Der gefangene Amor, Vienna, September 12, 1874
 Nikola Šubić Zrinski, Zagreb, November 4, 1876
 Lizinka, Zagreb, November 12, 1878
 Der Wildling, Zagreb, September 23, 1905
 Prvi grijeh, Zagreb, April 25, 1907; December 18, 1912
 Oče naš, Zagreb, December 16, 1911

Sources

 Josip Andreis: <mask>, Encyclopedia of Music, No. 3, Miroslav Krleža Institute of Lexicography, Zagreb. Translated to English by Tomislav Pisk for the Nikola Šubić Zrinski libretto book published by Croatia Records. Ivan pl. Zajc Biography
 Stanford OperaGlass
 Hubert Pettan, Popis skladbi Ivana Zajca [List of compositions by Ivan Zajc]. Zagreb: Yugoslav Academy of Sciences and Arts, 1956.Zdravko Blažeković, <mask> u ogledalu svoje korespondencije [<mask> reflected in his correspondence], Arti musices X/1 (1979), 43–77. Marija Božić, ur., Tragovima glazbene baštine: <mask>, u povodu 150. obljetnice rođenja [On the path of music heritage: <mask>, on the 150th anniversary of his birth], Zagreb: Zagreb: Muzički informativni centar Koncertne direkcije Zagreb, 1982. Lovro Županović, ur., Zbornik radova sa znanstvnog skupa održanog u povodu 150. obljetnice rođenja Ivana Zajca [Proceedings of the conference held on the 150th anniversary of <mask>'s birth]. Zagreb, Yugoslav Academy of Sciences and Arts, 1982. Hubert Pettan, Hrvatska opera: <mask>c. II [Croatian opera: <mask>. II.Zagreb: Muzički informativni centar Koncertne direkcije Zagreb, 1983. Stanislav Tuksar, ur., <mask>, Rijeka-Milano-Rijeka (1832.-1862.) [Early <mask>, Rijeka-Milan-Rijeka (1982–1862)]. Rijeka: Croatian National Theatre Ivan pl. Zajc, 1998. Zdravko Blažeković, Glazba osjenjena politikom: Studije o hrvatskoj glazbi između 17. i 19. stoljeća. Zagreb: Matica hrvatska, 2002.Vjera Katalinić/Stanislav Tuksar, ur., Mladi <mask>, Beč = Young <mask>, Vienna, 1862.-1870. Rijeka: Izdavački centar Rijeka, 2003. External links
 Ivan pl. Zajc Choir

1832 births
1914 deaths
19th-century classical composers
19th-century male conductors (music)
19th-century conductors (music)
20th-century classical composers
20th-century conductors (music)
20th-century male musicians
Burials at Mirogoj Cemetery
Croatian composers
Croatian conductors (music)
Croatian opera composers
Croatian people of Czech descent
Croatian people of German descent
Croatian people of Slovak descent
Male classical composers
Male conductors (music)
Milan Conservatory alumni
Music educators
Musicians from Rijeka
Romantic composers

masks:
Ivan Zajc
Ivan Dragutin Stjepan Zajc
Zajc
Zajc
Zajc
Zajc
Zajc
Ivan Trnski
Zajc
Zajc
Zajc
Zajc
Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zajc
Ivan Zaj
Ivan Zajc
Rani Zajc
Zajc
Zajc
Zajc


texts:
<mask> (born 29 June 1941, Frankfurt am Main – 29 December 1987) was a German journalist, and an Alliance '90/The Greens politician. Biography
In 1966, she became a press spokesperson for the Socialist German Student Union ("Sozialistische Deutsche Studentenbund" / SDS). After completing her degree in Applied Economics ("Volkswirtschaft"), in 1970 she travelled in the Middle-East. During the 1970s she took a lectureship in "International Relations" at Frankfurt University. During this time she maintained contacts with various terrorist groups. On 26 November 1974 <mask> was arrested. This was part of "Aktion Winterreise", a nationwide raid in fifteen towns and cities, which targeted RAF supporters in the aftermath of the murder of Berlin Court President Günter von Drenkmann by members of the 2 June Movement.<mask> was arrested on suspicion of "illegal trafficking in weapons and explosives". All those arrested were released after two weeks, possibly apart from <mask>. Sources differ over whether she was released after a couple of weeks like the others but then re-arrested soon afterwards, or whether, unlike the others, she remained in investigative custody at this point. <mask> vehemently protested her innocence and some months later became seriously ill. She was released "for reasons of health" before the prosecuting authorities had completed their work on her case. She returned to Frankfurt University where for several years she combined with her other work  the presidency of the student parliament. In 1978 she published a pamphlet in Italian in Milan in the form of a "diary from the dungeon" in which she presented "Aktion Winterreise" as an act of state persecution of intellectuals in Germany, of which she had been a victim. There are indications that during her time in Milan in the late 1970s Heinich was in close contact with members of the Red Brigade terrorist groups.By 1980 <mask> <mask> had developed a significant media profile, and between 1980 or 1981 and 1984 she worked as a regular journalist for the Berlin-based Tageszeitung (a daily newspaper). One of her colleagues at the newspaper was the radical lawyer Klaus Croissant. It was also in 1980 that <mask> <mask> finally faced trial. She received a 21 month prison sentence "for weapons smuggling". The context for her trial was her involvement in a German-Italian-Swiss "anarchist" network which was headed up by her friend, the German-Italian alleged terrorist Petra Krause. Possibly on account of her excellent media contacts, and the widespread belief on the radical left that prison conditions for West German "political prisoners" were exceptionally grim, <mask>'s imprisonment became something of a 'cause célèbre'. Several sources strongly hint that it was because of this that she served her sentence under conditions of "semi-freedom", described by one source as a "daytime release", which enabled her to continue providing contributions to the Tageszeitung while returning to prison at nights.Her sentence was completed at the end of 1983, and she accepted the offer of a place on the party list of the Green Party for the European parliamentary election in June 1984. Reflecting the fringe position which the party then occupied on the West German political spectrum, her name was placed second on the list and she accordingly became one of the seven German Green Party members of the parliament, retaining her seat till her sudden death in 1987. She died as the result of a heart attack two days before the end of the year. Her funeral took place on 6 January 1988 in the principal chamber of the Frankfurt Main Cemetery and was attended by members and representatives from a range of left-wing groups from many countries. Agent of the East German security services
Following reunification in 1990 researchers gained access to a vast archive of the carefully compiled documentation produced between 1950 and 1989 by the East Germany Ministry for State Security "(Stasi)". It was discovered that since the early part of 1981 <mask> had been passing information to the East German security services. She was identified in Stasi records under the code names "IM Taler" and also, after 1983 as "Beate Schäfer".While they worked together on the Tageszeitung Brigitte <mask> and Klaus Croissant also teamed up together in their personal lives. In this connection <mask> was recruited, apparently by Croissant, as a Stasi informer. She worked for Hauptabteilung XXII ("Main department 12") which concerned itself with "observing" terrorism in West Germany. It was only after she died that it became known to authorities in the west that she had received her orders through Klaus Croissant and transmitted her reports to Stasi handlers in East Berlin through him. It is not clear from sources how the Hessischer regional branch of the Green Party came to nominate <mask> <mask> as a candidate for the 1984 European parliamentary election, but it is clear from sources that emerged subsequently that she only accepted the nomination after discussion with Stasi handlers. As a member of the European parliament <mask> became important not just to the Stasi's "Hauptabteilung XXII" but also to its National Intelligence Directorate ("Hauptverwaltung Aufklärung" / HVA). The HVA was East Germany's intelligence service with respect to West Germany.Most intelligence activity conducted on behalf of Warsaw Pact governments and Western Europe was tightly controlled from Moscow by the KGB. With respect to West Germany, however, it was far more effective to conduct espionage from East Germany because the extent of the shared language and kinships, culture and histories of East and West Germany meant that the pool of potential sympathizers, informants and secret intelligence operatives was immeasurably vast. As "Beate Schäfer" she was able to report, after May 1984, on the discussions between the national sub-groups of the parliament's Green group. The HVA were keen that she should become influential within the parliamentary Green faction and accordingly insisted that she distance herself from the "militant activist scene" in West Germany. In this way she might become more than a conventional "Stasi informant". As an influential voice of the left she would be able to influence detailed discussions within the European parliament and its committees in ways that aligned more closely with East German government objectives. From Stasi records it is apparent that "from 29 November 1984 Dr. Croissant and <mask> Heinich unconditionally separated themselves from the terrorist scene".<mask> was instructed to raise her profile in the Green Party and in the increasingly important "peace movement". By the time of her sudden death at the end of December 1987 it appears that she was succeeding. Through Croissant she had submitted detailed reports to her handlers containing a multiplicity of detail about meetings involving the "rainbow coalition" within the European parliament and involving the party's Bundestag group in the West German capital. She had also attended at least eight meetings with senior HVA officers . Further reading

References

1941 births
1987 deaths
Politicians from Frankfurt
Alliance 90/The Greens MEPs
Journalists from Frankfurt
Sozialistischer Deutscher Studentenbund members
MEPs for Germany 1984–1989
20th-century women MEPs for Germany
People of the Stasi

masks:
Brigitte Heinrich
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texts:
<mask>  (born 9 October 1935) is a British photojournalist, particularly recognised for his war photography and images of urban strife. His career, which began in 1959, has specialised in examining the underside of society, and his photographs have depicted the unemployed, downtrodden and  impoverished. Early life
<mask> was born in St Pancras, London,  and grew up in Finsbury Park, but he was evacuated to a farm in Somerset during the Blitz. He is slightly dyslexic but displayed a talent for drawing at the secondary modern school he attended. He won a scholarship to Hammersmith School of Arts and Crafts but, following the death of his father, he left school at the age of 15, without qualifications, for a catering job on the railways. He was then called up for National Service with the Royal Air Force (RAF) in 1953. Photojournalism
During his National Service, <mask> was posted to the Suez Canal during the 1956 Suez Crisis, and served as a photographer's assistant.He failed the written theory paper to become a photographer in the RAF and spent his service in the darkroom. During this period <mask> bought his first camera, a Rolleicord, for £30 when stationed in Nairobi. On return to Britain, shortage of funds led to his pawning the camera and his mother used her money to redeem the pledge. In 1958 he took a photograph of a local London gang posing in a bombed-out building. He was persuaded by his colleagues to take his photograph of The Guvnors, as the gang was known, to The Observer, which published it, setting him on his path as a photographer. Between 1966 and 1984, he worked as an overseas correspondent for the Sunday Times Magazine, recording ecological and man-made catastrophes such as wars, amongst them Biafra in 1968, and victims of the African AIDS epidemic. His hard-hitting coverage of the Vietnam War and the Northern Ireland conflict is held in particularly high regard.He also took the photographs of Maryon Park in London used in Michelangelo Antonioni's 1966 film Blowup, In 1968, his Nikon camera stopped a bullet intended for him. Also in 1968, on 28 July, he was invited to photograph the Beatles, then at the height of their fame and in the midst of recording The White Album. These sessions, made at several London locations, have become known as The Mad Day Out. They contain many well-known images of the band, including the gatefold sleeve picture from the Red and Blue compilations where the Beatles mingled with the crowd seen through railings. The photographs from this day were published in the 2010 book A Day in the Life of the Beatles. A documentary about McCullin entitled Just One More War, directed by Jana Boková, with ATV as the production company, aired on the ITV network in 1977. In 1982 the British government refused to grant McCullin a press pass to cover the Falklands War, claiming the boat was full.At the time he believed it was because the Thatcher government felt his images might be too disturbing politically. He is the author of a number of books, including The Palestinians (with Jonathan Dimbleby, 1980), Beirut: A City in Crisis (1983) and <mask> in Africa (2005). His book, Shaped by War (2010) was published to accompany a retrospective exhibition at the Imperial War Museum North, Salford, England in 2010 and then at the Victoria Art Gallery, Bath and the Imperial War Museum, London. His most recent publication is Southern Frontiers: A Journey Across the Roman Empire, a poetic and contemplative study of selected Roman and pre-Roman ruins in North Africa and the Middle East. In 2012, a documentary film of his life, McCullin, directed by David Morris and Jacqui Morris, was released. It was nominated for two BAFTA awards. In later years, McCullin has turned to landscape, still-life works and commissioned portraits.In November 2015 <mask> was named Photo London Master of Photography for 2016, at the launch of Photo London, an art fair due to open at Somerset House in May 2016. A special exhibition dedicated to his work is to be commissioned. Asked about the rise of digital photography, he said: "Digital photography can be a totally lying experience – you can move what you want. The whole thing can’t be trusted really". Filmed in February 2018 and broadcast in May, the BBC Four documentary The Road To Palmyra saw <mask> visit Syria with historian Dan Cruickshank to see the devastation left by the conflict on the UNESCO listed site of Palmyra. Discussing his trip with the Radio Times he spoke of his approach to entering war zones: "I have risked my life endless times, and ended up in hospital with all kinds of burns and shell wounds. I have those reptile eyes that see behind and in front of me.I’m constantly trying to stay alive. I’m aware of warfare, of hidden mines." Despite his reputation as a war photographer, <mask> has said that Alfred Stieglitz was a key influence on his work. Personal life
Living in Somerset, he is married and has five children from his marriages. Biopic
In November 2020, it was announced Angelina Jolie would be directing a biopic about <mask>, with Tom Hardy in the starring role. It is being adapted from <mask>'s autobiography Unreasonable Behaviour by Gregory Burke. Publications

 <mask> (2010) A Day in the Life of the Beatles.London: Jonathan Cape. . New York: Rizzoli. .
A day in the life of the Beatles: un giorno speciale con John, Paul, George e Ringo. Milan: Rizzoli. .
A day in the life of the Beatles: söndagen den 28 juli 1968. Stockholm: Max Ström. . The Landscape. London: Jonathan Cape, 2018. . Awards

 1964: World Press Photo of the Year, Amsterdam, for his coverage of the war in Cyprus. 1964: Photo Stories, third prize stories, World Press Photo award, Amsterdam.1964: Warsaw Gold Medal. 1974: News Picture, first prize stories, World Press Photo award 1973, Amsterdam. 1977: Honorary Fellowship of the Royal Photographic Society (HonFRPS). 1978: Photo Stories, first prize stories, World Press Photo award 1977, Amsterdam. 1984: Spot News, second prize stories, World Press Photo award 1983, Amsterdam. 1993: Honorary doctorate from the University of Bradford. 1993: Appointed Commander of the Order of the British Empire in the 1993 New Year Honours, the first photojournalist to receive the honour.1994: Honorary degree from the Open University. 2003: Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography. 2006: Cornell Capa Award. 2007: Royal Photographic Society's Centenary Medal. 2008: Honorary Doctorate of Letters by the University of Gloucestershire in recognition of his lifetime's achievement in photojournalism. 2009: Honorary Fellowship of Hereford College of Arts. 2011: Honorary Degree (Doctor of Arts) from the University of Bath.2016: Lucie Award in Achievement in Photojournalism category
2017: Appointed Knight Bachelor in the 2017 New Year Honours for services to photography. 2017:  Honorary Degree (Doctor of Letters) from the University of Exeter. Exhibitions
2010–2012: Shaped by War: Photographs by <mask>, Imperial War Museum North, Salford, UK, 2010; Victoria Art Gallery, Bath, UK, 2010; Imperial War Museum, London, 2011–2012 in an updated form. "Shaped by War: Photographs by <mask>'s work is held in the following permanent collection:
Tate, UK: 85 prints as of May 2018
Victoria and Albert Museum, London: 11 prints

 Quotes

"I grew up in total ignorance, poverty and bigotry, and this has been a burden for me throughout my life. There is still some poison that won't go away, as much as I try to drive it out." "I am a professed atheist, until I find myself in serious circumstances. Then I quickly fall on my knees, in my mind if not literally, and I say : 'Please God, save me from this.'" "I have been manipulated, and I have in turn manipulated others, by recording their response to suffering and misery. So there is guilt in every direction: guilt because I don't practise religion, guilt because I was able to walk away, while this man was dying of starvation or being murdered by another man with a gun. And I am tired of guilt, tired of saying to myself: "I didn't kill that man on that photograph, I didn't starve that child."That's why I want to photograph landscapes and flowers. I am sentencing myself to peace." "Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures." References

 External links

<mask> at Hamiltons Gallery
Life Interrupted: A gallery from Africa on behalf of Christian Aid
Audio slideshow on BBC News
TateShots: <mask> The artist on his work (podcast by Tate Britain) (registration required)
<mask> at tate.org.uk
Photographs from the Shaped by War exhibition at The Guardian "<mask>in: the art of seeing" at The Guardian''

1935 births
People from St Pancras, London
British autobiographers
British non-fiction writers
Photographers from London
Commanders of the Order of the British Empire
English photojournalists
The Sunday Times photojournalists
The Observer photojournalists
Living people
Vietnam War photographers
Photography in India
Photography in Lebanon
War photographers
Social documentary photographers
British male writers
Knights Bachelor
People from Finsbury Park
Male non-fiction writers

masks:
Sir Donald McCullin
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texts:
<mask> (born February 13, 1965) is an American contemporary artist. <mask> initially gained notoriety for her series of Missing Person paintings, in which she appropriated and embellished upon, or subtracted from, recognizable works from art history. Media coverage is often quick to note <mask>'s family background, an art pedigree originating with her great-grandfather, the 20th century painter <mask>. Britain's Sunday Telegraph newspaper in 2003 referred to <mask> as "art royalty", a term occasionally paraphrased when discussing <mask> and her artwork. Early life
<mask> was born in Boston on February 13, 1965,
and was raised in Cambridge, Massachusetts, having what has been described as a "hippie childhood". Her father is the sculptor <mask>, whose grandfather was <mask>. <mask> had "serious" dyslexia in her youth, which she remedied through creative pursuits.Education
Matisse began studies in 1985 at the Massachusetts College of Art and Design in Boston, but she dropped out after her first year. In 1990, she relocated to Paris and attended the École des Beaux-Arts, the same institution where her great-grandfather <mask> had studied. She also bought supplies at the same art-supply store where he had shopped. Matisse lived with her grandmother Teeny Duchamp in France for a time. Teeny, after divorcing <mask>, had married the French artist Marcel Duchamp (Duchamp died in 1968). Studies at the École des Beaux-Arts were not easy for <mask>; not only facing imposed expectations of being an art student in France named "Matisse", but also being an American lacking proficiency in reading and writing French. After three years <mask> was asked to leave.She did, however, meet the French artist Alain Jacquet while at École des Beaux-Arts, whom she married in 1992. Early career
In 1996, <mask> moved to New York City, setting up her studio in Manhattan's Tribeca neighborhood, and soon began exhibiting her artwork. The artist's 1997 painting Monna Lisa (Be Back in Five Minutes) initiated art world interest which furthered her career. In the painting, <mask> replicated the background setting of Leonardo da Vinci's original, but omitted the eponymous subject Mona Lisa from the scene. It was the first of what became her signature Be Back in 5 Minutes series. The Be Back in Five Minutes series gave <mask> her first widespread exposure as an artist, in her own right, and informed her work for years thereafter. In those paintings, <mask> reproduced the recognizable settings of famous paintings, always omitting the figures; as if the models had "stepped out for the moment".Famous works of Vermeer also figured prominently in other early entries to the series; Young Woman with a Water Pitcher, The Art of Painting, and Girl with a Pearl Earring  were all reinterpreted by <mask> in the late 1990s, minus the figures portrayed by Vermeer. Exhibitions
Although she had previously participated in group exhibitions in New York and elsewhere, <mask>'s first solo exhibition opened in January 2002, at the gallery which continued to represent her in New York, Francis Naumann Fine Art. It was the gallery's first exhibition of Contemporary art. <mask>'s Monna Lisa (Be Back in Five Minutes) was featured in this first exhibition along with over twenty others of the artist's absentee paintings. Among American artworks from which <mask> "removed" the occupants are Grant Wood's American Gothic, in which the pitchfork is left standing alone in the foreground, and Edward Hopper's Nighthawks, in which the diner is replicated devoid of customers and staff. Both of these were painted in 2001. The artwork of <mask> is also among those reinterpreted.Goldfish reproduces the scene as originally portrayed by him, minus the goldfish. The Conversation leaves an empty chair by the window. Artwork from this series was also assembled for an exhibition titled "Once Removed" at the upstate New York Katonah Museum of Art in the summer of 2005. <mask>'s reinterpretation of Guernica
In 2003, <mask> added Pablo Picasso's Guernica to the number of paintings she reinterpreted. This time, <mask> opted to "colorize" Picasso's monochromatic "anti-war testament" — a painting to which she had never actually stood "face to face". Despite her great-grandfather and Picasso's "rocky relationship". <mask> followed her own color sensibilities, as opposed to mimicking those of her great-grandfather.<mask> used Guerra Paint acrylics and painted on canvas, testing color combinations by first painting many small sketches. She kept true to the impact of Picasso's original by painting it large-scale, approximately . Her efforts yielded several paintings and various drawings, which culminated in her Sophie Matisse Does Guernica exhibition, early in 2003 in New York. One piece, 911 Guernica, uses Guernica as the motif to convey her own first hand experiences witnessing the terrorist attack on New York's Twin Towers from her neighborhood near the site. <mask>'s Guernica exhibition was scheduled to coincide with the Museum of Modern Art's dual survey exhibiting the works of both Picasso and <mask>. The artist and her "Be Back in 5 minutes" series faced as much opposition as they did praise, with some critics deriding her "coloring-in" of Picasso by comparing it with the colorization of black and white movies. Art critic Arthur Danto said <mask>'s work "demonstrates why Picasso was right to use black and white and gray, and why <mask> was exactly right never to have attempted to depict violence".<mask> in 2003 also participated in a project coordinated by Dodie Kazanjian for Vogue magazine. "Self Portraits: A Vogue Portfolio" appeared in print as a ten-page feature in the December 2003, issue of the magazine. As the title suggests, each artist submitted a "self-portrait". <mask> was featured among other female artists of her generation such as Kiki Smith. <mask>'s contribution was a "Be Back in 5 Minutes" interpretation of Gustave Courbet's erotic painting The Origin of the World, this time removing the 19th century French painter's graphically portrayed nude model, leaving only the rumpled bedsheets. The completed artworks were exhibited at Deitch Projects SoHo gallery space at the time of publication. Zebra stripe paintings
<mask> began a new series of paintings in the Spring of 2004, which culminated in her third solo exhibition, the Zebra Stripe Paintings, debuting in New York in the latter months of 2005.<mask> once again appropriated historically significant artworks, this time superimposing her own imagery in the form of zebra stripes overlapping the originals. In these paintings, all acrylics and oil on canvas, the appropriated originals are somewhat obscured by the stripes, rendering them less readily identifiable, and the artist herself has joked that her dyslexia may have been helpful in creating these works. The series was compared to James Rosenquist's later works, juxtaposing and overlapping seemingly unrelated imagery. <mask> again appropriated one of her great-grandfather's artworks, this time overlaying his Blue Nude with her zebra stripes. Special projects
<mask> has provided artwork in collaboration with business interests and also in support of charitable causes. In 2008, She collaborated with Kilian Hennessy, heir to the Hennessy lineage of cognac makers, providing artwork for a line of fragrances. <mask> added her personal touch to fifty bottles of Kilian perfumes, hand-painting, signing and numbering every bottle and its box.Each of the limited edition creations bore a design different from the others. Additionally, <mask> collaborated with @byKilian in December 2009 on 15 hand-painted, Special Edition (Gold) perfume bottles, which were sold to key By Kilian clients. For an exhibition titled The Art of the Game coinciding with San Diego's Beyond the Border International Contemporary Art Fair of 2009, <mask> created five chess sets of her own design. She considered her participation "a tribute" to the game's presence within her family in general, and her upbringing personally. In 2010, <mask> participated in the New York installment of an international campaign produced by the non-profit group Sing For Hope. The project called for 60 pianos to be placed in specifically chosen public places around a chosen city, in this case New York City, each first hand-painted by participating artists and amateurs alike. The decorated pianos remained at their specified locations for two weeks in July 2010, with the instructions "Play me, I'm yours" clearly marked, and an attendant present to oversee and invite passersby.<mask> hand-painted four Kimball pianos, all of which had been donated for the cause, even painting the piano keys. Some, if not all, of <mask>'s four were displayed in the lobby of Avery Fisher Hall and Lincoln Center promenade. All 60 pianos were auctioned that fall. Matisse was represented by Francis Naumann Fine Art, LLC, in New York City. from 2003 to 2020. Matisse is now represented by the Baahng Gallery in New York City. Personal life
In 1992, when she was 27, Matisse married Pop artist Alain Jacquet, whom she had met during her years at the École des Beaux-Arts, Paris.Jacquet similarly reworked classic artworks into his own creations, which have been described as "Pop subterfuge". The marriage produced a daughter, Gaïa Jacquet-<mask>, born in 1993. <mask> and Jacquet were considered a "perfect couple" by friends and acquaintances, and remained married until Jacquet's death, at age 69, in 2008. <mask> later married Amar Zribi in St. Martin FWI, in 2012. Family background
<mask>'s father is the sculptor and inventor <mask>, a Harvard graduate. Her grandfather, Paul's father, was Modern art dealer <mask>, who had moved to America in the 1920s. Pierre was the youngest child of 20th century painter <mask>, <mask>'s great-grandfather.<mask> died in 1954, aged 85, eleven years before <mask>'s birth. Family members expressed concern for <mask>'s future as an artist in her own right, and suggested she use her great grandmother, Amelie Pareyre as her family name to avoid constant comparison to <mask>. Only by incidentally noticing her family name on museum walls did <mask>, as a young child, come to consider that her great-grandfather may have been someone "exceptional". <mask>'s step-grandfather was the artist Marcel Duchamp, who reinterpreted Leonardo da Vinci's Mona Lisa in his L.H.O.O.Q. by adding a mustache. Duchamp married <mask>'s grandmother Alexina "Teeny" <mask>, an American, in 1954 after she and <mask> had divorced. <mask> has cited Duchamp as an influence, once saying "his presence stopped me from getting too serious".Art writers have pointed to the "visual jokes" sometimes apparent in <mask>'s own work as a sign of Duchamp's influence. References

External links
 <mask> page at Francis Naumann Fine Art, LLC

1965 births
Living people
20th-century American women artists
American contemporary painters
Artists from Boston
American expatriates in France
American women painters
American people of French descent
Massachusetts College of Art and Design alumni
American alumni of the École des Beaux-Arts
Sophie
21st-century American women artists

masks:
Sophie Alexina Victoire Matisse
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Sir <mask>  (born 22 February 1944) is a British former diplomat who served as the Ambassador to the United States (1997–2003), Ambassador to Germany (1997) and the chairman of the Press Complaints Commission (2003–2009). He is married to <mask>, Baroness <mask>, founder of the charity Parents & Abducted Children Together, and an active board member of the Transatlantic Forum for Education and Diplomacy. Early life and education

<mask> was born in 1944 to <mask> and his wife Eve. Reginald was a flight lieutenant in Coastal Command of the RAF who was killed in action over the Greek island of Icaria 13 days before his son was born (in 2011 <mask> visited the island and met witnesses of the shooting-down and burial of his father). <mask> was educated at Lancing College, a boarding independent school for boys (now co-educational), near the village of Lancing in West Sussex, the Lycee Henri IV in Paris and Peterhouse at the University of Cambridge, where he graduated in History (he has been an honorary fellow of Peterhouse since 2002). After graduating, he attended the Johns Hopkins School of Advanced International Studies at Bologna. Diplomatic career
He began his career in the Foreign and Commonwealth Office in 1966 in the West and Central African Department as desk officer for French-speaking African countries.Following a year's training in the Russian language, his first posting, at the age of 24, was as third secretary to the British embassy in Moscow in 1968, where for his first year he was the ambassador's private secretary. From 1970 to 1973 he was second secretary at the British embassy in Madrid. This was followed by five years in London, firstly, as the head of the Soviet section in the East European and Soviet Department; and, secondly, as speech-writer to three successive Foreign Secretaries: James Callaghan, Anthony Crosland and David (now Lord) Owen. <mask> was then sent from 1978 to '82 to the UK permanent representation to the European Communities in Brussels, followed by two years as political counsellor in the British embassy in Moscow. He returned to London in 1984 to become press secretary to the Foreign Secretary, Sir Geoffrey Howe, a position which he occupied until 1988, when he went for a year to Harvard University's Centre for International Affairs as a Visiting Fellow. This was followed by five years at the British embassy in Washington as minister-commercial and deputy head of mission. He returned to London in 1994 to become Prime Minister John Major's press secretary and government spokesman.He was posted briefly to Germany as ambassador in 1997, but was transferred in the same year to Washington as Britain's ambassador to the United States. HM Ambassador to the United States

His final posting was as British Ambassador to the United States from 1997 until his retirement in 2003. <mask> gave evidence about his time in the role to the Iraq Inquiry in November 2009. The Press Complaints Commission (PCC)
<mask> was appointed chairman of the UK press's self-regulating body in March 2003. During his tenure from 2003 to 2009, <mask> introduced a number of reforms to enhance the profile, independence and credibility of the Commission. These included increasing the majority of independent Commissioners, introducing independent scrutiny of the PCC's internal processes and decision-making, instituting PCC "away-days" twice a year in the cities and towns of the UK and extending the PCC's remit to online editions of newspapers, including audio-visual material. This led to a significant increase in public use of the PCC, with complaints about the press rising from 2,630 in 2002 to 4,698 by the time <mask> retired as chairman.He was also responsible for developing the PCC's pre-publication activity, including its anti-harassment service, which proved highly effective in protecting people from the unwanted attention of media scrums. <mask>'s tenure coincided with the gaoling in 2007 of the News of the World reporter, Clive Goodman, and the enquiry agent, Glenn Mulcaire, for phone-hacking offences under the Regulation of Investigatory Powers Act. This prompted the resignation of the News of the World's editor, Andy Coulson. Later, as the phone-hacking scandal spread, the PCC, and <mask> himself, were criticised for not having brought those responsible to account. But the Lord Judge, Lord Chief Justice of England and Wales, pointed out in a lecture to the Human Rights Law Conference on 19 October 2011 that "To criticise the PCC for failing to exercise powers it does not have is rather like criticising a judge who passes what appears to be a lenient sentence, when his power to pass a longer sentence is curtailed." <mask> had himself reminded the Leveson Inquiry in his witness statement, submitted on 14 September 2011, and at his appearance before the Inquiry on 31 January 2012 that phone-hacking was a crime under the Regulation of Investigatory Powers Act 2000 and that it was not in the remit of the PCC either to apply the criminal law or to carry out investigations that rightfully belonged to the police. Honours
In 1998, Her Majesty Queen Elizabeth II appointed him Knight Commander of the Order of St Michael and St George (KCMG).<mask> is a non-executive director of the Arbuthnot Banking Group. He is also Chairman of the Advisory Board of Pagefield and an Honorary Fellow of Peterhouse, Cambridge University. He is a Liveryman of the Worshipful Company of Stationers and Newspapermakers and a Freeman of the City of London. On 3 April 2012 he was appointed Court Assistant honoris causa by the Company. Since 2013 <mask> has been a Senior Associate Fellow of the Royal United Services Institute. <mask> was named in 2010 the Morehead-Cain Alumni Distinguished Visiting Professor at the University of North Carolina. Writing
He published his memoirs, DC Confidential, in November 2005, with extracts serialised in The Guardian and the Daily Mail.The book gave rise to considerable controversy. It was attacked by members of the Labour government (Deputy Prime Minister John Prescott called <mask> a "red-socked fop"),, while a group of MPs urged him to "publish and be damned". <mask> gave a detailed rebuttal of his critics in written evidence submitted to the House of Commons Select Committee on Public Administration. In 2005, the memoirs were included in his books of the year by Jim Hoagland, The Washington Posts commentator on foreign affairs, who described them as "thorough" and "credible". In 2009 he published a second book, Getting Our Way, a 500-year history of British diplomacy that accompanied a BBC 4 television series of the same name. He was again in the news with this book, serialised this time in The Sunday Times and The Daily Telegraph, and again openly critical of the Labour Government under which he served. In November 2013 <mask> published a third book, the Amazon Kindle Single, Only Child, a personal memoir of his childhood interwoven with the story of how his father was shot down and killed in the Second World War.It includes interviews with still surviving witnesses of his father's crash and burial. <mask> writes regularly on international affairs for a variety of newspapers and publications. Broadcasting
<mask> has presented several television and radio documentaries on diplomacy for the BBC, including Mortgaged to the Yanks (BBC Two/BBC Four 2006), Corridors of Power, How to Succeed at Summits, and Lying Abroad, all for BBC Radio 4 in 2006 and 2007. These were followed in 2009 by a BBC Radio 4 documentary series on the press called The Watchdog and the Feral Beast. 2009 also saw him present a BBC television series Getting Our Way, which chronicled episodes from British diplomatic history over the last 500 years and was later turned into a book (see below). In 2012 he fronted a 6-part international documentary series for Sky Atlantic called "Networks of Power", which examined the power-brokers of Mumbai, Rome, Moscow, New York, Los Angeles and London. The Guardian found the series "immensely watchable" and described <mask> as "Paxmanesque – quizzical, authoritative, faintly mischievous".He frequently appears on news and current affairs programmes, for example, providing analysis for the BBC's coverage of President Barack Obama's state visit to Britain in May 2011. <mask>, when asked (in an interview with the BBC) "Which foreign government has the most influence on Washington? ", unequivocally responded: "Israel." When he was then asked "And then? ", he said, "Well, in the hit parade I think Israel is in a class of its own..."

Personal life
He is married to <mask>, Baroness <mask> and has two sons from a previous marriage. He sits on the board of the charity his wife founded, PACT (Parents and Abducted Children Together). Sir <mask> was admitted to hospital on the afternoon of 11 July 2018 after an alleged attack by two youths at London Victoria station.He was 74 at the time, and had been doing a lot of television work regarding US President Donald Trump's UK visit. A 15-year-old girl and a 16-year-old boy were arrested on suspicion of assault occasioning grievous bodily harm, but were released under investigation while enquiries into the incident continued. However a witness later came forward to claim that Sir <mask> was not attacked and that he was injured after accidentally falling over. The boy pleaded guilty to causing grievous bodily harm without intent to Sir <mask> on 11 July 2018. Books
 <mask> (2005), DC Confidential, Weidenfeld & Nicolson. ()
 <mask> (2009), Getting Our Way: 500 Years of Adventure and Intrigue: the Inside Story of British Diplomacy, Weidenfeld & Nicolson ()
 <mask> (2013), "Only Child", Amazon Kindle Single,

References

External links

The Guardian, Sir <mask>'s memoirs
JLA, speaker profile
Press Complaints Commission

1944 births
Alumni of Peterhouse, Cambridge
Press secretaries
Ambassadors of the United Kingdom to Germany
Ambassadors of the United Kingdom to the United States
Harvard Fellows
Paul H. Nitze School of Advanced International Studies alumni
Living people
Lycée Henri-IV alumni
Knights Commander of the Order of St Michael and St George
People educated at Lancing College
Spouses of life peers

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<mask> (; born January 24, 1916 – October 20, 2010) was a Polish-Israeli visual artist, a decorated leader of partisans during World War II, a key player in 20th century Yiddish culture, and one of the trailblazers for art education and Artists' associations in the emerging state of Israel. Biography
<mask> was born in Tartu, Estonia and brought up in Wilno. As a young boy he adhered to the values of the Yiddish culture of Yung Vilne, as well as to the modern Polish culture. After completing his studies at the gymnasium, he was accepted to the Stefan Batory art academy affiliated with the Wilno University, where he studied painting and sculpture. His parents were physicians. His father came from a secular family and his mother was the daughter of Rabbi Tuvia Lobitzki, the rabbi of Wołkowysk, Poland. His studies were interrupted by World War II.<mask> joined the partisans and became a commander of the Jewish partisan unit in the Narocz Forests. He buried many of the drawings he made at this time near Lake Narocz. He returned to the ghetto in September 1943 and helped to facilitate the rescue of members of the United Partisan Organization (FPO), a Jewish underground movement active in the ghetto and lead by poet Abba Kovner, Bogen's school friend. When the Vilna Ghetto was about to be destroyed, Bogen and his partisans tried to rescue some key people, one of whom was Abraham Sutzkever. With the help of the soviet partisans, they managed to finally smuggle him into Moscow along with some of Bogen's drawings, which were eventually exhibited in Moscow

According to the  "Russian State Archive of literature and art” (RGALI), he was head of the Department of Arts of the Lithuanian SSR from: 05 September 1944 - February 1945. After the war Bogen returned to his studies, finished his academic degree and was mastered as an artist of monumental painting at the USB Academy of Art in Vilna. In 1947, he taught as a professor at The Academy of Fine Arts In Łódź and became a well-known artist, set designer and book illustrator.Alongside his recognition as a Polish Artist and war hero, receiving several accolades and awards as well as a large retrospective exhibition (Łódź State Museum, 1950) - <mask> was also very active in the resuscitation of the cultural life of the Jewish Community in post war Poland. In 1951, <mask> and his wife immigrated to Israel and settled in Tel Aviv. During his time in Israel, Bogen continued his cultural and educational activities in the arts. In 1957 he initiated the art program in WIZO France - Ironi Yud-Dalet high school in Tel Aviv and lead it for 22 years. Bogen completed his academic studies of art at the Ecole des Beaux Arts in Paris and was an art lecturer in the Hebrew University in Jerusalem. Bogen continued painting, drawing and sculpting until his death at the age of 94 in Tel Aviv on October 20, 2010. In July 2018, Mayor Ron Huldai, on behalf of the city of Tel Aviv, has inaugurated a Memorial plaque in Bogen's honor on the house where he lived and worked.Resistance through art

<mask> continued to draw during the war, documenting what he saw: "We saw abandoned children. We saw people being led to the slaughter. I did not lay down my pencil for a moment. An artist condemned to death portraying people condemned to extermination... I sketched the forest, my brothers-in-arms, the battle itself. There was no table. There were no paints.There was no paper. I found packing paper. I made ink from blueberries, fixer out of pulverized milk and burnt dry branches for charcoal for my sketches. I asked myself why I was drawing, when I was fighting day and night…

This was something similar to biological continuation. Every man, every people, is interested in continuing his people, his family,

in bringing children into the world for the future – in leaving this one thing. Another motivation was to get information to the so-called free world,

but mostly Being creative during the Holocaust was also a show of protest -

people facing brutal danger, facing death, react in their own different way. the artist's reaction is artistic.This is his weapon." His drawings, especially those that survived from his partisan days, offer a gallery of characters and document the history of a people fighting for its life during the Holocaust. Among the drawings on show were illustrations for poems by two Yiddish poets: Gebirtig and Abraham Sutzkever. Monuments & murals

 “Revolt” – Partisan Museum, Tel Aviv
 “Holocaust” – Partisan Museum, Tel Aviv
 Vitrage, Jabotinsky Institute, Tel Aviv
 Vitrage, 14th Vocational High School, Kiryal Hachinuch, Tel Aviv
 Memorial Monument, Commemorating the Holocaust and the Revolt,  Latroun Museum, Jerusalem

Awards

 1951	State Prize, Polish Government Prize
 1961	The Histadrut Prize, Israel
 1962	The Israel Ministry of Education & Culture Prize
 1980	Prize of the Sea League of Israel
 1982	The Negev Prize
 1993	Medal of the City of Vesoul, France
 1995	Shalom Aleichem Prize, Israel

See also
Official Website
Visual arts in Israel
 The Israel Museum, Jerusalem
Alexander Bogen Collection  at the United States Holocaust Memorial Museum, Washington D.C.
"the Pen and the Sword" - online exhibition from Yad Vashem, Jerusalem. References

External links

Alexander Bogen Foundation

Visual arts education
1916 births
2010 deaths
Israeli Ashkenazi Jews
Jewish painters
Israeli illustrators
Polish resistance members of World War II
Jewish partisans
Yiddish culture in Israel
Yiddish culture in Poland
Yiddish-language literature
Abstract expressionist artists
20th-century Israeli painters
21st-century Israeli painters
Burials at Kiryat Shaul Cemetery
Polish emigrants to Israel

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