texts:
<mask> (March 25, 1887 – December 9, 1948) was an American  journalist and humorist who for more than a quarter century was "one of the leading purveyors of village nostalgia" from his home in Fountain Inn, South Carolina. In 2012, his office and library was listed on the National Register of Historic Places. Youth and early career
Quillen was born in Syracuse, Kansas, near the Colorado border, and was reared in Overbrook, Kansas, a hamlet south of Topeka, where his father, J. D<mask>, published the local newspaper. <mask> early learned to set type and as a teenager sold pen-and-ink drawings and published a monthly magazine. In 1904, shortly before his seventeenth birthday, Quillen joined the U.S. Army under an assumed name (swearing he was 21), but by mid-1905, he had been released from military service. He then spent a few months working for newspapers in the northeastern United States where he had been discharged. In 1906, he answered an ad seeking an editor for a weekly that a publisher hoped to establish in Fountain Inn, South Carolina.Although after his first encounter he remained in Fountain Inn only three months, Quillen there met and married Donnie Cox, a milliner, five years his senior. He moved on to Americus, Georgia, and then took his new bride to Washington state, where Quillen joined forces with his father and worked at publishing newspapers and magazines in Winlock, Anacortes, and Port Orchard. Quillen later wrote that he had gone "busted" in the West. Fountain Inn Tribune

In 1910, when his brother-in-law in Fountain Inn offered to sell him a weekly advertising sheet called News and Notions, Quillen bought it and borrowed money to purchase his own

masks:
Verni Robert Quillen
. Quillen
Robert


type: original

texts: press and type. In the following year Quillen began editing and publishing the newly christened Fountain Inn Tribune, "a well-organized publication overflowing with news of Fountain Inn and outlying communities." At first, as Quillen confessed two decades later, "the natives were a little hot under the collar" at what he called his "hypothetical cases"—thinly veiled descriptions of the locals—but most soon warmed to him like an eccentric aunt. One Fountain Inn man warned a new preacher, "Don't get mad at anything Mr. Quillen says.We're used to him and just overlook his queerness." Among other oddities, Quillen regularly wore a "cowboy-type Stetson," raised a memorial to "Eve, the First Woman," published his father's obituary before he died, used a column to advertise his interest in adopting a baby boy ("must be between three and twelve months of age"), and built himself a faux Greek temple as a work space—which he never used. Facile with words, Quillen took inconsistent political, economic, and racial positions; but he was "not afraid to bare his soul, express personal views, and even vent scorn and anger." For instance, he hated patent medicine, people who put on airs, late night noises (both human and natural), and the cats and jays that killed his beloved song birds. Although a shy man who refused to speak in public, he became something of a "one-man welfare and relief agency for the poor and needy of Fountain Inn." Meanwhile, Quillen engaged in a "never ending struggle" to make the Fountain Inn Tribune pay its own way. With fewer than a thousand subscribers, the newspaper itself was probably never profitable, but Quillen used the ideas generated in Fountain


texts:
 Inn as the basis for pieces that appeared in scores of leading national magazines and newspapers.Twice, frustrated with the time it took to run the weekly, he sold the paper (notoriously in 1926 for one dollar) and twice bought it back. In 1929, Quillen called the Tribune "my hobby—my substitute for golf." Syndicated journalist
By 1932 his work, which included editorials, paragraphs, cartoons, and one-liners, was regularly appearing in four hundred newspapers in the United States, Canada, England, and the Far East. Quillen wrote for such major periodicals such as the Baltimore Sun, the Saturday Evening Post, and The American Magazine, and he "took the greatest pride" in one-liners picked up by Literary Digest. According to a biographer, he was known as the best "paragrapher" of his day. With the assistance of Chicago newspaper executive Eugene P. Conley (co-founder of the Publishers Syndicate), Quillen also syndicated two single-panel cartoons (drawn by John H. Striebel), Aunt Het and Willie Willis — the latter of which was translated into Dutch as Pimmie Pimmel. As early as 1924, Quillen's income from syndicated material alone was probably more than $25,000 — easily ten times that amount in early 21st-century dollars.Well into his forties, <mask> hoped to become a great novelist. Macmillan published his two novels, One Man's Religion (1923) and The Path Wharton Found (1924). The first was "little more than a loose collection of pieces first published in the Saturday Evening Post," the second, a book which one reviewer called a "good enough conventional story, hampered by neither originality nor brilliancy." A decade later Quillen referred to these books as


texts:
 "fortunately out of print." In 1934 Hollywood screen writer Lamar Trotti and producer George Marshall visited Quillen to use him as a prototype for a Will Rogers film, Life Begins at 40, in which Rogers played a small-town newspaper editor. The film credits mentioned Quillen for "contributing dialogue." Personal life

Unable to find the adoptive son for whom he had advertised, Quillen and his wife adopted a baby girl, Louise, to whom Quillen later wrote a noted series of public epistles, "Letters from a Bald-Headed Dad to His Red-Headed Daughter."Shortly after the adoption, his wife died following routine surgery. In 1922, Quillen married another woman from Fountain Inn, Marcelle Babb. Despite years of ill health, Quillen continued to smoke and avoid doctors. He died at a nursing home in Asheville, North Carolina in 1948 and was buried in Fountain Inn. Not surprisingly, he had written and published his own obituary sixteen years earlier, which read in part, "He was a writer of paragraphs and short editorials. He always hoped to write something of permanent value, but the business of making a living took most of his time and he never got around to it. In his youth he felt an urge to reform the world, but during the latter years of his life he decided that he would be doing rather well if he kept himself out of jail."Notes

External links
Historical Marker Database, "Monument to Eve." 1887 births
1948 deaths
Writers from Greenville, South Carolina
People from Osage County, Kansas
Writers from Kansas
American male journalists
American humorists
United States Army soldiers
Burials in South Carolina
People from Hamilton County, Kansas
People from Fountain Inn, South


texts:
<mask> (born 1950, Fort Worth, Texas) is an American biologist, zoologist, and ecologist chiefly known for his research on lions in Serengeti National Park. He is the founder and director of both the Lion Research Center and Whole Village Project, as well as the co-founder of Savannahs Forever Tanzania. In addition, <mask> has been a professor in the University of Minnesota's department of Ecology, Evolution, and Behavior since 1983. Since his graduation from Stanford University in 1972, <mask> has become an active researcher and scientist, having published over 100 scientific articles and authored two books. For one of these books - Into Africa - <mask> was awarded the John Burroughs Medal in 1995. He has received various honors and awards in recognition of his work as a biologist. <mask> has been ordained with a Guggenheim Fellowship in 1990, a Distinguished McKnight University Professorship in 1997, and was elected to the American Academy of Arts and Sciences in 2003.He is a regular contributor to National Geographic and the IUCN. Early years
<mask> was born in Fort Worth, Texas in 1950. He attended his local Eastern Hills High School in 1964 and graduated in 1968. Growing up, Packer was originally interested in being a doctor or an engineer, and originally sought medical school after graduating from high school. However, these

masks:
Craig Packer
Packer
Packer
Packer
Packer
Packer


texts:
 fields did not support his desire to work out in the field and to travel to exotic places. Furthermore, Packer was fascinated by evolution and animal ethology. He ultimately abandoned his place in Stanford University’s School of Medicine to work as a field assistant for Jane Goodall in Gombe National Park, Tanzania to study olive baboons.He graduated Stanford in 1972 with a bachelor’s degree in Human Biology. He later attended the University of Sussex to complete his doctoral research on baboons, graduating with a Ph.D. in Behavioral Ecology in 1977. After a subsequent study on Japanese macaques in Hakusan National Park, Packer returned to Tanzania in 1978 as the head of the Serengeti Lion Project. His interest in lions derives from their unique behavior as social carnivorans, and it is a passion he continues to exercise as director of the Lion Research Center. Research

Baboons
While studying at Stanford, Packer was sent to Tanzania to study baboons at the Gombe Stream Research Center with Jane Goodall. During this study, Packer was one of the first ecologists to study complex hypotheses about the adaptive significance of behavior in his studies of coalition formation in baboons and the reasons why male baboons dispersed from their troop of birth to new troops. Packer attended the University of Sussex to complete his baboon


texts:
 research.Serengeti Lion Project
In 1978 <mask> began the Serengeti Lion Project to study various historical questions about lions. One of his biggest contributions to the Serengeti Lion Project was the discovery that successive outbreaks of canine distemper virus had different impacts depending on the rainfall patterns from the previous year. Packer studied how severe droughts led to co-infections of canine distemper virus by a tick-borne parasite, babesia. The co-infection mixed with high levels of babesia showed to be far more fatal than the distemper virus itself. Packer also studied the effects of a full moon and its correlation to the number of lion attacks. Along with his colleagues, he discovered that the risks of man-eating attacks are highest during the first week after the full moon, which may help explain why there are so many myths about the full moon. They also discovered that people in southern Tanzania are most at risk from man-eating lions in areas where they have to sleep in their fields to protect their crops from nocturnal crop-pests such as bush pigs.The lions stumble upon a novel prey species when they follow the pigs into people's fields. Current Work
Packer works at the University of Minnesota. <mask> is married to Susan James and has two children: Jonathan (1987), who is a pulmonologist in Shreveport,

masks:
Packer
Family Packer


texts:
 Louisiana and Catherine (1984), who holds an MPH from Johns Hopkins. He has two grandchildren, Sienna and Felix. Works
Packer, C. & Pusey, A. (producers) & Matthews, R. (director). (1989).Queen of Beasts [documentary]. Tanzania National Park, East Africa: Alan Root Productions. Packer, C. 1994. Into Africa. University of Chicago Press. Craft, ME., Vols, E., Packer, C., Meyers, LA. 2011.Disease transmission in territorial populations: the small-world network of Serengeti Lions. Journal of the Royal Society Interface 8(59) 776-786. <mask>, C., Swanson, A., Ikanda D., Kushnir, H. 2011. Fear of Darkness, the Full Moon and the Nocturnal Ecology of African Lions. PLoS ONE 6(7): e22285. <mask>, C. A Bit of Texas in Florida. 2010.Science 24, 329(5999) 1606-1607. <mask>, C., Kosmala, M., Cooley, H.S., Brink, H., Pintea, L., Garshelis, D., Purchase, G.,

Strauss, M., Swanson, A., Balme, G., Hunter, L., & K. Nowell. 2009. Sport hunting, predator control and conservation of large carnivores. PLoS ONE 4(6): e5941. Mosser, A. & C. Packer.2009. Group territoriality and the benefits of sociality in the African lion, Panthera leo. Animal Behaviour. Welburn, S., K. Picozzi, P. Coleman & C. Packer. 2008. Patterns in age-seroprevalence consistent with acquired immunity against Trypanosoma brucei in Serengeti lions. PLoS-Neglected Tropical Diseases

masks: Packer Packer Packer


texts:
 2(12): e347.Munson, L., K.A. Terio, R. Kock, T. Mlengeya, M.E. Roelke, E. Dubovi, B. Summers, A.R.E. Sinclair & C. Packer. 2008. Climate extremes and co-infections determine mortality during epidemics in African lions. PLoS-One 3, e2545.Ikanda, D. & C. <mask>. 2008. Ritual vs. retaliatory killing of African lions in the Ngorongoro Conservation Area, Tanzania. Endangered Species Research 6, 67-74. Fryxell, J., A. Mosser, A.R.E. Sinclair & C. Packer. 2007.Group formation stabilizes predator-prey dynamics. Nature 449, 1041-1044. Citations
<mask>, C. (2010) A Bit of Texas in Florida Science 24, 329(5999) 1606-1607.Retrieved on October 15 from the Science Magazine website: http://www.sciencemag.org/content/329/5999/1606.summary

Public Broadcasting Service. (2011) Nature: Elsa’s Legacy, the Born Free Story. Retrieved October 15, 2011 from the PBS website: https://www.pbs.org/wnet/nature/episodes/elsas-legacy-the-born-free-story/interview-lion-expert-craig-packer/6143/

University of Minnesota. (2011) College of Biologigical Sciences: Faculty and Staff. Retrieved on October 15, 2011 from the University of Minnesota website: https://web.archive.org/web/20111018174543/http://www.cbs.umn.edu/eeb/contacts/craig-packer

See also
 Dr Packer on the issue of competition between Asiatic lions and tigers

References

American ecologists
Living

masks: Packer Packer


texts:
<mask> (born April 7, 1969), professionally known as <mask>, is an American essayist, former football player and former professional wrestler who competed in the World Wrestling Federation (WWF) from 1998 to 1999 under the ring names Puke and <mask>. <mask>v is quadriplegic due to a neck injury sustained from a botched wrestling maneuver, but has regained most of the use of his upper body and arms. <mask>v was born in the Mays Landing section of Hamilton Township, Atlantic County, New Jersey. Football career

<mask>v, as a 6'3", 245 lb quarterback in high school, threw a 72-yard touchdown pass to wide receiver Lou Rothman to win the last game of the 1985 regular season to finish the season with a perfect 10–0 record. <mask>v set an Atlantic County, New Jersey record in track & field in the shot put event. He was All-State in football at Oakcrest High School in South Jersey. After a stint at Fork Union Military Academy, <mask>v attended the University of Maryland and was a defensive tackle for the Terrapins.He culminated his collegiate career by graduating with a B.S. in Criminal justice. Before his wrestling career, <mask>v was a professional American football player for three seasons with the National Football League (NFL)'s New York Jets, Philadelphia Eagles and Denver Broncos. He garnered a measure of notoriety (and the nickname "Puke") when he vomited on television during a Monday Night Football game directly onto the football before the center could snap it. A 1993 Sports Illustrated article stated that he had vomited at nearly every game that season and would reportedly see a psychiatrist for a "chronic vomiting" problem. Professional wrestling career
<mask> originally competed on the independent wrestling circuit under the ring names of <mask> King Lake, Darren "Ripping Yarns" Laxingham and DD Da Death Dude. He appeared with Extreme Championship Wrestling (ECW) from 1997 to 1998,

masks:
Darren Adrian Drozdov
Droz
Droz
Drozdo
Drozdo
Drozdo
Drozdo
Drozdo
Drozdo
Drozdov
Drozzy


texts:
 where he formed a stable of "invaders" from the WWF with Lance Wright, Brakkus, Doug Furnas and Phil LaFon.World Wrestling Federation (1998–1999)

<mask> made his World Wrestling Federation (WWF) debut in 1998. He claimed the natural ability to regurgitate on command, and WWF management decided to use this as his gimmick. In the documentary Beyond the Mat, his meeting with Vince McMahon is shown, with McMahon requesting <mask>v to vomit into a trashcan in his office. He first wrestled in dark matches and on WWF Shotgun Saturday Night. He debuted on Raw is War on the May 25, 1998 episode as an associate of the Legion of Doom. Dubbed Puke, he was the unofficial third member of the group. In late 1998, he competed in the WWF Brawl for All tournament, making it to the semifinals before losing to Bradshaw.<mask> was involved in a confrontation involving L.O.D. member Hawk's alcoholism. In this confrontation, Hawk was seen by his partner Animal as unfit to wrestle and <mask> was tapped to take Hawk's place in the tag team. The situation ended with accusations that he had been the "enabler" of Hawk's problems and had dosed the L.O.D. member to take his place in the team. During this segment, Hawk was shown to have been pushed off the TitanTron by <mask>. The feud culminated at the UK pay-per-view WWF Capital Carnage when the L.O.D.team of <mask> and Animal took on The Headbangers. During the match, <mask> entered the ring to defend Animal who was on the receiving end of an illegal double-team by The Headbangers. While the referee was occupied ushering Thrasher out of the ring, Mosh rolled up <mask>v, and the referee turned around and made the three count. Animal, enraged that Puke got involved, began to brawl with him before walking away from the ring in disgust, effectively ending <mask>v's run with L.O.D. After <mask>v's stint with the L.O.D., efforts were made to rebrand his persona,

masks: Drozdov Drozdo Droz Droz Droz Droz Drozdov Drozdo Drozdo Drozdo


texts:
 including one involving a series of skits called Droz's World, where he would tell stories about his life as a professional wrestler. He started to come into his own after turning heel. <mask>v started to build a stable of wrestlers who shared his bizarre lifestyle.He added Prince Albert to his faction as his personal "body piercing artist" and Key, alleged to be <mask>'s dealer. Pro Wrestling Illustrated ranked <mask>v #142 of the top 500 singles wrestlers in the PWI 500 in 1999. Career ending injury
<mask>'s active wrestling career ended suddenly when he suffered a severe neck injury during a match with D'Lo Brown during a WWF SmackDown! taping on October 5, 1999 at the Nassau Coliseum on Long Island. <mask> has stated that he was wearing a loose shirt during the match. When Brown attempted his signature running powerbomb, he was not able to gain a proper grip on <mask> and Droz was unable to execute a proper jump to aid in the lifting into the powerbomb position. <mask>v landed on his head and fractured two vertebrae in his neck.He was immediately rushed to Nassau County Medical Center, where he underwent hours of surgery to reduce and stabilize the pressure on his injured neck. Because the match was pre-taped, it was not aired to fans during the October 7 broadcast and has never been shown to the public. However, the footage of him being taken out on a stretcher has been seen in WWE's "Don't Try This at Home" public service announcements. Even with intensive medical care, his injury initially left him a quadriplegic with essentially no movement below the neck. Droz has since regained movement in his upper body and arms. <mask> has repeatedly stated that the incident was an accident and that he holds no animosity towards Brown for his injury, while Brown has said there is no blame on either side for the accident. Post-injury

<mask> continued to work for the WWE as a writer and

masks: Drozdo Droz Drozdo Drozdov Droz Droz Drozdo Drozdov Droz


texts:
 columnist following his accident and wrote articles and essays for website and magazine content.He also became a recurring guest on the WWE Byte This! internet show, commenting on his opinions regarding talents or upcoming matches. For several years, he also wrote articles with his predictions for each WWE pay-per-view. <mask> made an appearance on the Life and Death of the Road Warriors DVD in 2005, discussing his run with the group in 1998. In September 2007, <mask> was named honorary captain for a Maryland Terrapins football game against Villanova University. <mask>v was also interviewed for the Brawl for All episode of Dark Side of the Ring in 2020. Personal life
<mask>v continues to reside in South Jersey with his sister and her family.<mask>v requires 24-hour in-home care and is required to take multiple medications daily in addition to needing to lie flat for long periods of time. With the assistance of his medical staff, and continued support from WWE, he is able to sustain a degree of independence. <mask>v married WWE seamstress Julie Youngberg in 1999, days after his accident. He later stated that the one thing he would like to do would be to walk Julie down the aisle. The two divorced in late 2005. <mask>v uses a customized, tank-like wheelchair that was designed and financed by his college friend, Under Armour founder Kevin Plank. References

External links
Just Sports Stats

1969 births
American football defensive tackles
American male professional wrestlers
American players of Canadian football
Canadian football defensive linemen
Denver Broncos players
Living people
Maryland Terrapins football players
Montreal Alouettes players
Oakcrest High School alumni
People from Hamilton Township, Atlantic County, New Jersey
People with tetraplegia
Players of American football from New Jersey
Professional wrestlers from New Jersey
Sportspeople from Atlantic County, New Jersey
The Road

masks: Drozdov Droz Drozdo Drozdo Drozdo Drozdo Drozdo


texts:
<mask> (1780–1867) was an English artist and author. He painted landscapes and river scenes, primarily of the river Thames. His paintings were exhibited, among other venues, at the Royal Academy from 1836 - 1858. He is the author of several books on painting and lithography. Biography
<mask> was born in 1780, the youngest child of John and <mask> (sometimes spelled Philips). Nothing is known about <mask>’ childhood and adolescence. He was not taught at the Royal Academy Schools.However, he was apprenticed by his father to James Harrison (later Harrison & Co.,) of Paternoster Row, Printer, on 1st April 1794, which was registered with the Stationers Company on 30th March. Harrison published engravings, lithographs and magazines, and <mask> must have learned to draw by copying and engraving plates. He published a book on Lithography or 'drawing on stone' in 1828. Ref: [Britain, County Apprentices 1710-1808.Original Record at Stationers Company Archives, London.] The first record of his artistic inclination is his engraving of Lady Eliza Wrixon-Becher, a celebrated actress of the time, which was published by A. Beugo in 1815 when <mask> was 35 years old. Another engraving, this time of Sarah Siddons, was published, also by A. Beugo, in 1825. During the latter years <mask> was moving fairly frequently.There are records of his insurance policies, taken out with the Sun Fire Office in the early 1820s

masks:
Giles Firmin Phillips
Phillips
Dorothy Phillips
Giles
Giles
Giles
Giles


texts:
 which show him living at 4, Craven Street, City Road in 1822 and 35, Tavistock Street, Covent Garden by 1825, and described as an engraver. By 1827 he was living at 16 Brownlow Street, off High Holborn, and he is described as a “Drawing Master” in the directories of the time. His son John was also living with the family at the time. He was a founder member of the New Watercolour Society (founded 1831, and renamed "The Institute of Painters in Watercolours" in 1863.) He joined in 1832 soon after its foundation, and was on the committee of Management in 1833, for a year. He was also a professional subscriber in 1834, but according to the catalogues was neither a member nor exhibitor after 1835. He was described as an eccentric old watercolour painter, well known in his day.<mask> married Lydia Arnold on 11 June 1800. They are the parents of author/illustrator <mask>. <mask> was also the great uncle of illustrator, author and playwright <mask>. According to his death certificate, <mask> died on 31 March 1867 in Islington. He was buried at the Holy Trinity Church, East Finchley. Published books
<mask> wrote five books, one on Lithography, and four on the Techniques of Painting, which were published between 1828 and 1840. The Art of Drawing on Stone in which is fully explained the process of chalk drawing, of pen and ink drawing, and of the dabbing system, together with the preparation of ink and

masks:
Phillips
John Phillips
Giles Phillips
Watts Phillips
Phillips
Giles Phillips


texts:
 chalks.By G.F. <mask>. Lith. London; printed for R.H. Laurie, Map, Chart and Print Seller, 53, Fleet Street, 1828. J. Rider, Printer, Little Britain. Principles of Effect and Colour as Applicable to Landscape Painting Illustrated by examples for the amateur and professional student in Art Darton & Clark, Holborn Hill, 1834.
Review in "The Athaneum" No. 321, Saturday 21 December 1833, page 870. "It is impossible to describe this work: the prose instructions are illustrated by examples from the pencil and both seem judicious.All who desire to understand landscape as well as those who wish to paint should consult this work. We have not Burnet's* work at hand, otherwise we might have been tempted to compare the opinions and directions of the two artists. <mask> is clear and simple: Burnet, as far as we recollect, is equally clear and simple but more scientific." The Theory and Practice of Painting in Watercolours, as connected with the study of Landscape, by G.F<mask>, author of 'Principles of Effect and Colour.......'
Published by Charles Tilt, 86, Fleet Street, 1838. (The introduction gives his address as Park Street, Greenwich.) This is the 3rd Edition. First edition.34pp + advert leaf. 4 hand coloured and 10 sepia aquatint plates. Abbey Life 165. Advertised in "The Athanaeum" March 1838

A Practical Treatise on Drawing, and on Painting in Watercolours, with illustrative examples in pencil in

masks:
Phillips
Phillips
. Phillips


texts:
 sepia, and in watercolours Published by A.H. Baily & Co. 1839. The Art of Painting and Drawing simplified in a series of examples of Parts of the Human Figure with the most approved method of Miniature Painting to which is annexed the Art of Flower Painting. A.H. Baily & Co. Cornhill, 1840. Pictures and drawings in public collections
Victoria & Albert Museum
 A Coast Scene, Sunset 3 x 6.25 inches.Ref: 104-1892
 A River Scene 4.375 x 8.375 inches. Ref: 105-1892
 Landscape, undulating country, cattle in the foreground, the sea in the distance signed G.F. <mask>: 9.375 x 16 inches. Ref. 1362-1925. Gift of A.W. Wallington. Yale Centre for British Art

 Fish Market on the Beach.Watercolour. * 5.5 x 8.275 inches. Ref B 1977.14.5828
 A Storm over a Coast Watercolour. 6 x 9.5 inches B 1975.3.906

Anglesey Abbey
Cambridgeshire. Fairhaven Collection. Windsor from the Northwest Watercolour. 5 x 7.5 inches.British Museum

 Portrait of Sarah Siddons, originally a miniature, stipple engraving 3.75 x 3.25 inches. Portrait of Lady Eliza Wrixon-Becher, (formerly the actress Eliza O'Neill,) 1791-1872. shown in an octagonal frame with a medallion of Shakespeare above. An original stipple engraving by <mask> <mask>, published by A. Beugo, 1815. Guildhall Library
 Fore Street, Lambeth Litho. 10"/8.625" x 6.25"/6.125". [Ref Pr L1/ALB] Printed by C. Motte. Published by J. Kendrick, 54 Leicester Square, (circa 1830)

masks:
Phillips
Giles Firman
Phillips


texts:
 Old Buildings at Lambeth Litho.Image 7" x 6.125". [Ref Pr1 L1/ALB] Printed at C. Motte's Lithog. (circa 1840) [Also at the GLC Printroom.] The Knight's Bridge at Knightsbridge Coloured Litho. Printed by C. Motte, 23 Leicester Square. (circa 1825) 6" x 8.5". National Portrait Gallery
Leslie Grove Jones by <mask> <mask>, after Abraham Wivell; Stipple engraving 1832; 6 1/2 in.x 4 1/8 in. (164 mm x 106 mm); Archive Collection

University of Liverpool Collection
Near Whalley, Lancashire. Oil on Panel. 49 x 70 cm

Book Illustrations
Two of his pictures, one of Barnes and one of Kew Gardens, were engraved by R. Winkles and used as illustrations for 'A New and Complete History of the Counties of Surrey and Sussex' by Thomas Allen. Exhibitions
Society of British Artists Phillips exhibited 50 works there between 1831 and 1848, which is confirmed by the surviving catalogues. The Society had been founded in 1824, and its exhibitions were held at 6, Suffolk Street, ( a gallery built by John Nash in 1823.) Shakespeare Gallery, 52, Pall Mall, founded 1806 and exhibitions held there until 1866.The British Institution held 2 exhibitions each year, the 'Winter' exhibition being devoted to British Artists. Between 1808 and 1842 'Premiums' or prizes were awarded to exhibitors. <mask> exhibited there from 1830 - 1846. 1830 - Stacking Hay

 1836 - Coast Scene Sunset, Fishermen on the lookout

 1837 - Coast Scene with

masks:
Giles Firmin
Phillips
Phillips


texts:
 Fishing Boats, Hard blowing Weather

 1838 - Sea Piece

 1841 - Coast Scene with Fishing Boats, The Tide Coming in with a Heavy Swell

 1843 - View on the Thames with Fishing Boats (oil), The Isle of Sheppey in the Distance

 1845 - Heath Scene with Cattle (oil), Showery Weather

 1846 - Erith Reach, Morning

 1847 - Coast Scene, Morning

The Royal Academy of Arts, Burlington House, Piccadilly. <mask> exhibited 16 pictures between 1831 and 1858. 1831 - View near Kits Coty House, Aylesford, Kent; Knights Bridge at Knightsbridge

 1834 - Fishing Boats

 1835 - View on the Thames, Evening

 1837 - Part of Blackwall Reach, Bleak Blowing Weather; View of Greenwich Hospital

 1839 - Stirling Castle; River Scene, Evening

 1845 View on The Thames Near Purfleet

 1846 - View on the Thames near Erith; The Thames from Hungerford Bridge, Evening; The Harbour of Shoreham on the River Adur, with the Town in the Distance, Evening

 1849 - View on The Thames, Boats Beating to Windward; Chelsea Reach, Evening

 1850 - View on the Thames from East Greenwich, with Woolwich in the Distance (oil)

 1852 - View on the Wye, South Wales, with the Severn and English Coast in the Distance, taken from the Wynd Cliff

 1853 - In Windsor Great Park, Twilight

 1858 - Kensington Gardens, Evening

Institute for the Free Exhibition of Modern Art. Portland Gallery, Hyde Park Corner.Organiser was E.J. Neimann. <mask> exhibited

masks: Phillips Phillips


texts:
 8 pictures, watercolours and oils in 1848-9. Prices exist showing he made between 5 and 10 guineas for a watercolour and between 25 guineas and £40.00 for an oil painting. 1848 - Heath Scene, Sunset; Heath Scene with Cattle, Showery Weather (oil); Sunset

 1849 - View on the Thames, near Vauxhall Bridge; River Scene, Twilight; Park Scenery, Sunset after Rain; The Wreckers; Muswell Hill, Evening

Dudley Gallery

 1866 - Hampstead Heath, Twilight

Royal Manchester Institution. He exhibited 6 pictures at Manchester between 1839 and 1846. 1839 - View on the Forth near Stirling

 1842 - Coast Scene, Evening

 1843 - View in Mousley Park, Surrey, the Seat of J Todd Esq; View on the Thames with Fishing Boats, The Isle of Sheppey in the Distance (oil)

 1843 - Coast Scene - Evening, after Stormy weather

 1846 - View on the Thames - Erith Reach

New Watercolour Society

1832 - Old Buildings at Deptford, Twilight; View at Millbank, Morning; View on the Thames, Evening; Twilight; Tower Stairs, Twilight; View from Greenwich, Sunset; Twilight Composition; Canal Scene, Morning; Windsor Castle from Brocas Meadow; Lane at Streatley, Beds; Coast Scene, Sunset; Rochester Castle

1834 - View from Mill Hill, Gravesend; View of the Thames from Gravesend; Coast Scene, Morning

Pictures sold at auction
Art Prices Current Vol 1 1907-8

1908 - Rosherville on Thames - Sold by Executors of Richard Mills, 34 Queens Gate


texts:
 Place, London Drawing: G F Phillips, 9.5 x 12.5 inches, (Huggins) £3.13.6

1908 - A Landscape - Sold from collection of pictures and drawings of Sir Jas.Knowles deceased. Drawings in folio: £18/-

1912 - Fishing Boat off a Port" and "View on the Thames, Sunset - Christies Sale of Drawings£15/-. 1914 - View on the Thames" and "Cottage with Figures and Donkeys - Christies Sale of Drawings£15/-

1968 - A View on the Thames from East Greenwich, with Woolwich in the Distance. - Christies Lot 129 signed, oil on canvas, 15.5 x 39.5 inches. Exhibition, Royal Academy 1850, no: 434. £200. 1988 - On the Thames - Christies, King Street, St James, London.Sale ref: MR4798 Lot 87, watercolour 9 x 13.5 inches, signed and inscribed on verso. £420

1993 - On the Thames (same as above.) Christies, South Kensington, Lot 84, (Sale DRG 4893, Stock No: FN415,) Sold to Swan Gallery, Sherborne, Dorset for £190

1990 - A View from the Thames from Blackheath - Bonhams, Sale of 19th Century Watercolours. Lot 45 watercolour, signed, 8 x 13 inches. £120

1990  A Lighthiouse above an Estuary Christie's-South-Kensington. Lot 234.22.9 x 35.6 cm - ( 9 x 14 in)  Sold for £54

1995 - Phillips, Cornubia Hall, Par, Cornwall Lot 690. A Pair of Estuary Scenes, one with steam tugs and barges, the other with horse and cart unloading a beached barge.One signed. Watercolours, 9.5 x 13.75 inches approx. 1996 - Beached Fishing Boats," and


texts:
 "Estuary with ditto - Western Road Auction Rooms, Angmering, Sussex Lot 401. "Two early 20th century watercolours, one signed G F <mask>, 4.5 x 6.1 inches [2 halves of a single painting, now restored and mounted as such, 14 x 5 inches]

1996 - Elegant Figures Promenading in Syon Park - Christies Sale of British and Continental Pictures, South Kensington, London, Lot 185. inscribed "Sion House the Seat/ of the Duke of Northumberland /By G F <mask>" on a label on the reverse. Oil on board. 12 x 18 inches £420

1997 - Custom House Quay and Billingsgate, with Old London Bridge - Phillips, New Bond Street, London Lot 18A.. Watercolour 9 x 13.5 inches, signed and inscribed in pencil on verso. Est.£800-1200. 1998 - Cattle Beside the River Thames, a Country House Amidst Trees - Phillips at Higham House, Canterbury, watercolour 8.25 x 16.25 inches. Est £300-500

1998 - Extensive River Landscape with Shipping and Dwellings - Phillips, Chester Lot 719, Watercolour with scratching out, signed G<mask>, 15 x 25 cm (5.75 x 9.75 inches,) Est. £160-240 £400

2001 - Grounds of Sion House, the seat of the Duke of Northumberland - Bonhams and Brooks, London, Lot 47 Oil on board, signed and inscribed on label on verso, 30.7 x 46.5 cm sold for £220

2002 - The Road from Tintern to Chepstow - Jacobs & Hunt, Petersfield, Hants, watercolour, signed 26 x 37 cm (10 x 14.5 inches) £380

References

Further reading
 A


texts:
 Chronological History of the Old English Landscape Painters. Col M.H. Grant. F. Lewis, Leigh-on-Sea.1948-52
 Checklist of British Artists in the Witt Library. Courtauld Institute of Art 1991
 A Dictionary of Victorian Painters. Christopher Wood. ACC 1989
 Allgemeines Lexicon der Bildenden Kunstler. Thieme & Becker. E.A. Seemann, Leipzig 1932.The Royal Society of British Artists 1824-93 etc. Jane Johnson. ACC 1982. The Royal Academy of Arts. A Complete Dictionary of Contributors and their Work from Its Foundation. 1769-1904. A. Graves.Geo Bell 1905
 Kunstler-Lexicon. Nagler 1841. A Dictionary of Watercolour Painters, 1750-1900. Stanley W. Fisher. Foulsham, 1972. Dictionary of National Biography. British 19th Century Marine Painters.Denys Brook-Hart, ACC
 Dictionary of Artists who have exhibited works in the Principal London Exhibitions 1760-1893. Algernon Graves
 The Dictionary of British Watercolur Artists up to 1920, H.L.Mallalieu, 2 Vols ACC 1995
 Life in England in Aquatint and Lithograph, 1770-1860. J.R. Abbey (1953)
 Dictionary of the Artists of the British School. Redgrave, 1878
 British Watercolours in the Victoria and Albert Museum. Lionel Lambourne & Jean Hamilton. Sotheby, Parke-Bernet. 1980.The British Institution 1806-1867- A Dictionary of Contributors and Their Work. Algernon Graves, Bell, 1908. 1780 births
1867 deaths
19th-century English painters
English male painters
English


texts:
<mask> (born September 23, 1949) is an American writer. He is best known for the Left Behind series, written for Tim LaHaye. <mask> has written more than 200 books, in multiple genres, such as biography, self-help, romance, mystery, and young adult fiction. Nineteen of his 130+ novels have explored eschatological themes and settings. In 2016, <mask> was described as a dispensationalist Christian by The Washington Post. Early life
<mask> was born September 23, 1949 to <mask> and <mask> of Kalamazoo, Michigan. In a 2008 interview with The Modesto Bee, <mask> said his Christian faith was inspired by a Warner Sallman painting, guided by his mother.After graduating from Forest View High School, <mask> attended Moody Bible Institute from 1967 to 1968, and Harper College from 1968 to 1970. Career
After suffering an injury playing sports, <mask> began work as a sports reporter while he was still in high school. Before he could drive, <mask> covered high school sports for local newspapers. He was paid  per inch. While attending Moody Bible Institute, <mask> served as night news editor for the institute's flagship radio station, WMBI-FM. He served as Vice President of the Moody's publishing division from 1985 to 1988, and a writer-in-residence from 1988 onward. He was the managing editor of Moody Monthly from 1974 to 1979 and publisher from 1979-1981.<mask> served as a member of Moody Bible Institute's Board of Trustees from 2001 to 2018.

, <mask> has written more than 200 books, including twenty-one New York Times bestsellers. His work has appeared in Time, Reader's Digest, Parade, and Guideposts. More than one hundred titles by <mask> are young adult fiction, written in eleven series, including the forty-volume Left Behind: The Kids (1998–2003) series. From 2011 to 2017, <mask> owned the Christian Writers Institute's

masks:
Jerry Bruce Jenkins
Jenkins
Jenkins
Jenkins
Harry Philip Jenkins
Bonita Grace Thompson
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins


texts:
 Christian Market Writer's Guide. As co-writer
<mask> has written twenty as-told-to biographies and memoirs of prominent athletes and religious leaders, such as Hank Aaron, <mask>, Walter Payton, Joe Gibbs, Mike Singletary, and Sammy Tippit. <mask> called those titles his "sports personality" books. His credit as writer is given via an "as told to", "as told by", or "with <mask>. <mask>" attribution.In an interview with Joanna Penn of The Creative Penn podcast, <mask> explained he doesn't co-write, saying "if my name is on [the book] … I wrote every word." For works credited with Chris Fabry, such as The Wormlings (2007–08) series, <mask> functioned as the editor, and Fabry was the sole writer. <mask> said co-writing a book "is a nightmare," but can be successful if the roles among the credited writers are settled before hand. His collaboration with <mask> resulted in In His Own Words (2018), published by Tyndale House, for which <mask> received sole writing credit. Gil Thorp
The Dallas O'Neil and The Baker Street Sports Club (1986) series, and its follow up, the Dallas O'Neil Mysteries (1988–89), prompted Gil Thorp creator <mask> to open discussions with <mask> on creating a line of young adult books Gil Thorp and the athletes at the fictional Milford High School. The Gil Thorp series was never realized, but following <mask>'s death in 1996, <mask> was recruited by Tribune to continue to comic strip as its writer, with Rod Whigham as artist. During his tenure as writer, <mask> introduced a number of controversial storylines, including a young shomer Shabbat joining the Milford football team, and a teen pregnancy story criticized as anti-abortion.<mask>'s sons, Chad and Dallas, contributed to Gil Thorp by developing scenarios for their father to write. According to the Chicago Reader, <mask> wrote the strip

masks:
Jenkins
Bill Gaither
Jenkins
Jerry B
Jenkins
Jenkins
Jenkins
Jenkins
Billy Graham
Jenkins
Jack Berrill
Jenkins
Berrill
Jenkins
Jenkins
Jenkins
Chad Jenkins


texts:
 from 2001 to 2004 without credit, which both <mask> and his son say is not true. Chad served as a story consultant. Christian Writers Guild
In 1965, Norman Rohrer established the Christian Writers Guild (CWG). Rohrer offered a 48-part correspondence course intended to teach the craft of writing, as well as history and theology Rohrer believed were necessary to improve the quality of fiction and non-fiction writing intended for the Christian market. In 2001, <mask> purchased the CWG, and Rohrer remained on staff as "Dean of Instruction". CWG transitioned from mail-based delivery, to an online platform.<mask> recruited many of his friends and fellow writers to function as mentors to CWG members, and to expand the guild's offerings. In 2013, <mask> developed the Christian Writers Guild Press intended to publish original works by CWG members. <mask>'s was criticized for creating a "vanity press", despite lambasting such publishing schemes in the past and closed the operation before contracting with any writers. According to literary agent Chip MacGregor, of MacGregor & Luedeke, <mask> "was ready to return to his primary occupation and calling, that of full-time writing" by early-2014. <mask> dissolved CWG in late-2014, which resulted in heavy criticism of both <mask> and the CWG. Dennis E. Hensley told Christianity Today that <mask> and the CWG had offered a "great service to developing writers." CWG's staff and mission were absorbed into a new organization called BelieversTrust, which operated until 2016.Since 2016, <mask> has taught an online writing course via his own platform, <mask> Writers Guild. Left Behind

<mask> and co-author LaHaye of the Left Behind series were profiled in a May 24, 2004 cover story in Newsweek magazine entitled "The New Prophets of Revelation". LaHaye who conceived the series,

masks:
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jenkins
Jerry Jenkins
Jenkins


texts:
 handled the theological underpinnings of his end-of-the-world series, while <mask> handled the writing. The Left Behind series includes 16 books which have sold over 63 million copies worldwide. In 2018, Left Behind series was ranked  77 in The Great American Read poll sponsored by PBS. Personal life
<mask> and his wife Dianna (née Whiteford), whom he married in 1971, reside in Black Forest, Colorado. He is the father of <mask>, creator of The Chosen web television series; <mask>, the Sports Information Director at MidAmerica Nazarene University; and <mask> <mask>.When asked about his Christian denomination, <mask> has often answered "Jesus Christ". Alissa Wilkinson, of Christian Today, described <mask> as a dispensationalist Christian in an editorial for The Washington Post. Bibliography

Non-fiction

Co-written works
<mask> wrote the following memoirs and autobiographical works in which he received an "as told by" or "with <mask>. <mask>" attribution. Fiction

Margo Mystery (1979–1984)
A Margo Mystery series was published by Moody. The first novel, Margo (1979), was published by Jeremy Books, but later reprinted by Moody. Jennifer Grey Mystery (1983–1985)
A Jennifer Grey Mystery series was published by Victor Books. The Soon Trilogy (2003–2005)
The Soon Trilogy was published by Tyndale House.Jesus Chronicles (2007–2010)
The Jesus Chronicles series, written for Tim LaHaye, is a narrative retelling of the four canonical gospels. Published by Penguin's Putnam Adult imprint. Reprints from Center Point assigned numbers to the novels. Precinct 11 (2011–12)
The Precinct 11 novels were published by Tyndale House. Dead Sea Chronicles (2018–2020)
The Dead Sea Chronicles series is based on and inspired by the work of Craig A. Evans. Published by Worthy. Young adult fiction

Tara Chadwick (1984)
The Tara

masks:
Jenkins
Jenkins
Dallas Jenkins
Chad Jenkins
Michael Bruce
Jenkins
Jenkins
Jenkins
Jenkins
Jerry B
Jenkins


texts:
 Chadwick Series was published by Moody in 1984.Reprinted in 1992, including new cover art and formatting. Bradford Family (1984–1986)
The Bradford Family Adventures series was originally published by Stanford Publishing, in 1984. Reprinted by Moody in 1990. Dallas O'Neil (1986)
The Dallas O'Neil and the Baker Street Sports Club series was published by Moody in 1986. Dallas O'Neil Mysteries (1988–89)
The Dallas O'Neil Mysteries series is a sequel to the Dallas O'Neil and the Baker Street Sports Club (1986) series. Also published by Moody. Toby Andrews (1996)
The Toby Andrews and the Junior Deputies series was published by Moody.Global Air Troubleshooters (1996)

The Global Air Troubleshooters series was published by Multnomah Books in 1996. Reprinted as AirQuest Adventures by Zondervan in 2006. Red Rock Mysteries (2005–06)
The Red Rock Mysteries series was written by Chris Fabry and edited by <mask>. Published by Tyndale House. The series was reprinted in 2020, including new cover art and formatting. Renegade Spirit (2006–2008)
The Renegade Spirit series was written by John Perrodin and edited by <mask>. Published by Thomas Nelson's Integrity imprint.The premise is similar to The Soon Trilogy (2003–2005), written by <mask>. The Wormlings (2007–08)
The Wormlings series was written by Chris Fabry and edited by <mask>. Published by Tyndale House. Thirteen (2016–17)
The Thirteen science fantasy series was written by Trisha White Priebe and edited by <mask>. Published by <mask>bour. Left Behind (1995–2007)

The Left Behind series, created and developed by Tim LaHaye, was published by Tyndale House. Thorndike Press, Turtleback Books, and others, offered reprints in various formats.Graphic novel adaptations of the series were published by Tyndale from 2001 to 2002. Tyndale also published devotional calendars

masks: Jenkins Jenkins Jenkins Jenkins Jenkins Bar


texts:
 for 2002 and 2003 which featured text from the novels. Prior to the release of Soul Harvest (1998), the novels were not numbered. Not all printings include a number stamp. Prequel series (2005–06)
Marketed as Before They Were Left Behind, the series is a prequel to Left Behind (1995). The novels introduced events which were resolved in Kingdom Come (2007), the final installment of the main sequence. Kids (1998–2003)

Left Behind: The Kids is a retelling of events from the main sequence of novels from the point of view of four young survivors.The novellas were bound-up as the Young Trib Force (2003–2005) series. Non-fiction companions (1999–2005)
<mask> co-wrote three companions with Tim LaHaye. Are We Living in the End Times? (1999) was not marketed as a Left Behind title; however, the book explored themes and settings depicted in the novels. These Will Not Be Left Behind (2003) is a retrospective of reader's experiences with the series, and how they "came to faith." Young Trib Force (2003–2005)
Left Behind: The Young Trib Force bind-ups of The Kids (1998–2003) series, three or four novellas per volume. Chris Fabry wrote new material to link the novellas to the main sequence of novels.Several bind-ups included significant revisions to the original text, including reordering of events and character changes. Notes

References

External links

 <mask><mask> at Tyndale House

1949 births
Living people
20th-century American biographers
20th-century American male writers
20th-century American novelists
20th-century apocalypticists
21st-century American biographers
21st-century American male writers
21st-century American novelists
21st-century apocalypticists
American male novelists
Baptists from Colorado
Christian novelists
Critics of the Catholic Church
American male biographers
Novelists from

masks:
Jenkins
Jerry B
. Jenkins


texts:
<mask> (1926 New Britain, Connecticut -  September 21, 2020) was an American artist, best known for his sculptures and assemblages. Since 1958 he had held teaching positions at the University of Florida, Cooper Union, Pratt Institute, Yale University, Brown University and Dartmouth College. At Dartmouth, <mask> was a member of the art faculty from 1968 to 1995. He was awarded an endowed position as the George Frederick Jewett Professor of Art in 1982. <mask> retired from Dartmouth in 1995 and had since continued his work as a practicing artist up until his death. Early life
The son of Armenian immigrants, <mask> was born and raised in New Britain, Connecticut. His father was a cobbler who later worked for Stanley Tools (now Stanley Black & Decker).<mask>'s early schooling was traditional although he benefited from classes taught by the poet Constance Carrier, who introduced him to the world of literature. <mask> served in the U.S. Navy, during World War II. Returning to the U.S in 1946 he was able to attend college on the G.I. Bill. <mask> was then invited by Josef Albers to attend Yale University (1956–59), along with Irving Petlin, <mask> had already received a number of accolades as well as a Fulbright Grant for Painting in Italy (1953) and in 1966, he was artist in residence at the American Academy in Rome. He was a 1985 Guggenheim fellow. He has taught at The Cooper Union (1959–64), Yale University (1962–64), Brown and Dartmouth College (1968–96).Art and influences

Boghosian showed with the legendary Stable Gallery, founded by Eleanor Ward, consistently between 1963 and 1966. At this time, the Stable Gallery showcased various young and emerging artists including:

masks:
Varujan Yegan Boghosian
Boghosian
Boghosian
Boghosian
Boghosian
Boghosian
Boghosian
Boghosian


texts: Joseph Cornell, Alex Katz, Marisol Escobar, Joan Mitchell, Isamu Noguchi, Cy Twombly, Robert Rauschenberg, and Larry Rivers as well as Andy Warhol's first one-man show. The unorthodox and experimental spirit of this time has remained with Boghosian and informed his developing relationship with the appropriation of everyday objects and their subsequent plastic manipulations. In 1968, <mask> began to exhibit with the historic Cordier & Ekstrom Gallery, Duchamp's dealer in America. It was an ideal fit for Boghosian, as Arne Ekstrom's distinctive style favored the union of art and literature. Cordier & Ekstrom put on far-reaching shows that gave the same attention to world-renowned artists as it did to those who were just emerging. Morris Louis and Isamu Noguchi were some of the artists who frequented the gallery and it was where Romare Bearden honed his style.The gallery's circulating exhibition roster included such prominent names as Dubuffet, Matisse, Saul Steinberg, and Magritte. <mask> developed a long-standing relationship with Arne Ekstrom and exhibited with the gallery well into the late 1980s. <mask> and Eurydice, for instance, have been a central and continuous theme throughout his career. Closely linked to this fascination with classical myth is <mask>'s recurring use of symbols such as swans and serpents, both of which are rooted in a strong tradition of cross-cultural mythology. Building upon the traditions of Surrealism and Dada <mask>'s assemblages and collages playfully contemplate the boundaries between dream and reality.In creating his art, <mask> draws heavily on his extensive personal archive of found objects, gathered together in his home and studio. The

masks: Boghosian Boghosian Boghosianus Boghosian Boghosian Boghosian


texts:
 images and objects that he utilizes often bear the mark of time and his creations frequently juxtapose groups of seemingly unrelated objects together. In describing his artistic process, <mask> is quoted as saying "I don't make anything. I find everything.”

Career development and recognition

<mask>'s work began to be included in the thematic exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago as early as 1954. He has also received numerous grants including a Fulbright, a Guggenheim Fellowship (1985), and residency at the American Academy in Rome with Philip Guston, and he has been an active member of the American Academy of Arts and Letters since 1968, and a National Academician of The National Academy of Design. Beginning with the Swetzoff Gallery, Boston (1950–65), <mask> has been actively exhibiting with over 75 one-man exhibitions including the Arts Club of Chicago (1970), The American Academy in Rome (1986), the Aldrich Museum of Contemporary Art (1988), the Norton Gallery of Art (1992), the Hood Art Museum, Dartmouth (1989), the Toledo Museum of Art (2013), and the Philadelphia Museum of Art (2018). His work is in the public collections of Brooklyn Museum; University Art Museum of the University of California Berkeley; Indianapolis Museum of Art; The Metropolitan Museum of Art, Museum of Modern Art; New York Public Library; Whitney Museum of American Art; and the Provincetown Art Association and Museum, among many others.Notable retrospectives include a 1989 exhibition at the Hood Museum of Art at Dartmouth College and a 2013 exhibition at the Toledo Museum of Art. His papers are held at the Archives of

masks: Boghosian Boghosian Boghosian


texts:
<mask> (; born 17 May 1980) is an artist, art historian, theologian and philosopher of Bosnian-Herzegovinian origin. Biography
<mask> was born in Travnik, Bosnia and Herzegovina. He graduated from the School of Art in Niš, Serbia. As an 18-year-old student he published his first book – On Writing as an Artistic, Historical, Social and Cultural Phenomenon. His academic career started in Belgrade where he received an MA in art history from the University of Belgrade Faculty of Philosophy. He graduated with a thesis in art history, as the best student of the Faculty. In 2004, he began writing his PhD thesis at the University of Freiburg, Germany, under Prof. Dr. Angeli Janhsen.<mask> successfully defended his thesis in 2006, becoming the youngest doctor of philosophy in the humanities in Germany and Southeast Europe. Since 2007, he has been a university professor of history and theory of art and of Orthodox Christian theology and religious studies. He has taught at various universities in Europe and the United States, including University of Prague, Indiana University, Fordham University in New York, and the University of Stockholm. Work
His academic work focuses on the exploration of human freedom and creativity, as metaphysical, political, and aesthetic concepts. He has been publishing in the fields of political philosophy, cultural studies, history and theory of art and theology, in English, Serbo-Croatian and German. He was a founding member and the art director of the Flexible Art Network, which explored relations between artworks, artists and the public; the president of the Institute for the Study of Culture and Christianity; and the vice president of the Christian

masks:
Davor Džalto
Džalto
Džalto


texts:
 Cultural Center, promoting inter-religious and ecumenical dialogue. He has been vice president of the Christian Cultural Center, whose activities he coordinated with Fr.Radovan Bigovic; and president of the Institute for the Study of Culture and Christianity. He has been commentator and contributor to regional and international liberal and left-wing media. on politics, religion, civic and academic freedoms and culture. He works in the media of painting, printmaking, installations and interventions in space and performances. His artworks have been presented at numerous exhibitions. Impact
In the media and in the academic community he has been described as “the most important Orthodox thinker today”, "one of the most important thinkers today in the Orthodox world," and "one of the most important Orthodox thinkers in the world today." He contributed to the theory of creativity by exploring human creative capacities (most notably on the example of art) as an expression of the personal identity of the human being, having an existential importance.He was the first one to formulate a theological argument (from an Orthodox Christian perspective) based on his analysis of modern and contemporary art (in particular the work of Marcel Duchamp, Richard Long, Joseph Kosuth and Andy Warhol). That way he contributed to the revision of the postmodernism, actualizing the question of the possibility and meaning of (human) ontological freedom and creation. He continued to further develop theological concepts of John Zizioulas and philosophical statements given by Nikolai Berdyaev, implementing them in the analysis of contemporary society. He also examines the concept of "simulacrum" in


texts:
 relation to the human person and its ability to create. Based on the Aesthetik der Absenz, formulated in German-speaking art circles, he recognized and explained the phenomenon of "absence of body" in twentieth-century art. He contributed to Christian and, specifically, Orthodox Christian political theology with his understanding of anarchism as a political philosophy which focuses on the affirmation of human freedom against any institution or exercise of power. This shapes his approach to "Orthodox Christian anarchism," which he proposes as the only political philosophy which is consistent with Orthodox Christian anthropology and ontology.His approach to political theology is best exemplified in his book Anarchy and the Kingdom of God: From Eschatology to Orthodox Political Theology and Back, which has been described as "perhaps the best book on Christian anarchism since Jacques Ellul" and "a rich contribution to the burgeoning literature on political theology, and a particularly welcome perspective in the field of Orthodox political theology." He was involved in ecumenical and peace-building initiatives during his affiliation with the Pax Christi office in Belgrade and as part of the Christian Cultural Center. He has participated in a number of regional and international conferences and peace building initiatives that contributed to the promotion of peace, reconciliation, and ecumenical dialogue. In 2007, his name appeared on a list of 100 most influential people of Serbian origin in the world, compiled by the daily Blic. Response
Džalto’s positions on contemporary and recent political questions in the Balkans have been criticized in the media and in popular literature.


texts:
 Al-Jazeera commentators characterized him as providing “ideological guidance” to Noam Chomsky, for Chomsky’s position on a variety of political questions related to the Balkans, criticizing him for allegedly minimizing the negative role of the Serbs in the war conflicts of the 1990s. He has also been criticized by conservative and pro-national circles in Serbia for having, allegedly, anti-Serbian and anti-(Orthodox) Church positions and activities.His alleged connections with anti-Orthodox and anti-Serbian circles in the West have been elaborated upon by Slobodan Stojicevic in his books and media appearances. He has also been under attack by conservative intellectuals and the media for his work on contributing to gender equality in the Balkans, dismissed as the attempt to "change the consciousness of the entire population of Serbia." Artwork

Verbal and Visual Marking of Space – Performance-installation (2000)
Funeral of an Author – Video-performance (2002)
Creating... – Video (2003)
The Red Army – Video (2003)
Icons in Black Forest – Action (2004)
Meditation with Icons and Serbian Coffee in Japanese Garden (in Freiburg) – Performance (2005)
Absent Body of the Artist – Actions (2006)
The Body of the Artist – Photographs (2006)
One and Three Pyramids – Installation, Belgrade (2007)
10/30 – Retrospective art exhibition, Belgrade (2010)
Facing New Faces of Icons – One-man exhibition, Greifswald (2011)

Selected articles

Who is an Author (Artist)? (2003)
Totalitarianism and Totalitarianisms on Serbian Way to European Union (2004)
Significance and Meaning of the Process of Global Integrations (2004)
On the Meaning of Church Art (2004)
Human Face between Mask and Person


texts:
 (2005)
On the Horrible Sin of Nationalism (2006)
A Comparative Research of the Space Issue on the Examples of the "Lamentation" Composition from Nerezi and Giotto's "Lamentation" from the Arena Chapel (2006)
Techne vs. Creatio: The Inner Conflict of Art (2010)
The (In)Stability of Memory (2012)
Beauty Will Destroy the World (2012)
Religion, Politics, and Beyond: The Pussy Riot Case (2013)
Ikonen neu:gefasst oder über das Menschsein in unserer heutigen Medienkultur (2014)
Art: A Brief History of Absence (From the Conception and Birth, Life and Death, to the Living Deadness of Art) (2015)
Otherness, Symbolism, and Modernism in Serbia: Leon Koen (2015)
The Quest for Reality That Has Not Happened (Yet) (2016)
Monism, Dualism, Pluralism? From Orthodox Cosmology to Political Theology (2016)
Icons – Between Images and Words. Between Images and Words. Modes of Representation or Modes of Being?(2016)
The Challenge of ‘Posteriority’ and Pluralism (2016)
Orthodox Christian Political Theology: An Anarchist Perspective” in Political Theologies in Orthodox Christianity (2017)
Christianity and Contemporary Art: An (Un)Natural Alliance? Creation" Article
 Res Publica
 Religion, Politics, and Beyond: The Pussy Riot Case
 <mask> <mask>-Art and Theory
 Yugoslavia: Peace, War, and Dissolution

1980 births
Bosnia and Herzegovina expatriates in Germany
Anti-globalization writers
Bosnia and Herzegovina art historians
Eastern Orthodox theologians
Living people
Media critics
People from Travnik
Philosophers of art
Postmodernists
Bosnia and Herzegovina artists
Bosnia and Herzegovina philosophers
Bosnia and Herzegovina theologians
University of Freiburg alumni
University of Belgrade Faculty of

masks: Davor Džalto


texts:
<mask> (; 18911942) was an early Burmese artist born in Thayet and raised in Mandalay who mastered western painting. He and his student, Saya Saung, are largely responsible for creating the foundations and identity of a Western-style painting circle within the Mandalay School. The Mandalay School, when examined as a whole, included diverse artistspainters who devoted themselves to Western-style painting as well as professional Traditional Burmese painters whose specialty and livelihood came from painting Buddhist works for temples and other religious buildings. Almost all the Traditional painters dabbled in or heavily experimented in Western-style painting from time to time. Early life and education

<mask> was born to a well-known silversmith by the name of U Kyin who was awarded a gold medal by a British viceroy of Burma. He attended St. Peter's High School in Mandalay and then entered Judson College in Rangoon in about 1911 or 1912. Judson College later merged with University College to become Rangoon University in 1920; thus, Burmese sources often mistakenly or casually claim that <mask> attended Rangoon University although the university had not yet been established when <mask> was a college student.<mask>'s skills as an artist were noticed by influential persons by the time he attended Judson College or during that time. Around the year 1912, while working on his B.A. at Judson, two British academics in Rangoon took interest in <mask>'s artistic careera Mr. A.R. Morris, headmaster of Insein Engineering School (also referred to as the Institute of Technology at Insein), and Martin Ward, a university physics professor who later became the first chairman of the Burma Art Club (BAC). The two drafted a plan to send <mask> to Bombay to study art, but <mask> wanted to complete his B.A. first, and the project was postponed. The start of World War I scuttled these plans entirely.<mask>'s health was frail, and he subsequently fell ill, quit his university studies, and took a job as an art instructor at St.

masks:
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw
Ba Zaw


texts:
 Paul's High School in Rangoon. Early painting influences

The history of <mask>'s early training as a painter is a patchwork of contradictory claims. For example, Ludu Daw Amar and Ko Ko Naing describe <mask> as self-taught and maintain that he learned painting by studying from books. Min Naing, on the other hand, mentions that the doyen of Traditional painting in Burma at the turn of the century, Saya Chone (18661917), was an instructor of <mask> while <mask> taught at St. Paul's High School and offers convincing details about their interaction. Nyan Shein claims that <mask> (c. 1877  fl. 1924) was one of <mask>'s teachers, and Ko Ko Naing acknowledges the influence that the three early British chairmen and teachers of the Burma Art Club (BAC)—Martin Ward, Martin Jones, and E.G.N. Kinch—had on <mask>, which is almost certainly true.The BAC was informally organized in 1913 as a venue where amateur British colonial painters in Burma might meet and exchange skills, and became more officially established in 1918. Toward the later date, the BAC began to train Burmese painters. <mask> was one of the earliest Burmese members of the club, and he picked up much from its lectures. Ko Ko Naing and Amar's claim that <mask> was self-taught is accurate in the sense that <mask> was self-taught to a degree. He won scholarships or painting competitions when he was a youngster before he encountered <mask>, Saya Chone or British painters. Daw Amar nudges up to <mask>'s connection to both Saya Chone and <mask>n. She states that <mask> was very good at painting Traditional Burmese arabesque, one of the skills which Min Naing claims he learned from Saya Chone.She also mentions that <mask> was the first Burmese painter to illustrate school textbooks, and that when <mask>n's illustrations became outdated, <mask> was hired by Macmillan to illustrate “Burmese Peacock” readers, but she stoutly emphasizes that <mask> accomplished these illustrations on his own, without instruction. She goes on to say, however, that <mask>n

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 learned painting techniques from B.H. Wiles (a European painter in Burma who also taught Maung Maung Gyi) and adds that <mask> was also friendly with Wiles. One must wonder if these three painters sometimes kept company, and if <mask> not only learned something from <mask>n but also Wiles. Despite <mask>'s training with Saya Chone, as Min Naing contends, <mask> did not take this training far. On the contrary, he became a somewhat obsessive and dogmatic follower of Western-style British painting, particularly transparent watercolor painting, his specialty. G. Hla Maung quotes <mask> as telling Saya Saung, his student, that good painters “never use many colors” and other writers state, variously, that he was afraid of the colors green and violet, but passionate about orange and red.In Burmese Painting: A Linear and Lateral History, Ranard claims that <mask>'s "strict canon" regarding color likely derived from British sources, directly or obliquely, through exposure to the work of J. J. Hilder (see below), from his British teachers at the Burma Art Club, or in England where <mask> studied at the Royal College of Art in the late 1920s. As Ranard puts it, "...his British patrons might well have said such things, the distaste for gaudy over-use of color being so common to the British." Influence of J J Hilder

<mask> came in contact with the work of the Australian painter Jesee Jewhurst Hilder (18811916) some time after Hilder's death in 1916. After Hilder's death, two books containing images of his watercolor paintings appeared, J.J. Hilder, Watercolorist, a catalog in 1916, and The Art of J.J. Hilder in 1918. One of these books fell into <mask>'s hands, probably the latter, and left a deep impact on him. The book also came into the possession of Saya Saung (18981952), <mask>'s Mandalay student, and richly influenced Saya Saung as well. There is some uncertainty about which painter actually encountered Hilder's work first and the date at which the encounters occurred.G. Hla Maung, Nyan Shein, and Amar all

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 state or suggest that <mask> first discovered Hilder's work, while Ko Ko Naing is the single detractor, claiming that Saya Saung became a student of <mask> after Saya Saung started using Hilder's paintings for learning exercises. In Burmese Painting: A Linear and Lateral History, Ranard speculates that Hilder's landscapes of Australia, done in subdued color in the British style, may have appealed to <mask> because these works resembled the brownish orange landscapes of Burma. He also draws parallels between the tragic history of both artists, their high-strung temperaments, their lives marked by “asthenia”, and their “aesthetic austerity” (which may have drawn them to the purity of watercolor transparency, unmixed with white). Hilder became tubercular at a young age, suffered greatly as a result, and died young. He was an artist of high standards who was often critical of his own work (destroying much of it) and touchy and short-tempered with friends. <mask>'s life was also troubled. His right hand was emaciated from birth and he was forced to paint with his left hand, and was so sensitive about his physical deformity that he often hid his left hand in his longyi.He loved romantically only once, but on the eve of his marriage to the woman, the lady died. The event (circa 1922) severely scarred him and he remained a bachelor the rest of his life. Amar remarked of <mask> that he was “taciturn” and had little sense of humor. G. Hla Maung quotes <mask> as likening the agony of the artist to the experience of man who “sees a heavy saw falling upon his feet ... [who] feels pain even before he is actually hurt.”

Trip to London

<mask> is often quoted hand-in-hand in Burma with <mask> (18971945) because the two painters were the earliest Burmese artists to receive formal, academic education in Western-painting. In the 1920s, both studied at the Royal College of Art in London. However, <mask>'s experience preceded <mask>'s. <mask> left for London in 1921, but only spent a year or so at the Royal College of

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 Art, partly because he could not follow the lectures in English and partly because the training at the college was tedious and slow.<mask> wanted to graduate to oil painting quickly, but realized it would take years for this to occur at the college. Martin Ward, one of <mask>'s sponsors in Burma, came to his rescue. While on a trip to England, Ward managed to have <mask> transferred to the Yellow Door School, the private academy of London artist Frank Spenlove-Spenlove (18671933). <mask>'s sojourn to England began later, in 1927, while <mask> was on his second trip for studies in London. <mask>, whose English was good, did not have the difficulties that <mask> had had at the Royal College of Art,  and, in addition, <mask>'s instruction there in watercolor painting and etching apparently suited him. <mask> was a student with more practical aims, whereas <mask> was adept at art history and theory. <mask> graduated easily from the school in three years with an ARCA (Associate of the Royal College of Art), apparently not studying oil painting there.In addition to Hilder, <mask> was also attracted to the watercolor works of Sir William Russell Flint (18801969) and owned one of Flint's books. <mask>'s discovery of Flint's works may have occurred while he was in London, where Flint was a painter of repute, later becoming president of the Royal Society of Painters in Water Colours from
1936 to 1956. Ba Nyan  Ba Zaw rift in Burma

Both <mask> and <mask> returned to Burma in 1930 (<mask> from approximately eight years of study in London and <mask> from three). It was <mask>, not <mask>, however, who received triumphant accolades in Burma, holding a famous exhibition at the Governor's House only months after his return. In London <mask> had mastered the arts of oil painting and gouache, while <mask>, who had remained at the Royal College of Art, refined his techniques in watercolor. <mask> began to surprise Burmese painters with his techniques in thick, impasto oil and in gouache; <mask>, on the other hand, left

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 as a watercolorist and returned as one. Thus, the two painters began to divide the Burmese art community into camps, one following the new styles that <mask> was introducing and the other stubbornly sticking to the transparent watercolor techniques that had been introduced at the Burma Art Club at least a decade earlier and remained the domain of <mask>.Appearance of Rangoon School and Mandalay School

<mask>, from southern Burma, became a Rangoon painter and his new techniques took root there. <mask> was a Mandalay painter (though he lived in Rangoon) and his major protégé was Saya Saung (18981952), who lived part of the year in Rangoon and part of the year in Mandalay. As was common among Mandalay artists, both <mask> and Saya Saung maintained allegiances to Mandalay, and through Saya Saung, transparent watercolor paintingoften “wash” stylebecame the de rigueur expertise of Mandalay painters. Mandalay painters were very proud of these skills to the extent that Amar, a Mandalay writer, claimed that <mask>, who painted watercolor in gouache, was not recognized as a true watercolor painter. Out of the rift between <mask> and <mask>yan, a Rangoon School and a Mandalay School of painting emerged, the former tied to the instruction of <mask>, which focused on oil painting and occasionally gouache, and the latter, derived from <mask> who passed on his skills to Saya Saung, which painted in the English watercolor style. However, in the 1950s and 60s, the Mandalay painters rebelled against their Ba Zaw  Saya Saung legacy, and began a movement in expressionist and abstract painting in both watercolor and oil, spurred on by the Mandalay painters <mask> (190372) and, particularly, Kin Maung (Bank) (c. 1908  83). <mask>'s oeuvre

Watercolors and surviving pencil sketch

Very little can be said about <mask>'s works in spite of his great influence on Burmese painting because, to date, only about five of his works have surfaced.Three of the works are watercolors on permanent display in the collection of the

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 National Museum of Myanmar, one of which appears in Ranard's Burmese Painting: A Linear and Lateral History. It is a watercolor landscape bearing the orange, brown and yellowish tones that one might expect of a painter influenced by J. J. Hilder. The works in the National Museum have historical importance, but they cannot be called remarkable. Two additional Ba Zaw pieces emerged in Burma in the years after 2000. One is a pencil sketch on paper that appeared in Myanmar Painting: From Worship to Self-Imaging by Ma Thanegi et al., and the other is a monochrome watercolor from a private collection that appears in Ranard's Burmese Painting. The pencil sketch is a dark work of dense massa landscape with a single isolated figurethat is apparently a funeral scene and clearly shows emotive skills. The monochrome watercolor is a portrait of the famous Burmese general Maha <mask>, who died in the First Anglo-Burmese War of 18241826, sitting proudly astride a horse.Etchings

As a result of his training at the Royal College of Art, <mask> also became an enthusiastic etcher. According to G. Hla Maung, Ko Ko Naing, and Amar, he worked on copper plates but Nyan Shein claims he used a sharp stylus on bronze plates. The location of <mask>'s etching works, inside or outside of Burma, is not known. Cartoons

<mask> also made a large impact in Burma in the art of cartoon, his works appearing in Thuriya magazine. He began drawing such art in the 1920s, and became a teacher to the Burmese cartoonist of note, Hein Soon (19021989). As cartoon art and caricature were popular among the British amateur painters at the Burma Art Club, it was at the BAC that <mask> most likely honed such skills. Martin Jones, who was one of the early British members of the BAC, is said to have been the first painter in Burma to draw and publish cartoons in Burmese publications.Such works can be found in Ballads of Burma, reprinted in recent years. Martin Jones was a close friend and patron of <mask>. Reference to oil paintings

Nyan Shein, the

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 art writer and student of <mask>, claims that <mask> also painted in oil, but this is not a widely documented point. Popularity of works

Amar claims that <mask>'s work sold in large numbers to colonials in Burma, but oddly none of these paintings (unlike those of Saya Saung) have appeared in the hands of UK auctioneers or dealers in recent years. Amar also alleges that <mask> was so successful that he was the only artist of his era in Burma to own an automobile. End of life

In 1930 or 1931, the Teachers Training College opened in Rangoon and <mask> was chosen as the art lecturer there. <mask> accepted the position but had to give it up when he had a stroke while painting at the Shwedagon Pagoda in the year given as 1932.He was unable to handle his duties at the Teachers Training College, and his position there was taken over by San Win. Min Naing also mentions that <mask> became chairman of the Burma Art Club in 1933, adding that <mask> was also forced to give up this position due to his stroke. Min Naing's 1933 date for <mask>'s selection as chairman of the BAC is at odds with the 1932 date (given by others) of the stroke which severely debilitated him. <mask> lived on for almost ten more years, struggling to paint but mentally impaired. Nyan Shein offers a sad picture of him in his last years, visiting artists, clutching a book by J. J. Hilder in his hands. It is said that during these last years, he lived with Saya Saung and that two of his other students, Saya Mya and Hein Soon, also helped to take care of him. Nyan Shein gives <mask>'s date of death as 1943, but Amar claims that her husband found <mask>'s obituary in the newspaper and that he died on 11 December 1942.Museum collections
 National Museum of Myanmar

See also

 <mask>
 Saya Saung
 Jesse Jewhurst Hilder
 Burma Art Club
 Ba Thet
 Kin Maung (Bank)
 Sir William Russell Flint
 Frank Spenlove-Spenlove

Notes

References

1891 births
1942 deaths
Burmese artists
People from Mandalay
20th-century Burmese painters
Associates of the

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<mask> (1914 in Mexicali, Baja California – March 1998), later  <mask>, was a Mexican American leader who helped organize resistance against discrimination in the American Southwest during the Great Depression. She was the daughter of immigrants who had fled revolution in Mexico to settle in California. She grew up in Los Angeles and the San Joaquin Valley. Her mother emphasized the importance of education and urged <mask> to "Rely on yourself, be independent." In 1938 when <mask> was 18 years old, she entered the University of California, Los Angeles. She planned to study medicine, but activism on behalf of the Mexican American community took up most of her time and effort. <mask> gave up her studies at UCLA to become an organizer, and her style was described by veteran longshoremen's leader Bert Corona as "gutsy, flamboyant, and tough".Aided by her husband <mask>, a Hollywood screenwriter and an activist himself, she began to lead boycotts of companies that did business in Mexican American communities but did not hire Mexican American workers. These activities brought her attention from a Mexican American group  El Congreso de Pueblos de Habla Española (Spanish-speaking congress), which was formed in 1938. El Congreso was organizing Hispanic migrants to stand up for their rights. In 1939 El Congreso leaders asked <mask> <mask> to help them to establish a branch in Los Angeles which represented a major effort by the Mexican American generation of the time, to form a working class movement that was aimed at securing basic rights for all Mexican and Spanish speaking people in the United States. Early life
<mask> <mask> had been involved in revolutionary activism from a young age. Her father Plumo <mask>, had been an officer in “Pancho” Villa's revolutionary army, but it was her mother's passion for activism and commitment to helping

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 others that most strongly influenced her life. Fierro had been raised by her mother, who had immigrated to the United States when Josefina was a baby.Because Josefina's mother's family were followers of the radical Mexican anarchist Ricardo Flores Magón, she had been taught to speak against injustice, to fight for what was right and to treat everyone with “dignity and respect”. According to <mask> <mask>'s Mother would smuggle ammunition inside of Josefina's stroller back and forth from California to Mexico to support the Anarchist Ricardo Flores Magon. Her Father Plumo <mask> later gained an inheritance, in turn allowing Josefina to be able to go to the University of California, Josefina realized that she could make money without a form of higher education; leading her to drop out of UCLA. This is a reason that Josefina did not wish to meet with her parents, as well as a very short marriage that lead to an illegal abortion that left <mask> Sterile. Personal life and activism
After high school graduation, <mask> <mask> decided to move to Los Angeles to live with an aunt; there she met and fell in love with Hollywood actor <mask>. <mask>, who was blacklisted with several other actors in Hollywood due to allegations of having ties with the Communist Party, inspired <mask>'s activism further. After marrying <mask>, Josefina found herself in the midst of a campaign that defended Mexican immigrants and Mexican American rights against discrimination during the 1930s.In 1938, at the age of eighteen, <mask> <mask>, who would become executive secretary, collaborated with Luisa Moreno and founded El Congreso de Pueblos de Habla Española, a Mexican civil rights organization that worked to fight for civil rights of Mexican immigrants and Mexican Americans and worker rights as well <mask> <mask> took her and her husband's platform to Hollywood

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 and used it to fund-raise revenue for El Congreso. The networking that she made in Hollywood, brought in actors and other celebrities to help raise the revenue for the organization. <mask> <mask>, with Luisa Moreno, actively worked on issues that targeted the needs of lower-income and non-bilingual Mexicans to help them receive basic civil rights in the United States. Although El Congreso did not last very long, <mask> <mask>'s activism did not end with its dissolution. In 1942, during the “Sleepy Lagoon” trial, after receiving complaints of cruel punishment from parents of the boys held in custody, <mask> <mask> organized a committee for the defendants. The committee became known as the Sleepy Lagoon Defense Committee, and raised money so that those on trial could hire a lawyer to represent and defend them. <mask> <mask> was in Los Angeles in 1943 at the start of the Zoot Suit Riots.She said of the violence, "I never believed that I could see a thing like that... I went downtown and my husband and I were standing there and we saw all these policemen hanging around... and hundreds of taxis with sailors hanging on with clubs in their hands, bullies just beating Mexicans on Main Street. And we went up and asked a cop to stop it: he says, 'You better shut up or I'll do the same to you.' You can't do a thing when you see people and the ambulances coming to pick them up and nobody is stopping the slaughter. It's a nightmare. It's a terrible thing to see." Societal structure in the home of Mexican American women
Mexicans would cross the border into the United States.Many of them without a form of higher education. Married women who arrived as immigrants may have wanted to pursue a higher education. An education that was not available to them within Mexico. In Mexican Households the males were predominantly in charge of the household

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 affairs. This Societal Authority will later be passed down to the newer Mexican American generations. The Authority that the males' held were able to halt a woman's educational progress. These limits were very common within Mexican as well as Mexican American households.The view of masculinity for both Mexican and Mexican American men in the 1940s was based greatly on the ability to provide. This traditional view could have been tarnished if their female spouse were to get a higher education that lead to a higher paying job. This ideological viewpoint that their Masculine counterparts have also affected their daughters. It is a common occurrence to see a father rely more on a son than a  daughter. Gender discrimination within a Mexican American Household, similar to the association of masculinity and beaning a major provider for the family will be passed from earlier generations to newer ones. The sons would view their Male Privilege  as the ability to use and ignore women within their family as women in general. Fathers showed blatant favoritism for their sons who would presumably take charge of their own families, while the daughters would be seen as an object that stands in the shadow of their future husbands success.Daughters looked to their Mothers' for guidance. In the Mexican American Patriarchal society; Mothers had trouble navigating the margins of tradition. Parents usually want what is best for their children. Mothers who have lived their life under a Patriarchal household may not know how to push their daughters towards an independent lifestyle. one in which they did not have to follow their footsteps and obey their future male spouse. Mexican Immigrants into Los Angeles
Los Angeles California like its country viewed Mexican Immigrants in a negative connotation. The majority of  Los Angeles residence viewed Mexican


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 immigrants as an expendable work force that would settle for very low wages.The citizens of Los Angeles were enraged by the immigrants swarming their county.Los Angeles viewed Mexican Americans as unclean and vulgar, if not unpatriotic. They supposedly took everything from the Anglo Americans. Segregation was in every aspect of life in Los Angeles, due to the belief that Mexican immigrants were seen as an unwanted race within Los Angeles. These views became apparent especially during the 1940's and 1950's when the zoot suit riots were at their peak. The gap between the Anglo Americans and the Mexican Americans grew into a chasm. Los Angeles viewed Mexican American woman as obscene temptresses who want to lower their Anglo society into vulgarity. Both Male and Female Mexican Americans during the 1940's were viewed as zoot suiters, because they were Mexican.Instead of their style. The Great Depression struck Mexican immigrants harshly. Without their jobs, Los Angeles tried to send them back to Mexico; Although this was not the only reason, nor their only attempt. Segregation existed in the school system as the children of Mexican immigrants were not viewed the same as Anglo American children, nor were they treated the same. The Anglo American parents opposed the equal treatment between races. There was also segregation among diseases. Anglo Americans believed that the spread of Mexican immigrants also contaminated Los Angeles with disease both physically as well as metaphorically.Notes

References

Mexican Americans (pg 145-46,147) (1990) Mario T. García
From Out Of The Shadows (pg 96-98) (1998) Vicki L. Ruiz

Further reading

External links
 Macmillan/McGraw-Hill: California Vistas 2007

American people of Mexican descent
1914 births
1998 deaths
University of California, Los Angeles alumni
People from Calexico, California
Activists


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<mask>  (April 30, 1905 – July 28, 1988) was a Spanish painter. He was born in Écija and died in Madrid, where he spent most of his life. Childhood and early years
He showed very early a deep interest for fine arts and took drawing lessons from local painters in Écija (Sevilla). His retail merchant parents were conscious of his strong vocation and, realising that his dream was to become a painter, they eventually gave their consent to his departure for Madrid. When he was only 14 years old he moved to the capital to enter the Real Academia de Bellas Artes de San Fernando. He prepared his accession exams drawing and copying sculptures in the Museo Nacional de Reproducciones Artísticas. At fifteen, the minimum age for admission, he succeeded at his first attempt to enter the Academy and immediately enrolled in oil painting, encaustic, tempera, etching, watercolour and sculpture.He completed the five compulsory years in the Academy and then remained two more years, developing teaching activities, to finally achieve a master's degree. Among his fellow students were Salvador Dalí, with whom he developed a close friendship fuelled by their reciprocal admiration. Artistic education
His teachers in the Academy included Cecilio Plá and José Benedito (painting), José Moreno Carbonero and Julio Romero de Torres (drawing) and Francisco Esteve Botey (etching). Between 1924 and 1927, he was awarded with a fellowship from the Fundación Molina Higueras and also twice obtained a scholarship to join the Artist's Summer Residence in el Paular (Madrid). His work, presented in a common exhibition with other resident artists, was accredited with a diploma with honours. He also obtained two residence scholarships to visit during the summer the Artist's Residence of the Alhambra (Granada). At the closing exhibition hosted by


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 the residence, he met Federico García Lorca, Manuel de Falla and Daniel Vázquez Díaz, who highly praised his paintings.In 1930, the Junta para la Ampliación de Estudios e Investigaciones Científicas awarded him a scholarship to visit Paris and its drawing academy. In 1932, he participated for the first time in the Exposición Nacional (National Exhibition) and was awarded the Bronze Medal for his work "Portrait". In the same year, he presented a colour aquatint at the International Exhibition of Venice. In 1933, he obtained a position as a drawing teacher in a high school in Elche, but he resigned after only one year and returned to Madrid. In 1934, he won the Silver Medal in the Exposición Nacional for his picture "Chinese mannequin", painted in the Museo Arqueológico de Madrid. In 1935, he was appointed head of studies in the Escuela de Artes Aplicadas y Oficios Artísticos de Madrid, in the graphic design section. The Spanish Civil War years
During the Spanish Civil War, he joined the teacher's union FETE-UGT and the Alianza de Intelectuales Antifascistas (Alliance of Antifascist Intellectuals) which included among its leading figures the poet Rafael Alberti.During this period, graphic artists contributed to the war effort producing signs, notices and placards for the Republican Army. As public servants enlisted in the popular militias, he joined the Quinto regimiento (Fifth Regiment). He was a comrade of great poets, such as the forgotten and much admired by him Antonio Aparicio (later forced into exile) and Miguel Hernández. During these years, he carried out an intense artistic activity. In 1937, he participated in the Paris International Exposition with a painting featuring the shooting of Federico García Lorca. This canvas, later displayed in the Centro de Arte Reina Sofía in an exhibition


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 commemorating the Spanish pavilion of the International Exposition, was hosted by the Museo de Arte Moderno of Barcelona. In 1943, the Real Academia de San Fernando awarded him the Conde de Cartagena fellowship.Plenitude
In 1946, his work "Portrait" received the First medal in the Salón de Otoño (Madrid). The following year, he was awarded the Second prize in the National Painting Contest and, in 1948, he won the First prize with his work "Bathers". In 1950, he obtained a faculty position as art lecturer on drawing in the Escuela de Artes Aplicadas y Oficios Artísticos de Madrid and was awarded the first prize in the national competition organised by the Unión Española de Explosivos for his painting "The Sorcerer". That year, commissioned by the Unión Española de Explosivos, he painted the rock salt mines of Cardona (Barcelona). In 1951, his painting "Sleeping Dancer", later purchased for a private collection in Mexico, received the second prize in a public vote organised during the Primera Bienal Hispanoamericana de Arte (Madrid). In 1952, he was awarded the second medal for etching in the Exposición Nacional de Bellas Artes (National Exhibition of Fine Arts). In 1954, he received a scholarship to develop pedagogic studies about drawing in France and Italy.In 1955, he received the first prize in the Fine Arts Exhibition of Linares (Jaén). In 1958, he participated in a competition to design the tapestry cartoons intended for the Valley of the Fallen National Monument, in Cuelgamuros (Madrid), obtaining the first prize. In 1962, he was appointed director of the Escuela 7ª de Artes y Oficios Artísticos de Madrid. He could be defined as a complete painter, as he addressed all the possible subjects, including landscapes, still lifes, figures and portraits using the most diverse techniques, from watercolour


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 to fresco. He worked in his artist's studio in the Madrilenian street of Hortaleza, where he took full advantage of the particular light and orientation of his penthouse, which became a sort of magic box that produced his still lifes and figures, all painted from life. He often travelled to Galicia, Asturias, Cantabria and the Basque Country and became a passionate lover of the Spanish northern coast, where he painted the many landscapes he used to present in the Salones de Otoño. In 1942, he married in Llanes (Oviedo) his wife Isabel Fernández-Pola, a member of a family of Llanes intellectuals.He was a great portrayer and many of his works are nowadays hosted in different private collections. In 1968, the cessation of the National Exhibitions and the Salones de Otoño and his bad relationship with art critics, especially embittered after the publication of his article "I, a Spanish painter" – which included a ferocious criticism of contemporary pictorial movements – drove him to withdraw from all public exhibitions and motivated his refusal to sell any painting in Spain. In fact, most of his production was thereafter sold in the United States. Nonetheless, he continued painting assiduously until his last days. In 1975, he retired from the Artes y Oficios Artísticos de Madrid. A street named Pintor Fernando Briones was dedicated to him in his birthplace, Écija (Sevilla). Individual exhibitions
 1943 – Salón Cano.1945 – Sala Vilches. 1946 – Salón Cano. 1949 – Salón Dardo. 1949 – University of Oviedo. 1952 – Salón Dardo. 1955 – Salón Dardo. 1957 – Sala Vilches.1962 – Salón Cano. A No-Do (news and documentaries newsreel) featuring his work was filmed in his studio. Collective exhibitions
 1924 – Palacio de Biblioteca y Museos, Fellows of the Residence of el Paular (Madrid). 1925 – Salón de Exposiciones del


texts:
 Museo de Arte Moderno, "Landscape and Figures by the Fellows of the Residence of el Paular and Asturias". 1927 – Ateneo de Granada, "Landscape’s Exhibition by the Fellows of the Residence of la Alhambra (Granada)". 1932 – Exposición Nacional, bronze medal. 1933 – Círculo de Bellas Artes, exhibition of paintings and sculptures.1934 – Exposición Nacional, "Chinese mannequin" and "Women brushing their hair", silver medal. 1942 – Salón de Otoño, "Flora". 1943 – Sala Vilches, New modern painters. 1944 – Salón de Otoño, "Country girls". 1945 – Exposición Nacional, "Melancholic Pierrot". Museo Nacional de Arte Moderno, Vases and Still lifes by the Association of Painters and Sculptors, "Children portraits". 1946 – Sala Macarrón, Collective Exhibition by the Association of Painters and Sculptors, "Women portraits".Salón Cano, Artists Exhibition. 1947 – Sala Kebos, Paintings and Drawings by the Association of Painters and Sculptors, "Composition with figures". Sala Greco, bullfighting scenes, National Contest, second prize (encaustic). 1948 – Ministerio de Agricultura, Mural painting National Contest, first prize. 1949 – Círculo de Bellas Artes, Annual Grand Prix Exhibition, National Exhibition, "Painter", "Dancer" and "The Truth". 1950 – Unión Española de Explosivos Grand Contest. First prize in the National Exhibition, "Fernandito and Maribel" and "The Musician Angel".1951 – Morocco and Colonies, Paintings of Africa, Bienal Hispanoamericana de Arte, Madrid. 1952 – Association of Spanish engravers, Goya and the Spanish etching in America. Sala Los Sótanos, three painters. Reliable sources
 en artprice.com [<mask>es <mask>]
 http://www.maxam.net/en/fundacion/coleccion_maxam/artistas/briones_carmona_fernando

1905 births
1988 deaths
20th-century Spanish painters
20th-century male artists
Spanish male

masks: Fernandorion Carmona


texts:
<mask> (25 November 1922 – 7 September 2013) was a Czech composer and essayist. Hurnik was born in Poruba, now part of Ostrava. He entered the Prague Conservatory, then went on to the Prague Academy of Arts, where he studied with Ilona Štěpánová-Kurzová, daughter of Vilém Kurz. His 1952 Sonata da camera, for flute, oboe, cello and harpsichord, has been recorded on Cedille Records. A 2008 Supraphon CD (SU 3944-2) contains two of <mask>'s instrumental compositions: the colorful ballet music Ondráš, written in 1951, and  his Four Seasons Chamber Suite, written in 1952. Both are performed by the Czech Philharmonic Orchestra led by Karel Ančerl. He is father of <mask>, brother-in-law of Petr Eben and uncle of Marek Eben.<mask> <mask> died in Prague on 7 September 2013 at the age of 90. 4 (published 1949)
 Partita in A for flute and harpsichord (or piano) (1950); also orchestrated; dedicated to Czech flautist Václav Žilka
 Sonata for viola and

masks:
Ilja Hurník
Hurník
Lukáš Hurník
Ilja
Hurník