texts: Governor <mask> earlier in the day, made a statement of loyalty to him, and asked <mask> to issue a warrant so that they could arrest Smith and Dupont. However, <mask> knew that the bulk of the officer corps, as well as the rank and file of the Rhodesian military, were solidly behind Smith's government and that such a move would lead to a coup d'état. <mask> announced that despite the UDI, he had no intention of resigning his office or leaving Rhodesia, and that therefore, he would remain in Government House in Salisbury as the sole legal representative of Queen Elizabeth II. With few exceptions, the international community continued to recognise him as the Queen's sole legitimate representative in the area—and thus, the only lawful authority in what London maintained was still the colony of Southern Rhodesia. In response, Smith declared that Government House was only "temporarily occupied" by <mask> "in a personal capacity", and would be occupied by Dupont once it became available. This action led to four years of harassment and petty afflictions by the Rhodesian government, resulting in making <mask> and his wife virtually prisoners in Government House, by cutting off his telephone, electricity and water.It also took away his ceremonial guard and official cars, and sent him bills for the rent of Government House, which he refused to pay. However, his supporters set up a Governor's Fund to pay for the upkeep of the building, and with the assistance of a small staff, led by John Pestell, he managed to remain defiant. While <mask> continued to occupy Government House, Dupont and his wife held official receptions at Governor's Lodge in the Salisbury suburb of Highlands. This had previously been used by <mask> when Southern Rhodesia was part of the Federation of Rhodesia and Nyasaland. During this time, Government House had been the residence of the Governor-General of the Federation. In 1967, on the second anniversary of UDI, <mask> declared that his visitors' book would be open to all those who wished to show their loyalty to The Queen, while Dupont, in response, announced that the visitors' book at his office, on

masks: Gibbs Gibbs Gibbs Gibbs Gibbs Gibbs Gibbs Gibbs Gibbs


type: original

texts:
 the same street, would be open to all those who wished to show their support for UDI. In June 1969, <mask> resigned after Smith's government held and won a referendum that year making Rhodesia a republic.He remained in Rhodesia and lived the rest of his life on his farm. Throughout the 1970s he was known for supporting the cause of African nationalism, which brought him into conflict with the government of Ian Smith. Later he was appointed to Her Majesty's Most Honourable Privy Council and was made a Knight Grand Cross of the Royal Victorian Order (GCVO) by Queen Elizabeth II. After independence in 1980 he decided to "stay on" and took up Zimbabwean citizenship. He stayed on his farm where he had been living since 1970 until 1983 when he moved to Harare in 1983 where he lived until his death in 1990. <mask> died in Harare on 5 November 1990, with his funeral held at the Cathedral of St Mary and All Saints, Harare. In 2004 a memorial to <mask> by Lettering and Sculpture Limited was unveiled in St Paul's Cathedral in London.Marriage
On 17 January 1934, <mask> married Molly Peel Nelson (b. 13 July 1912, Johannesburg) in Bulawayo, and they had five sons together. <mask> (Lady <mask> from 1960), was appointed as a Commander of the Order of St John of Jerusalem (CStJ) in 1960, and a Dame Commander of the Order of the British Empire (DBE) in 1969. Following <mask>' death in 1990, <mask> moved to England and died on 20 January 1997 in Tunbridge Wells, Kent. Honours

References

1902 births
1990 deaths
Politicians from London
British emigrants to Rhodesia
Alumni of Trinity College, Cambridge
Members of the Legislative Assembly of Southern Rhodesia
Governors-General of the Federation of Rhodesia and Nyasaland
Governors of Southern Rhodesia
Knights Commander of the Order of St Michael and St George
Knights Grand Cross of the Royal Victorian Order
Knights of the Order of St John
Members of the Privy Council of the United Kingdom
Officers of the Order of the British Empire
People educated at Eton College
Rhodesian farmers
Zimbabwean people of English descent
Rhodesian politicians
Zimbabwean farmers
Younger sons of

masks:
Gibbs
Gibbs
Gibbs
Gibbs
Molly Gibbs
Gibbs
Gibbs
Molly Gibbs


texts:
<mask> (; born 2 June 1953) is an Israeli attorney who served as Chief of Staff and Policy Coordinator to Israel's former Prime Minister and Minister of Defense, Ehud Barak. In that capacity he acted as one of Israel's senior peace negotiator in 1999–2001, at the Camp David summit in 2000 and the Taba talks in 2001, as well as in extensive rounds of covert negotiations with the Palestinians. Early life and education
<mask> was born on 2 June 1953 in Kibbutz Mahanayim, Israel. Sher, on his mother's side, is a descendant of the Sephardic Baruch Mizrachi family, which has resided in Jerusalem since 1620. On his father's side, Sher's grandfather, <mask> (Ser) was killed in action as an Haganah combatant in the 1948 Arab–Israeli War in 1947. Sher is a graduate of the Hebrew University Law School and was admitted to the Israel Bar Association in 1981. He has also completed courses in project finance at the World Bank (1996) and at Harvard University (1999) as well as Battalion Commanders and Brigade Commanders courses in the Israel Defense Forces.Military service
<mask> is a colonel (reserve), a former brigade commander and deputy division commander in the Armored Corps of the Israel Defense Forces, as well as a military judge. Personal life
<mask> is married to Ruth and has four children. He has two siblings as well. Professional career
Alongside his law practice, <mask> leads the Center for Applied Negotiations (CAN) at the Tel Aviv Institute for National Security Studies (INSS), which he joined in 2012 as a senior research fellow Institute for National Security Studies (INSS) in Tel Aviv, ranked among the five leading think tanks in the Middle East. Journalist and news presenter
<mask> started his career as a news editor and radio news presenter for Kol Yisrael, where he subsequently served as a parliamentary and legal

masks:
Gilead Sher
Sher
Avraham Sher
Sher
Sher
Sher
Sher


texts:
 correspondent, and was the radio's correspondent in Paris from 1981 to 1983. Legal career
Sher founded the law firm Gilead Sher, Talhami & Co. in 1989. The firm has offices in both Tel Aviv and Jerusalem.Between 2005 and 2010, as a result of a merger, <mask> became a senior founding partner at Aaronsohn, Sher, Aboulafia, Amoday and Co., which was ranked amongst Israel's 20 largest law firms. His main fields of expertise are corporate law, project finance, constitutional and administrative law, international business ventures, investments and transactions, dispute resolution and both private and public international law. Academic career
From 2001 - 2011, <mask> taught annually as a guest lecturer at the Wharton School of the University of Pennsylvania. His lectures focused on dispute resolution and negotiations in times of crisis. In 2007-2013 <mask> also taught at the Tel Aviv University as an adjunct professor, delivering seminars at the international and local M.A. programs in conflict resolution and mediation. He has also lectured at Harvard NYU, Tufts and Northwestern universities in the United States, the University of Windsor in Canada, La Sapienza and Luiss universities in Rome, San Pablo and Universidad Francisco Marroquín in Guatemala, and has been a guest speaker at the master's degree studies of Progetto SABB for excellence in Assisi, Italy.Harvard Law School and Harvard's Program on Negotiations appointed attorney Sher of Gilead Sher, Talhami & Co., Law Offices in Tel Aviv as lecturer on law for the 2016 fall semester. Sher will spend September through October in Cambridge, Mass. Peace process
<mask>'s involvement in Middle East peace efforts started during the tenure of the late Prime Minister Yitzhak Rabin, when as a reserve IDF colonel he was appointed to the negotiation project at the Planning

masks: Sher Sher Sher Sher


texts:
 Directorate of the IDF and served as delegate to the talks on the Oslo Accords. He was later appointed by Israel's Prime Minister and Minister of Defense Ehud Barak in 1999 to negotiate the Sharm el-Sheikh Memorandum which was signed on 4 September 1999 between Israel and the PLO. He was subsequently appointed head of the negotiation team at the Camp David peace summit which was convened by former US President Bill Clinton. Sher also served as a co-chief peace negotiator at the Taba peace talks of 2001, as well as in extensive rounds of covert peace negotiations with the Palestinians. Sher's efforts for peace were recognized by former US President Clinton who thanked him for his "heavy labor for a different future for your people and your neighbors".Sher was appointed Chevalier de l'Ordre national du Merite in 2002 by the former President of France, Jacques Chirac, as appreciation for his efforts to promote peace in the Middle East. Sher gives an account of his involvement in the peace process in his book The Israeli-Palestinian Peace Negotiations 1999–2001, Within Reach which was published in Hebrew in 2001, translated into Arabic and published in English by Routledge/Taylor & Francis Group in 2006. Government
Sher served as Chief of Staff of the Prime Minister and the Minister of Defense and was the PM's policy coordinator from 2000 to 2001. Civil society activities
Since 2013, <mask> has chaired the executive board of Sapir Academic College, the largest public college in Israel and he is also the chairman of the board of trustees of the college. He is a member of the Council for Peace and Security and the Association of Civil Rights in Israel (ACRI) (a board member from 1990 to 1991 and from 2007 to 2011) and is a founding member of the Citizen Empowerment Center in Israel. He also serves as co-chairman of Blue


texts:
 White Future, which he helped establish in 2009. He served as chairman of the board of the Sam Spiegel School Film and Television in Jerusalem and as board member at Budo For Peace—co-existence for peace through martial arts.Books and other publications
<mask> writes books, articles, op-eds, studies and research in national and international media. His book The Israeli-Palestinian Peace Negotiations, 1999-2001: Within Reach was published in Hebrew, Arabic and English. In 2015, he co-edited Negotiating in Times of Conflict. in April 2016 Sher published The Battle for Home with Yedioth Ahronoth. Sporting achievements
<mask> is a former president of the Israel Ohshima Shotokan Karate Association, holding fifth Dan, the highest possible grade in the school, and has taught martial arts since 1984. During high school, Sher was a national level athlete in high jump and pentathlon. References

External links

The Israeli-Palestinian Peace Negotiations, 1999-2001 Within Reach

Articles by <mask> <mask>
 Negotiating in Times of Conflict Tel Aviv: Institute for National Security Studies, 2015
 A modest approach to settling the Israeli-Palestinian conflict, The Washington Post, 17 December 2015
 ISRAEL AND PALESTINE: IT’S TIME FOR JOHN KERRY TO ACT, Newsweek, 28 November 2015
 The speech Bibi should have made at the U.N, JEWISH JOURNAL, 16 October 2015
 "Израиль близок к братоубийственной войне".Интервью с Гиладом Шером, NEWSru, 7 July 2015
 Israel Faces Battles on Many Fronts, but Prospects for Peace Remain, RELIGION AND ETHICS, 25 February 2015
 Wanted: An Israeli anti-‘lawfare’ strategy, 6 THE JERUSALEM REPORT, 9 February 2015
 The partition plan, THE JERUSALEM REPORT, 2 June 2014
 A Proactive Policy for Israel: A Commentary on "Is Unilateralism Always Bad? ", Negotiation Journal April 2014

Israeli lawyers
Living

masks: Sher Sher Gilead Sher


texts:
<mask> (; born October 7, 1950) is an American comic book artist and writer. Chaykin’s influences include his one-time employer and mentor, Gil Kane, and the mid-20th century illustrators Robert Fawcett and Al Parker. Early life
<mask> was born in Newark, New Jersey, to Rosalind Pave and Norman Drucker, who soon separated. Chaykin was initially raised by his grandparents in Staten Island, New York City, until his mother married <mask> in 1953 and the family moved to East Flatbush and later to 370 Saratoga Avenue, Brownsville, Brooklyn. At 14, Chaykin moved with his now divorced mother to the Kew Gardens section of Queens. He said in 2000 he was raised on welfare after his parents separated and that his absent biological father eventually was declared dead, although Chaykin, as an adult, located him alive. Chaykin's "nutty and cruel" adoptive father, whom Chaykin until the 1990s believed was his natural father, encouraged Chaykin's interest in drawing and bought him sketchbooks.He was introduced to comics by his cousin, who gave him a refrigerator box filled with them. He graduated from Jamaica High School at 16, in 1967, and in mid-1968 worked at Zenith Press. He attended Columbia College in Chicago that fall, but left school and returned to New York the following year. Chaykin said that after high school, "I hitchhiked around the country" before becoming, at 19, a "gofer" for the New York City-based comic

masks:
Howard Victor Chaykin
Howard Chaykin
Leon Chaykin


texts:
 book artist Gil Kane, whom he would name as his greatest influence. Career

Chaykin's earliest work with comic books was under the tutelage of Gil Kane, whom he would later call his mentor. In 1970, he began publishing his art in comics and science-fiction fanzines, sometimes under the pseudonym Eric Pave. Leaving Kane, he began working as an assistant to comics artist Wally Wood in the studio he shared with Syd Shores and Jack Abel in Valley Stream, Long Island.He worked there for a "couple of months", and in 1971 published his first professional comics work, for the adult-theme Western feature Shattuck in the military newspaper  the Overseas Weekly, one of Wood's clients. He also "ghosted some stuff" for Gray Morrow: "I penciled a Man-Thing story he did [for Marvel Comics' Fear #10 (cover-dated Oct. 1972)], and I penciled a thing for [the magazine] National Lampoon called "Michael Rockefeller and the Jungles of New Guinea." He then apprenticed under Neal Adams, working with the artist at Adams' home in The Bronx. This led to his first work at DC Comics, one of the two largest comics companies:

The "one-page filler", titled "Strange Neighbor", was inventoried and eventually published in the Boltinoff-edited Secrets of Sinister House #17 (May 1974). His other earliest known DC work was penciling and inking the three-page story "Not Old Enough!" in Young Romance #185 (Aug. 1972), and penciling the


texts:
 eight-page supernatural story "Eye of the Beholder" in Forbidden Tales of Dark Mansion #7 (Oct. 1972) and the one-page "Enter the Portals of Weird War" in Weird War Tales #9 (Dec. 1972). At one point Chaykin lived in the same Queens apartment building as artists Allen Milgrom, Walter Simonson and Bernie Wrightson.Simonson recalls, "We'd get together at 3 a.m. They'd come up and we'd have popcorn and sit around and talk about whatever a 26, 27 and 20-year-old guys talk about. Our art, TV, you name it. I pretty much knew at the time, 'These are the good ole days.'" 1970s
Chaykin's first major work was for DC Comics drawing the 23-page "The Price of Pain Ease"—writer Denny O'Neil's adaptation of author Fritz Leiber's characters  Fafhrd and the Gray Mouser—in Sword of Sorcery #1 (March 1973). Although the title was well received, it lasted only five issues before cancellation. Chaykin drew the character Ironwolf in the science fiction anthology title Weird Worlds for DC, and did the pencils and ink for a 12-page Batman story written by Archie Goodwin and published in Detective Comics #441 in 1974.In 2018 he looked back on this Batman story as one of the worst things he had ever drawn, adding, "Anything of value in that story was Archie's." Moving to Marvel Comics, he began work as co-artist with Neal Adams on the first Killraven story, seen in Amazing Adventures #18 in 1973. After this, Chaykin was given


texts: various adventure strips to draw for Marvel, including his own creation, Dominic Fortune (inspired by his Scorpion character, originally drawn for Atlas Comics), now in the pages of Marvel Preview. In 1978, he wrote and drew his Cody Starbuck creation for the anthology title Star Reach, one of the first independent titles of the 1970s. These strips saw him explore more adult themes as best he could within the restrictions often imposed on him by editors and the Comics Code Authority. The same year, he produced for Schanes & Schanes a six-plate portfolio showcasing his character. In 1976, Chaykin landed the job of drawing the Marvel Comics adaptation of the first Star Wars film, written by Roy Thomas.Chaykin left after 10 issues to work in more adult and experimental comics, and to do paperback book covers. In late 1978, <mask>, Walt Simonson, Val Mayerik, and Jim Starlin formed Upstart Associates, a shared studio space on West 29th Street in New York City. The membership of the studio changed over time. Chaykin penciled DC Comics' first miniseries, World of Krypton (July–September 1979). In the next few years he produced material for Heavy Metal, drew a graphic novel adaptation of Alfred Bester’s The Stars My Destination, and produced illustrations for works by Roger Zelazny. Chaykin collaborated on two original graphic novels—The Swords of Heaven, the Flowers of Hell with writer  Michael Moorcock, and


texts:
 Empire with Samuel R. Delany—and found time to move into film design with work on the movie version of Heavy Metal. 1980s

In 1980 he designed the album cover of The Legend of Jesse James, a concept album about legendary outlaw Jesse James.Chaykin had a six-issue run on Marvel's Micronauts series, drawing issues from #13 (January 1980) to #18 (June 1980). He went back to Cody Starbuck with a story in Heavy Metal between May and September 1981, in the same painted art style he'd used for the Moorcock graphic novel. In 1983, <mask> launched American Flagg! for First Comics. With <mask> as both writer and artist, the series was successful for First and proved highly influential, mixing all of <mask>'s previous ideas and interests—jazz, pulp adventure, science fiction and sex. Chaykin made wide use of Craftint Duoshade illustration boards, which in the period before computers allowed him to add a shaded texture to the finished art. American Flagg!made a huge splash at the 1984 Eagle Awards, the United Kingdom's pre-eminent comics awards. <mask> and American Flagg! were nominated for ten awards, eventually winning seven. After the first 26 issues of American Flagg!, Chaykin started work on new projects. <mask>’s involvement in his original run of the series was that of writer for 29 issues, interior artist for issues #1–12 and 14–26, and cover artist for issues #1–33. He returned to full art and writing for the

masks: Chaykin Chaykin Chaykin Chaykin Chaykin


texts: American Flagg! Special one-shot in 1986.In 1987, a four-issue run was released, then the title was cancelled and relaunched as <mask>’s American Flagg!, which ran 12 issues. The first new project was a revamp of The Shadow in a four-issue miniseries for DC Comics in 1986. Rather than setting the series in its traditional 1930s milieu, Chaykin updated it to a contemporary setting and included his own style of extreme violence. In a 2012 interview, Chaykin stated "The reason I pulled him out of the period was because I thought it would be commercial suicide to do a period character at that point." The American Flagg! Special one-shot introduced Chaykin's Time², a two-volume graphic-novel series with a heavy dose of jazz, film noir and a fantasy version of New York City: Time²: The Epiphany () and Time²: The Satisfaction of Black Mariah ()). In 1987, Chaykin described plans for a third volume, saying, "It's probably going to be grossly different from the first two, because I'm taking things in another direction ...I want to do a story that is both very funny ... and at the same time very, very ugly. Really nasty and unpleasant. Because frankly, it's the place to do that sort of thing." Although Chaykin hoped it would be available in 1988, the third volume has yet to be finished or released. Chaykin has described Time² as the single work about which he is most proud. "To tell you the truth, my first interest


texts:
 would be to do another Time² because that was a very personal product for me," he said in 2008. "It's a fantasia of my family's story."Before returning to American Flagg!, Chaykin revamped another DC Comics character with  Blackhawk, a three-issue miniseries about a team of heroic aviators, set in the 1930s. In 1987, DC proposed a system of labeling comics for violent or sexual content, Chaykin with Alan Moore and Frank Miller boycotted DC and refused to work for the company. In 1988, Chaykin created perhaps his most controversial title: Black Kiss, a 12-issue series published by Vortex Comics that contained his most explicit depictions of sex and violence, with a story of sex-obsessed vampires in Hollywood. Though Black Kiss shipped sealed in an "adults only" clear plastic bag, its content drew much criticism. This did not stop it from selling well enough for Chaykin to describe it as "probably, on a per-page basis, the most profitable book I've ever done." 1990s
Chaykin returned to DC to write the three-issue miniseries Twilight, drawn by José Luis García-López and revamping some of DC's science-fiction heroes of the 1950s and 1960s, such as Tommy Tomorrow and Space Cabby. Later, Chaykin collaborated twice with artist Mike Mignola: In 1990–1991, they produced the Fafhrd and the Gray Mouser miniseries for Epic Comics with co-writer John Francis Moore and inker Al Williamson.This was followed with the


texts:
 Ironwolf: Fires of the Revolution graphic novel in 1992. Chaykin then wrote and illustrated Midnight Men for Marvel's Epic imprint in 1993. He co-created/designed Firearm for Malibu Comics that same year, and then with several colleagues formed the creator-owned Bravura imprint for Malibu Comics. Chaykin created the four-issue miniseries Power and Glory in 1994, a superhero-themed public relations satire. In 1996, DC’s Helix imprint published Cyberella, a cyberpunk dystopia written by Chaykin and drawn by Don Cameron. Chaykin began to drift out of comics by the mid-1990s. With the exception of several Elseworlds stories he wrote for DC Comics, including Batman: Dark Allegiances which he wrote and drew in 1996, his comic output became minimal as he became more involved in film and television work.He was executive script consultant for the 1990–1991 The Flash television series on CBS, and later worked on action-adventure programs such as Viper, Earth: Final Conflict and Mutant X. Near the end of the decade, Chaykin returned to comics and co-wrote with David Tischman the three-issue miniseries Pulp Fantastic for the Vertigo imprint of DC, with art by Rick Burchett. 2000s
Chaykin began co-writing American Century with David Tischmann for Vertigo. This story, set in post-war America, would be a pulp-adventure strip inspired by the likes of Terry and the Pirates as well as the EC Comics war stories created by


texts: Harvey Kurtzman. That year, Chaykin became part of the creative team on Mutant X, a television series inspired by the Marvel Comics series of mutant titles. His next work was Mighty Love, a 96-page original graphic novel published in 2004 and described as "You’ve Got Mail with super-powers". This was acclaimed as a return to the type of work he did on American Flagg!and contained his first art in a title since the early 1990s. That year, Chaykin and Tischmann revamped Challengers of the Unknown in a six-issue mini-series for DC, as well as writing a mini-series about gangster vampires called Bite Club for Vertigo. The pair wrote Barnum! : In Secret Service to the USA, a graphic novel in which real-life showman P. T. Barnum comes to the aid of the U.S. government. In 2005, Chaykin produced the six-part City of Tomorrow, a DC/Wildstorm production involving a futuristic city populated by gangster robots. Chaykin described the mini-series as "The Untouchables meets West World at Epcot." That same year, he wrote the four-issue mini-series Legend updating the character Hugo Danner for Wildstorm.He illustrated 24 College Ave., a story serialized online in 54 chapters for ESPN.com’s Page 2 section. ESPN.com columnist Jim Caple wrote the text, each episode of which was accompanied by a single-panel Chaykin drawing. In 2006, he began working on his first superhero title for DC Comics, pencilling Hawkgirl, with Walter


texts:
 Simonson writing, starting with issue #50. With issue 56, he stopped drawing the series, mainly to get time to work on Marvel’s Blade with Marc Guggenheim, although he continued to draw Hawkgirl covers for eight more issues. Also in 2006, DC Comics published a two-page Black Canary origin story drawn by Chaykin for the series 52. Later that year, DC released Guy Gardner: Collateral Damage. The two-issue series, written and drawn by Chaykin, revolves around the Green Lantern Corps' role in an interstellar war.After Blade was cancelled with issue 12, he pencilled issue 50 of Punisher, Wolverine (vol. 3) #56–61, Punisher War Journal (vol. 2) (#16–24) and an issue of Immortal Iron Fist. Chaykin illustrated the 2008 Marvel MAX comic War Is Hell: The First Flight of the Phantom Eagle, scripted by Garth Ennis. He wrote Supreme Power vol. 3 #1–12 (Sep. 2008 – July 2009) for Marvel. In 2009, he wrote and penciled Dominic Fortune.2010s
In 2010 he wrote Die Hard: Year One, a comic about John McClane from the Die Hard series for Boom! Studios. Marvel in June 2010 published a Rawhide Kid miniseries drawn by Chaykin and written by Ron Zimmerman. Chaykin wrote and drew the Avengers 1959 five-issue miniseries, a spinoff of a storyline introduced in The New Avengers. The first issue was released in October 2011. Chaykin helmed a reboot of the science-fiction character Buck Rogers beginning in August 2013, again in the


texts:
 capacity of both artist and writer. In 2018, Chaykin began Hey Kids!Comics!, a cynical parody of the historical rise of the comics industry and the many creators it exploited in the process (particularly that of Marvel Comics). As of November 15, 2018, Image Comics has released 4 issues of this series. Personal life
In 1972, Chaykin married Daina Graziunas. The marriage ended in 1977, and the following year he married Leslie Zahler. That marriage ended in 1986, and in 1989, in Los Angeles, Chaykin married Jeni Munn, a union that lasted through 1992. In November 2002, in Ventura, Chaykin married Laurel Beth Rice. As of 2013, Chaykin serves on the Disbursement Committee of the comic-book industry charity The Hero Initiative.Awards
 1977 Inkpot Award
 1978 Eagle Award nomination for Favourite Continued Story for Star Wars #1–6—"Film Adaptation"
 1984 Eagle Award for Favourite Penciler
 1984 Eagle Award for Favourite Inker
 1984 Eagle Award for Favourite Writer
 1984 Eagle Award for Favourite Comic (American Flagg!) 1984 Eagle Award for Favourite Single or Continued Story (American Flagg! #1–2, "Hard Times")
 1984 Eagle Award for Favourite New Comic Title (American Flagg! 1984 Eagle Award nomination for Favourite Character (Reuben Flagg)
 1984 Eagle Award nomination for Favourite Supporting Character (Raul the cat)
 1984 Eagle Award nomination for Favourite Comic Cover (American Flagg! #2, "Back in the


texts:
 U.S.A.")
 1984 Eagle Award nomination for Favourite Comic Cover (American Flagg! 2, (Killraven) #18 (with Neal Adams), 19 (1973)Kull and the Barbarians (Red Sonja) #2–3 (1975)Marvel Spotlight (Nick Fury) #31 (1976)Conan the Barbarian #79–83 (1977–78)Star Wars #1–10 (1977–1978)Marvel Team-Up (Spider-Man) #76–77 (1978)Marvel Premiere #32 (Monark Starstalker) writer/artist (1976) #56 (Dominic Fortune) plot/layouts (1980) Marvel Comics Super Special #9, 19 (1978–81)Hulk! (Dominic Fortune) #21–25 (1980–81)Marvel Preview (Dominic Fortune) #20 (1980)James Bond for Your Eyes Only #2 (1981)Wolverine/Nick Fury: The Scorpio Connection (1989)Fritz Leiber's Fafhrd and the Gray Mouser #1–4 (adaptation and script), Epic, (1990–91)Captain America and Nick Fury: Blood Truce (1995)Fury of S.H.I.E.L.D.(1995)Blade #1–12 (2006–07)The Immortal Iron Fist Annual #1 (among other artists) (2007)New Avengers #21 (2007)Punisher War Journal, vol. 2, #16–25 (2008–09)Captain America Theater of War: America First! (2009)Captain America #600, 616 (among other artists) (2009–11)Dominic Fortune, #1–4 (2009)X-Men vs. Vampires, miniseries, #2 (2010)Magneto #1 (2010)Iron Man, vol. 5, (Tony Stark) #503 (2011)Avengers 1959, miniseries, #1–5 (writer/artist) (2011)New Avengers, vol. 2, #9–on (with Mike Deodato, doing "Avengers 1959" flashbacks) (2011)

Other publishersCreepy #64 (Warren Publishing, 1974)Star*Reach #1, 4–5 (1974–76) (Star*Reach)The


texts:
 Scorpion #1–2 (writer/artist) (Atlas/Seaboard, 1975)Eerie #72 (with Bernie Wrightson) (Warren Publishing, 1976)Cody Starbuck, (writer/artist), (Star Reach, 1978)American Flagg! #1–12, 14–26, Special #1 (writer/artist); #13, 27–29 (writer) (First, 1983–86)Time² (writer/artist) (First, 1986–87)Black Kiss #1–12 (writer/artist) (Vortex, 1988–89)Power & Glory, miniseries, #1–4 of 4 (writer/artist) (Malibu/Bravura, 1994)Black Kiss II #1–6 (writer/artist) (2012–13, Image Comics)Marked Man (2012, Dark Horse Comicsm originally serialized in Dark Horse Presents #1–8)Buck Rogers #1–4 (2013, Hermes Press)Dark Horse Presents Volume 2 #22 George Armstrong Custer (writer/artist) (2013)Eerie #4 (2013, Dark Horse Comics)Satellite Sam #1–15  (2013–15, Image Comics)Black Kiss Christmas Special (writer/artist) (2014, Image Comics)The Shadow: Midnight in Moscow #1–6 (2014, Dynamite Entertainment)Midnight of the Soul #1–5 (2016, Image Comics)The Divided States of Hysteria #1–5 (2017, Image Comics)Hey Kids! Comics!#1–5 (2018, Image Comics)

TelevisionThe Flash Episode 3: "Watching the Detectives" (co-written with John Francis Moore)
 Episode 4: "Honor Among Thieves" (plotted with Moore, teleplay by Danny Bilson and Paul De Meo)
 Episode 7:"Child's Play" (teleplay co-written with Moore, plot by Stephen Hattman and Gail Morgan Hickman)
 Episode 8: "Shroud of Death" (plotted with Moore, teleplay by Michael Reaves)
 Episode 9: "Ghost


texts:
 in the Machine" (co-written with Moore)
 Episode 12: "The Trickster" (co-written with Moore)
 Episode 16: "Deadly Nightshade" (co-written with Moore)
 Episode 19: "Done with Mirrors" (co-written with Moore)
 Episode 22. "The Trail of the Trickster" (co-written with Moore)Mutant X'' Seasons One and Two
 Episodes 1 and 2: "The Shock of the New"
 Episode 8: "In the Presence of Mine Enemies"
 Episode 18: "Ex Marks the Spot" (co-written with Mark Amato and David Newman)
 Episode 22: "A Breed Apart"
 Episode 23: "Past as Prologue"

References

External links

Official Facebook page

"DC Profiles #44: <mask>in" at the Grand Comics Database

<mask> at Mike's Amazing World of Comics
<mask> at the Unofficial Handbook of Marvel Comics Creators

Interviews

1950 births
Album-cover and concert-poster artists
American comics artists
American illustrators
Artists from Newark, New Jersey
Inkpot Award winners
Jamaica High School (New York City) alumni
Living people
Writers from Newark, New Jersey
People from Flatbush, Brooklyn
People from Brownsville, Brooklyn
People from Staten Island
People from Kew Gardens,

masks:
Howard Chayk
Howard Chaykin
Howard Chaykin


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<mask> (3 October 1937 – 15 September 1990) was a Cuban ballet dancer, choreographer, teacher, and company director, active in the United States, Switzerland, Germany, and France. Early life and training
Born in Havana, <mask> was the son of a diplomat in service to the government of Fulgencio Batista, president of Cuba from 1933 to 1959. When <mask> was a boy, his father was posted to Geneva, Switzerland, and he was educated in private schools there, adding French and English to his native Spanish. Details of his early life are obscure, but he may also have begun his ballet training with Swiss teachers. In any case, when his family moved to the United States about 1950 and settled in New York City, his interest in dance was strong enough to cause him to enroll at the School of American Ballet. There, he was trained in the principles of classical ballet technique developed by George Balanchine, to whom he would remain devoted for the rest of his life. Performing career
During his career as a dancer, <mask> performed with several major ballet companies in Europe and America.In 1956, at age 19, he joined Roland Petit's Ballets de Paris, which performed in various cities in France and on tour to neighboring countries. <mask> danced minor roles in many works in the company repertory, appearing on stage with Zizi Jeanmaire in Petit's Carmen and with Violette Verdy in Le Loup. After a time with this company, he left to join the Grand Ballet du Marquis de Cuevas, also based in Paris, where

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Alfonso Catá
Alfonso Catá
Alfonso
Catá
Catá


texts: he appeared in the company's famous 1960 production of The Sleeping Beauty, staged by Bronislava Nijinska and Robert Helpmann and starring Nina Vyrubova and Serge Golovine. In, 1961, <mask> left France and moved to Germany, where he joined the Stuttgart Ballet, then being re-formed by South-Africa-born John Cranko. He took with him his Brazilian girlfriend, Marcia Haydée, who would become Cranko's muse, prima ballerina of the company, internationally known star of Cranko's narrative ballets, and his eventual successor as artistic director of the company. Upon returning to New York, <mask> resumed his studies at the School of American Ballet and at the Joffrey School, where he improved his technical mastery. In 1964 he was among the first group of young professionals organized by Robert Joffrey into a company, along with Robert Blankshire, Wilhelm Burmann, Zelma Bustillo, Diana Carter, Luis Fuente, Hilda Morales, and Trinette Singleton.The newly named Joffrey Ballet made its debut at the New York City Center of Music and Drama in 1965, but <mask> did not remain long with the troupe, soon leaving to join the corps of New York City Ballet, then resident at the New York State Theater at Lincoln Center. Although happy to be dancing the Balanchine repertory, he decided, at age 30, to retire from the stage. In 1967, he left New York City Ballet and opened a boutique, called Yasny ("You ain't seen nothin' yet"), on Manhattan's Upper West Side, where he sold dresses he had designed and

masks: Catá Catá Catá


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 Latin American pottery and jewelry. Gregarious and charming, he attracted patrons to his shop from a wide surrounding neighborhood, including Balanchine, who would sometimes stop by for a chat. Directorial and choreographic career
In 1969, Balanchine nominated <mask> to become artistic director of the moribund ballet company of the Grand Théâtre de Genève. It was an attractive offer, especially because of his childhood memories of the city, and a welcome opportunity that he was glad to accept. With Balanchine acting as artistic adviser, he took over leadership of the company, made dramatic reforms, and revitalized the repertory.During the four years of his tenure (1969-1973), he introduced many of Balanchine's best works to appreciative Swiss audiences. Among them were Sérénade (music, Tchaikovsky), Symphonie en Ut (Bizet), Apollon Musagète (Stravinsky), Les Quatre Tempéraments (Hindemith), Concerto Barocco (Bach), Divertimento No. 15 (Mozart), Symphonie Ecossaise (Mendelssohn), Square Dance (Corelli and Vivaldi), and Who Cares"? (Gershwin). These masterworks were supplemented by choreographies of his own, including La Nuit de Mai (music, Leoncavallo), Les Saisons (Glazunov), Sonatine pour Violon et Percussion (Pierre Métral), Pierre et le Loup (Prokofiev), Le Carnaval des Animaux (Saint-Saěns), Nuit Transfigurée (Schoenberg), and Concerto pour Percussion, Piano, et Orchestre à Cordes (Tomás Swoboda). He also provided dances for operas and operettas: Un Ballo in Maschere (Verdi,


texts: 1970), La Belle Helène (Offenbach, 1971), L'Étoile (Chabrier, 1971), and La Veuve Joyeuse (Léhar, 1972). Balanchine provided not only artistic advice; he sent <mask> some of his most promising students from the School of American Ballet in New York.Among them were Claudia Jescke and Chris Jensen, who, at 19, partnered Violette Verdy in a Balanchine pas de deux from La Source at an international gala that <mask> had organized and who would go on to an illustrious career as a principal dancer with the Basel Ballet and as ballet master of the Zurich Ballet. Other talented members of the company were the French dancer Dominique Bagouet, the English dancer David Allen, his French wife Claudine Kamoun, and the Swiss dancer Heinz Spoerli, who had established a reputation in Germany and Canada. Encouraged by <mask>, Spoerli choreographed his first major ballet, Le Chemin, in 1972. The success of this work, set to a commissioned electronic score by Eric Gaudibert and performed by Ruth Weber and Chris Jensen, launched Spoerli's career as the foremost Swiss choreographer of the twentieth century. Over the next two decades, <mask> worked as artistic director of three major dance companies: the Frankfurt Ballet in Germany (1973-1977), the Baltimore Ballet in the United States (1980-1981), and the Ballet du Nord in France (1983-1990). In the intervals between these jobs, he taught at various schools in New York City and elsewhere. As founder of the Ballet du Nord in Roubaix, France, close to the

masks: Catá Catá Catá Catá


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 Belgian border, he remained active in the post of company director, chief choreographer, and teacher until his death in 1990.He built the company repertory on fourteen Balanchine ballets and such works as Concerto, set to music of Keith Emerson by Jean-Pierre Bonnefoux, Les Nuits d'Éte, set to music of Hector Berlioz by Jean-Paul Comelin, and a number of works of his own devising. Among them were ballets to two evocative orchestral compositions: Nuits dans les Jardins d'Espagne by Manuel de Falla and La Mer by Claude Debussy. The company eventually evolved into the Centre Chorégraphique National Roubaix–Nord-Pas-de-Calais (CNN), specializing in experimental contemporary dance. Personal life
<mask>'s long-term companion was Wilhelm Burmann, a German dancer whom he met in Europe in the 1950s. Burmann's career was inextricably linked with <mask>'s own. He danced with the Stuttgart Ballet, the Frankfurt Ballet, the Joffrey Ballet, the New York City Ballet, and the Geneva company, where he also served as ballet master. He later became a popular teacher at Steps on Broadway in New York City.He survived <mask>, who died at age 53 in hospital at Tourcoing, near Roubaix. <mask> was also survived by a younger brother, Ernesto Hernandez-<mask>, a retired economist living in the Washington area with his wife, Ximena. References

1937 births
1990 deaths
People from Havana
Cuban male ballet dancers
Ballet choreographers
LGBT dancers
LGBT people from Cuba
LGBT choreographers
20th-century LGBT

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<mask> (born <mask>; January 24, 1888 – May 12, 1949) was an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P. Wilcox and Jane Bulley and made posters to support the war effort. She was made an honorary non-commissioned officer in the United States Marine Corps for her contributions to the war effort. McMein was a successful illustrator of magazine covers, advertisements, and magazine articles for national publications, like McClure's, McCall's, The Saturday Evening Post, and Collier's. McMein created the portrait of a fictional housewife "Betty Crocker" for General Mills. She was also a successful portrait painter who painted the portraits of presidents, actors, and writers. Algonquin Round Table members were entertained at her West 57th Street studio, where she was known for her active parties.Life magazine wrote an article about adult party games, which featured stories about McMein's parties. She had an open marriage to John G. Baragwanath, during which she had affairs with Charlie Chaplin and George Abbott. Baragwanath described their marriage as a successful one based upon a deep friendship. She was inducted into the Society of Illustrators' Hall of Fame in 1984, 35 years after her death. <mask> was one of 20 Society of Illustrators' artists to have their work published on a United States Postal Service Collectible Stamp sheet in 2001. Early life and education
Marjorie Frances <mask> was born in Quincy, Illinois on January 24, 1888. She was the daughter of Harry Moran and Isabelle Parker <mask>.<mask> was a reporter before he worked for the McMein Publishing Company, a family business. Due to his alcoholism, his

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Neysa Moran McMein
Marjorie Frances McMein
McMein
McMein
McMein
Harry McMein


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 relationship with his wife was strained. McMein had musical, acting, and artistic talent. After graduating with honors in 1907 from the Quincy High School, she attended The School of the Art Institute of Chicago. McMein worked at a large millinery firm, where she became lead designer. In 1911 or 1913, she went to New York City and after a brief stint as an actress  in several of Paul Armstrong's plays, she turned to commercial art. On the advice of a numerologist, she adopted the name Neysa.John Baragwanath, her husband, stated that she chose the name Neysa after meeting one of Homer Davenport's fillies at his stables. Whatever the original impetus for the change, McMein thought that the name Neysa "had a commercial value" above that of her birth name. McMein studied at the Art Students League of New York in 1914. Career

McMein sold her first drawing to the Boston Star in 1914. She created Harry Horowitz's portrait in 1915 before he was executed for Herman Rosenthal's murder. That year, she sold an illustration for the cover of The Saturday Evening Post and her Misinformation illustration appeared on the May 8, 1915, cover of Puck magazine. She became known for her portrayal of "All American Girls."McMein made posters for French and United States governments during World War I, as did Thelma Cudlipp, Helen Hyde and Mary Brewster Hazelton. Posters that she made also were used by the American Red Cross in its fund-raising campaigns. She traveled across France to entertain the troops in 1918. Of her time at the Western Front, McMein said, "Since I have lived through air bombing I never will be frightened by anything on earth. The terror of air raids cannot be imagined. They are heralded by the blowing of sirens and the ringing of church bells, and amid this din the lights are extinguished and then suddenly come the bombs, falling no one knows


texts: where. The noise they made is worse than that of the battles."McMein made portraits of some of the soldiers, drew cartoons, and colored the design of the Indian head insignia that was then used by the 93rd Bomb Squadron to denote the number of German planes that a given plane shot down by drawing a German black cross over one of the bear teeth in a necklace worn around the Indian head. She returned to the United States to care for her mother after her father died. While in Quincy, she spoke at two fund-raising drives. "[McMein] was the main attraction. The theater was filled. She was an excellent speaker; very witty and clever," according to Sarah Carney. For her efforts supporting the U.S. war effort, <mask> was appointed an honorary non-commissioned officer in the United States Marine Corps, one of only three women to be so honored.Her illustrations appeared on the covers and within articles for McClure's magazine by 1919. By the 1920s, <mask> and Jessie Willcox Smith were two of the major women magazine illustrators of their time. Together, they created hundreds of covers for McCall's and Good Housekeeping magazines. Joseph Bernt, author of the article "The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media" found that both women and Norman Rockwell generally portrayed women in covers and illustrations as mothers, with scenes centered around children, during the 1920s and 1930s. Within the covers of the magazine were illustrations made by the three artists to sell consumer products, like Orange Crush, Ivory soap, Chesterfield cigarettes, and Holeproof Hosiery. Following World War I, increased emphasis of family life was presented in mass media following a period when woman's suffrage and the New Woman were depicted in publications from the late 1800s according to Bernt. Carolyn Kitch, author of the book

masks: McMein McMein


texts: The Girl on the Magazine Cover, finds, however, that <mask> created illustrations of confident, modern New Women for her magazine covers, while Jessie Wilcox Smith concentrated more steadily on children.From 1923 through 1937, McMein created all of McCall's covers. She also supplied work to National Geographic, Woman's Home Companion, Collier's, and Photoplay. McMein earned up to $2,500 (estimated ) per cover illustration. She created advertising graphics for Cadillac, Lucky Strike cigarettes and Palmolive soap. Together with artists Howard Chandler Christy and Harrison Fisher, McMein constituted the jury for Motion Picture Classic magazine's "Fame and Fortune" contest of 1921/1922, which discovered the It girl Clara Bow. Other promotional activities including judging Coney Island beauty contests or opening movie houses. McMein designed silk textiles in the mid-1920s, three examples of which are in the collection of the Metropolitan Museum of Art.In December 1929, she consulted with Studebaker's design department, with five other women artists and decorators. General Mills commissioned her to create the image of Betty Crocker, a fictional housewife in 1936. She created an official portrait of Betty Crocker by combining features of the home economists employed by the company, which helped reinforce that Crocker was a real person. The image of the "ageless" 32-year-old was used in advertising and on packaging until 1955 when Hilda Taylor painted an updated Betty, who also wore bright red and white clothing. Like the Betty Crocker image, "Miss McMein was herself a kind of American demigoddess: the most courted of commercial artists, hostess in her New York studio to all of the 'Algonquin wits'—Benchley, Parker, Franklin P. Adams—a wit herself. Sophistication lay rouge-deep upon the personalities of her cover girls; beneath lay reassuring


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 testimonials to health and wholesomeness," wrote James Gray, author of Business Without Boundary: The Story of General Mills. In 1943, McMein collaborated with Alicia Patterson Guggenheim to create a comic strip, called "Deathless Deer."The strip starred a "deathless" Egyptian princess who awakens in modern New York City. <mask>, while talented, was unfamiliar with comic strip drafting and conventions, and Guggenheim's writing suffered with the format. The strip was a commercial and critical failure; it was discontinued in 1943. In April 1938, McCall's Magazine did not renew McMein's contract to produce illustrations for the magazine. By then, magazines could cost-effectively publish color photographs using four-color machines. McMein entered the field of portraiture, at first using pastels to depict Dorothy Parker, Edna St. Vincent Millay, and  Helen Hayes. She painted portraits of presidents Herbert Hoover and Warren G. Harding, author Anne Morrow Lindbergh, and actors Charlie Chaplin and Beatrice Lillie.McMein also painted Katharine Cornell, Kay Francis, Janet Flanner, Dorothy Thompson, Anatole France, Charles Evans Hughes and Count Ferdinand von Zeppelin. She mentored photographer Lee Miller. Personal life

Her father  died in 1918 while McMein was overseas entertaining the troops. She moved her mother Belle from Quincy, Illinois to live with her in New York. She was an "ardent supporter" of women's political, sexual, and economic rights. By 1920, McMein had walked in suffrage parades, traveled overseas extensively, and had ridden in Count Zeppelin's dirigible. She rode across an Arab desert with a woman journalist and friend and was proposed to by an Arab sheik in Algiers.<mask>, who was a talented musician, had written an opera by that time, too. In 1921, McMein was among the first to join the Lucy Stone League, an organization that


texts: fought for women to preserve their birth names after marriage in the manner of Lucy Stone. McMein—described as a tall, athletic, grave, and beautiful red-head—became a regular member of the Algonquin Round Table set, formed after the end of the war. Her West 57th Street studio in New York City became an "outpost" to the Algonquin Hotel, which appealed to the "Bohemian" nature of its members, which included Dorothy Parker, Alexander Woollcott, Edna Ferber, Irving Berlin, Robert Sherwood, Franklin Pierce Adams, Robert Benchley, Alice Duer Miller, Harpo Marx, and Jascha Heifetz. She was prone to working in her smock at an easel as her guests enjoyed lively discussions and piano playing. Berlin finished composing What'll I Do at McMein's piano during one of her Round Table parties. McMein provided the cover illustration of Berlin's biography by Alexander Woollcott.Walt Disney, Ethel Barrymore, Cole Porter, George Gershwin, H.G. Wells, and George Bernard Shaw were friends. Dorothy Parker moved in with McMein in 1920 before renting an apartment in the same building. <mask>'s mother died in 1923. The same year, McMein married John G. Baragwanath, a mining engineer and author, whom she met at a party given by Irene Castle. Baragwanth was interested in the striking, fine-featured woman playing the piano while others danced and sang around her. <mask> and Baragwanath had a daughter Joan in 1924.Theirs was an open marriage, and though the proprieties generally were observed, there were exceptions. In his memoirs, the lyricist and publicist Howard Dietz recalled hearing that on one occasion, when Neysa noticed that her model for the day was impatient to leave, she asked: "Have you got a heavy date?" Model: "Yes, with a great guy, Jack Baragwanath." Meanwhile, Neysa was involved for several years with the Broadway director George Abbott, leading Alexander


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 Woollcott to say that "we now call Neysa’s place in Port Washington the 'Abbottoir.'" She also had affairs with Robert Benchley, Charlie Chaplin, who had a house near her cottage in Port Washington, and a platonic relationship with Irving Berlin. This occurred during a period when "[w]omen are for the first time demanding to live the forbidden experience directly and draw conclusions on this basis," according to Beatrice Hinkle in an article for The Nation. McMein lived a varied life in search of fun.She interspersed her life as an artist with riding on the back of an elephant in a parade, taking a swim on a whim, and enjoying parties. She hosted parties with games for adults to entertain artists, writers, actors and other celebrities. Her guests—like Bing Crosby, Anne Shirley, Robert Young, and Bennett Cerf—engaged in games like a quickfire, multiple team version of charades called "The Game", that is sometimes attributed to McMein. The spelling game, where each person on a team wore a sign with one letter and played against another team so see who could arrange themselves the fastest in the proper order to spell a word, was played at her parties. McMein and the games that she employed at her parties were featured in a Life magazine article in 1946. <mask> also entertained at the house she bought with Baragwanath on the North Shore of Long Island in Sands Point. In 1942, she broke her back by falling downstairs during a sleepwalking episode.McMein was then required to have surgery to graft part of her hip to her spine. Death
McMein died of cancer on May 12, 1949, in New York City and was survived by daughter Joan and her husband John Baragwanath. In her will, McMein bequeathed monies to purchase works of arts annually by the Whitney Museum of American Art. The museum bought 72 purchases from 1956, none of which were McMein's works. Like


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 other illustrators' works, her illustrations were not considered fine art. In 1984, <mask> was inducted into the Society of Illustrators' Hall of Fame. The United States Post Office released a 20-stamp collection in February 2001 that are based upon works created by 20 Society of Illustrators' artists, including <mask>, Rockwell Kent, Al Parker, Howard Pyle, Jessie Smith, and Joseph Leyendecker.Collections
 Central School of Speech and Drama - Beatrice Lillie,
 Delaware Art Museum - Possibly a Cover Illustration, pastel on paper, 1919
 Library of Congress - One of the thousand Y.M.C.A. girls in France. Y.M.C.A., poster, 1918
 Alice Marshall's Women History Collection, Penn University, Harrisburg
 McCall's, June 1925
 McCall's, August 1929
 Advertisement for San-Tox Preparations, The American Magazine, 1919
 Metropolitan Museum of Art
 American Print: Birches, silk textile, 1925
 American Print: Hollywood, silk textile, 1925
 Piece, silk textile, 1927
 Museum of the City of New York, Theatre Collection - Miss Katharine Cornell
 Princeton University Poster Collection 1863-1948
 One of the thousand Y.M.C.A. girls in France. Y.M.C.A., poster, 1918
 Woman in cape and robe holding a sword and an oar, Grand Military Naval Meet and Ball, Benefit of Women's Oversea Hospitals, poster, 1917
 Quincy Art Center, Illinois

Published works
Illustrator

Author

In popular culture
McMein was portrayed by actress Rebecca Miller in the film Mrs. Parker and the Vicious Circle (1994). Notes

References

Further reading

External links

1889 births
1949 deaths
American portrait painters
American women illustrators
American illustrators
American women painters
American female comics artists
People from Port Washington, New York
People from Quincy, Illinois
School of the Art Institute of Chicago alumni
20th-century American painters
20th-century American


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<mask> (November 24, 1933, Kharkiv, Ukraine SSR – February 4, 1997, San Francisco) was a Russian Nonconformist artist, art theorist and teacher. Early life and education
<mask> spent his childhood in Kiev (Ukraine SSR). During Stalin's "purges" both his parents were arrested. His father was shot and his mother spent ten years in a Siberian labor camp. <mask> lived with his aunt. At the beginning of World War II, he was evacuated to the city of Ufa (the Bashkir Autonomous Soviet Socialist Republic). A time of extreme loneliness, cold, hunger and deprivation, this period also marked the beginning of <mask>'s drawing studies.After the war, <mask> lived in Chernovtsy (Western Ukraine), a city with a certain European flair. At the local House of Folk Arts, he found his first art teacher, E.Sagaidachny (1886–1961), a former member of the nonconformist artist groups Union of the Youth (Soyuz Molodyozhi) and Donkey's Tail, popular during the 1910s–1920s. His other art teacher was I. Beklemisheva (1903–1988). Impressed by <mask>'s talent, she later (1950) organized  his move to Leningrad, where he entered the famous V.Serov School of Art (the former School of the Imperial Society for the Promotion of Arts, OPKh, later the Tavricheskaya Art School). His association with this school lasted eight years, first as a student, and then, from 1965 to 1968, as a teacher. With "Socialist realism" the only official style during this time, most of the art school's faculty had to conceal any prior involvement in non-conformist art movements. Ya.K.Shablovsky, V.M.Sudakov, A.A.Gromov introduced their students to

masks:
Alek Rapoport
Alek Rapoport
Rapoport
Rapoport
Rapoport
Rapoport


texts: Constructivism only through clandestine means.The school emphasized fundamental drawing skills and an appreciation for Italian Renaissance art. Additionally, <mask> continued to educate himself, spending hours at the Hermitage Museum, copying paintings of the Old Masters, and studying art at public libraries. <mask>'s generation expressed an increasing interest in contemporary art. Expositions of French Impressionists came to Leningrad, followed by other exhibitions of modern art from various European countries. This new freedom proved a powerful source of ideas. His last year in school was interrupted by the military draft. He was stationed in Birobidzhan (the Jewish Autonomous Oblast), where he continued to draw and paint during his free time, making a series of sketches vividly depicting scenes of a soldier's everyday life and creating the oil painting The Taking of a Hill for a Khabarovsk museum.After his military service, <mask> returned to the Serov School of Art. His diploma work Laying the Wreaths on the Field of Mars (1958), was denounced as "formalist," a stigma which followed him from then on. Over the next four years (1959–1963) <mask> studied stage design at the Leningrad Institute of Theater, Music and Cinema under the supervision of the famous artist and stage director N.P.Akimov. Akimov taught a unique course based on theories of Russian Suprematism and Constructivism, while encouraging his graduate students to apply their knowledge to every field of art design. Despite differences in personal artistic taste with Akimov, who was drawn to Vermeer and Dalí, <mask> was influenced

masks: Rapoport Rapoport Rapoport Rapoport Rapoport


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 by Akimov's personality and liberalism, as well as the logical style of his art. In 1963, <mask> graduated from the institute. His highly acclaimed MFA work involved the stage and costume design for I.Babel's play Sunset.In preparation, he traveled to the southwest regions of the Soviet Union, where he accumulated many objects of Judaic iconography from former ghettos, disappearing synagogues and old cemeteries. He wandered Odessa in search of Babel's characters and the atmosphere of his books. <mask> considered himself a practitioner of Russian Constructivism with roots in ancient Mediterranean and Byzantine art forms. He was strongly influenced by Tartu's school of structural semiotics and by its founder, Juri Lotman. Concurrently, <mask> pursued a deep study of Byzantine art and icons. His final studies while in Russia concentrated on the works of the Russian Orthodox priest Father Pavel Florensky and the art historian Lev Zhegin. Career
After graduation, <mask>'s life was full of a variety of activities, but his most important goal was to try to combine official art with his own creative ideas.The greatest opportunities for this came through work for the theater in the town of Volkhov, as well as at Houses of Culture. He made sketches for sets and costumes for various plays such as Brecht's The Good Woman from Szechuan and Fear and Misery of the Third Reich, Pushkin's The Queen of Spades, Brandon Thomas's Charley's Aunt and V.Ivanov's Armored Train 14-69. At this time, <mask> also worked as an artist's assistant at "Lenfilm" and as a book designer and illustrator for various publishing


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 houses. However, his greatest satisfaction came from teaching specialty courses in composition, design and human anatomy at the Serov Art School. He organized a new liberal course in technical aesthetics, introducing his students to Lotman's theory of semiotics, the Modulor of Le Corbusier, the Bauhaus school, Russian Constructivism, Russian icons and contemporary Western art. As a result of his "radicalism," <mask> was fired for "ideological conspiracy." Thereafter, <mask> channeled all his energy into his own creative work.His main projects centered on Biblical themes, Anti-Semitism and subjects of everyday life. He sought to cultivate himself as Jewish artist. This became particularly noticeable after the Six-Day War, when the Israeli victory led intellectuals, including the Jewish intelligentsia, to feel a heightened interest in Jewish culture and its Biblical roots. <mask>'s works of this period include Three Figures, a series of images of Talmudic Scholars, and works dealing with anti-Semitism. 1970s
In the 1970s <mask> joined the non-conformist movement, which opposed the dogmas of "Socialist realism" in art, along with Soviet censorship. The movement sought to preserve the traditions of Russian iconography and the Constructivist/Suprematist style of the 1910s. Despite the authorities' persecutions of nonconformist artists (including arrests, forced evictions, terminations of employment, and various forms of routine hassling), they united in a group, "TEV – Fellowship of Experimental Exhibitions."TEV's exhibitions proved tremendously successful. In the same period, <mask> became one


texts: of the initiators of another anti-establishment group, ALEF (Union of Leningrad's Jewish Artists). In the United States this group was known as "Twelve from the Soviet Underground." <mask>'s involvement with this group increased tension with the authorities and attracted KGB scrutiny, including "friendly conversations," surveillance, detentions and house arrests. It became increasingly dangerous for him to live and work in the USSR. In October 1976, <mask> with his wife and son were forced to leave Russia. Following the usual path among Russian immigrants of that time, the family traveled through Austria and Italy, then moved to the U.S.They lived in Italy half a year. Despite missing Russia, <mask> savored his exposure to Italian culture and art, which had intrigued him since childhood. The entire environment strongly inspired his mind and creative work. In Italy, <mask> exhibited at the Venice Biennale, "La Nuova Arte Sovietica-Una prospettiva non-ufficiale" (1977), participated in television programs about nonconformist art in the Soviet Union, and created lithographic works continuing his theme of Jewish characters from Babel's play Sunset. In 1977, <mask>'s family was granted U.S. immigration status and settled in San Francisco. With assistance from the Bay Area Council of Soviet Jews (BACSJ), <mask> traveled to many American cities as a representative of the "ALEF" group, known in U.S. as "12 from the Soviet Underground," accompanying exhibitions of these artists and lecturing. <mask> grew up in the anti-religious Soviet environment.An encounter with the New Testament at age 16 led his

masks: Rapoport Rapoport Rapoport Rapoport Rapoport Rapoport Rapoport


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 first creation of religious artwork. Beginning in the 1960s, images of the Biblical prophets emerged as a recurring theme in <mask>'s art. His inspiration came from various sources: the stories of the Old and New Testaments, the art of Russian (Byzantine) icons as well as the humanistic art of Renaissance, and Russian religious philosophers such as S.Bulgakov, N.Berdyayev, V.Solovyov. Among this latter group, <mask> had a special regard for Father Pavel Florensky. <mask> dedicated his painting Short Life of Euphrosynos the Cook (1978) to the memory of Florensky, who perished in a Gulag in 1944. For almost nine years, <mask> was employed as a draftsman-designer of stage equipment, while continuing his own creative work. Initially overwhelmed by a sense of freedom in his new life, he soon came to feel that these liberties restricted more than they permitted, with freedom limited to the narrow views of artists who followed the demands of the market.He experienced difficulty fitting into the American contemporary art mainstream, which he considered frivolous, career-oriented and devoid of any spirituality or artistic merit. 1980s
For <mask>, the 1980s were a time full of creativity and significant life events. He participated in numerous exhibitions in San Francisco and other American cities, sold his paintings in auctions in Europe and the U.S., illustrated Erotic Tales of Old Russia by A.Afanasyev (Scythian Books, Oakland, CA), and traveled to European countries. A visit to Spain made a profound impression on him, confirming a sense of personal connection, even blood ties, with the art and


texts: culture of the country of El Greco. <mask> began a new series of paintings inspired by his experiences in Spain. In 1984, a significant event in <mask>'s life occurred in his meeting with San Francisco gallery owner Michael Dunev, who became his friend and representative, organizing all his exhibitions until the artist's death. <mask> tried to make a connection to bridge the gap between his art and the American viewers, a goal perhaps reflected in his new series of paintings, Images of San Francisco.While in Russia, <mask> had concentrated on interior and spiritual subjects; in San Francisco, he broadened his art with new sources. He valued the city's international flavor, theatrical and dramatical image, phantasmal ocean-accented light and geographical structure, capturing these qualities with his characteristic forced spherical perspectives and expressionistic coloration, evoking a sense of a spontaneous theater of everyday life. Images of San Francisco came to constitute a second major body of subjects in <mask>'s art. At the same time, the idea of "brotherhood" and artists "guild" had always attracted <mask>, and he particularly missed this sense of fellowship while in the U.S. Accordingly, in 1992, he organized the group "SPSF"(Saint Petersburg-San Francisco). SPSF consisted of two artists and two photographers, all St. Petersburg natives who had wound up in San Francisco. The four saw themselves as heirs of the great St. Petersburg cultural tradition, while also having absorbed the new San Francisco environment.Their exhibitions were enthusiastically received by Russians and Americans.

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 In 1987, <mask> was finally able devote himself completely to his creative work. While his subject matter did not change, his works increased in emotional impact and his technical skills became fully developed. 1990s
Toward the end of the 1980s and beginning of the 1990s, <mask> completed his most ambitious works on the theme of the Old Testament prophets: Samson Destroying the House of the Philistines (1989), Lamentation and Mourning and Woe (1990), the four paintings Angel and Prophets (1990–1991) and Three Deeds of Moses (1992). In 1992, the artist's friends in St. Petersburg organized the first exhibition of his
works there since his departure into exile, with works patiently gathered from collectors and art museums. This exhibition, held in the City Museum of St. Petersburg and accompanied by headlines such as "A St. Petersburg artist returns to his town," was followed by much larger ones in 1993 (St. Petersburg and Moscow), organized in collaboration with Michael Dunev Gallery under the name California Branches – Russian Roots. The exhibitions, with an invitation featuring <mask>'s painting Self-portrait as a Mask of Mordecai (1985), marked the artist's first visit to Russia since his departure in 1976.<mask> had always protested loudly and openly. In Russia, he protested against the rigidity of the system of teaching, against the communist ideology and censorship in art, against the suppression of religious art. He took a leading part in the creation of the dissident art groups TEV and ALEF. For this he was persecuted by the authorities and forced to emigrate. Then, in the U.S.,

masks: Rapoport Rapoport Rapoport Rapoport


texts: <mask> protested against commercialism in art, against the dominance of ideas of market over ideas of spirit, against the crushing of religious art by public indifference, against the loss of Judeo-Christian values. "In search of these values, I turn again and again to the Old Masters from the Mediterranean region, where at the very outset of Western Civilization, the art of Pictorial Image was born, art in which both the Divine Spirit and the Human Being served as the measure for all things." This was the subject of <mask>'s "loud and bitter cry."The last five years of <mask>'s life (1993–1997) were spent in voluntary seclusion. He did not endure emigration easily. "What a pathetic life, everything repeats itself," he said, quoting from the letters of Albrecht Dürer, another artist who saw himself as born in the wrong place and time. During these years, <mask> concentrated on his own creative world. In his own words, he worked not for the sake of art, but because art gave him the means to express himself. He sought to reach the very core and heart of the image, an urge complemented by his ever-present inner desire to attain the ideal. In 1995, he began an association with CIVA (Christians in Visual Arts), participating in the group's exhibitions and conferences.He produced more expressionistic paintings on religious themes, while continuing his ongoing series Images of San Francisco. His works became increasingly spiritual and magically expressive. The art critic V.Baranovsky (Moscow-San Francisco) noted, "One can not leave unnoticed the strange power of these paintings, which remind us of


texts:
 the incandescent coals of Old Russian icons." By 1996, the artist almost never left his studio, completing Anastasis 1, based on the apocryphal fourth-century Gospel of Nicodemus. The painting was his final and most personal religious work. Death
On February 4, 1997, <mask> <mask> died suddenly and unexpectedly in his studio while working on his new painting Trinity. Main personal exhibits
 1980 – Gallerie "Trifalco," Rome, Italy
 1981 – Images of San Francisco, Eduard Nakhamkin Gallery, New York, NY.1984 – Images of San Francisco, University of the Pacific Gallery, Stockton, CA. 1986 – Images of San Francisco, Michael Dunev Gallery, San Francisco, CA. 1988 – Ecumenical Works, Michael Dunev Gallery, San Francisco, CA. 1992 – Russia-USA, The Museum of the City of St. Petersburg, St. Petersburg, Russia. 1993 – California Branches-Russian Roots, Manege Exhibition Hall, St. Petersburg, Russia; National Exhibition Hall, Moscow, Russia. 1996 – Ecumenical Paintings, SOMAR Gallery, San Francisco, CA. 1997 – The Last Paintings: A Memorial Exhibition, Michael Dunev Gallery, San Francisco, CA; The Early Drawings.A Memorial Exhibition. George Krevsky Fine Art, San Francisco, CA; Sacred Inspiration: Icons by <mask> <mask>, The Marian Library, IMRI, Dayton University, Dayton, OH. 1998 – Angel and Prophet, Center for Art and Religion, Washington, DC. 2004 – Images of San Francisco, Diaghilev Art Center, St. Petersburg, Russia. 2007 – <mask> <mask>: A Memorial Exhibition, Belcher Studios Gallery, San Francisco, CA. Main collections

 Russian Museum, St. Petersburg, Russia
 Tretyakov Gallery, Moscow,

masks: Alek Rapoport Alek Rapoport Alek Rapoport


texts:
 Russia
 Hermitage Museum, St. Petersburg, Russia
 Ellis Island Museum, NJ
 Personal collection of John Paul II, Vatican City, Italy
 International Marian Research Institute, Dayton University, Dayton, OH. Judah L. Magnes Museum, Berkeley, CA.Zimmerli Museum, Rutgers University, New Brunswick, NJ
 Legion of Honor Museum, San Francisco, CA. Duke University Museum of Art, Duke University, Durham, NC. Oakland Museum of California, Oakland, CA. Museum of Nonconformist Art, St. Petersburg, Russia
 Moscow Museum of Modern Art, Moscow, Russia
 Diaghilev Art Center, St. Petersburg, Russia

Bibliography
 From Gulag to Glasnost: Nonconformist Art from the Soviet Union. The N&N Dodge Collection. Thames and Hudson, New York, 1995
 <mask>, <mask>. Tradition and Innovation in the Fine Arts.Canadian-American Slavic Studies. Publisher BRILL, Volume 45, Number 2, 2011, P. 183-206
 12 from the Soviet Underground. Catalogue, Berkeley, CA, 1976
 Creativity Under Duress: From Gulag To Glasnost. Catalogue, Louisville, KY, 1989
 Soltes, Ori Z. III. Art, Politics, Literature and Religion, Art and the Holocaust. B'nai B'rith Klutznick National Museum, Washington DC. P. 6-8
 Scharlach, B. California Dreamin'.Hadassah, Volume 68, Number 4, December 1986. P. 50
 Bernstein, Boris. Rapoportian Space. Canadian American Slavic Studies. Publisher Charles Schlacks, vol.41, No 2, Summer, 2007, California, USA, P. 205–216. <mask> <mask>. An Artist's Journey.Album, Michael Dunev Gallery, San Francisco, 1998. Dunev, Michael. Art of Conscience: The Paintings of <mask> <mask>. ARTS, Eleven one, 1999, New Brighton, MN, USA,

masks: Rapoport Alek Alek Rapoport Alek Rapoport


texts:
 C.36–37
 Jane, R. Russian Artists at OPTS Art. Asian Art News, vol.5, No1, January–February 1995, San Francisco, CA
 Alek Rapoport. St.Petersburg — San Francisco. Catalogue, APOLLON, St. Petersburg, 1993

References

External links

1933 births
Soviet painters
Painters from Saint Petersburg
20th-century Russian painters
Russian male painters
Soviet emigrants to the United States
1997 deaths
Artists from the San Francisco Bay


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<mask> (28 May 1883 - 7 September 1948) was a German evangelical (Lutheran) theologian. He came to prominence in the 1930s as a leader of the Confessing Church ("Bekennende Kirche"), which can be seen as a movement within German Protestantism that arose during the Nazi years in opposition to government-sponsored efforts to unify all Protestant churches into a single pro-Nazi Protestant Reich Church. Life

Provenance and early years
<mask> was born in Elberfeld, a town in the Ruhr region which had emerged during the nineteenth century as a major centre for the textiles industry, and which has subsequently been subsumed into Wuppertal. His father,  also called <mask> (1847-1902) worked in the silk business and was a partner in the Elbersfeld-based firm "H. E. Schniewind". His grandfather, <mask> (1813-1895), had also been a partner in the family firm, and a prominent member of the local business community. His mother, born Emmi Elisabeth Burchard (1854–1924), was from Hamburg, a daughter of a banker originally from Bremen called Friedrich Wilhelm Burchard (1824–92). His childhood was shaped by a confident spirit of religious piety within the family.He attended the Wilhelm Dörpfeld Gymnasium ("grammar school") in Elberfeld and then moved on to study Lutheran Theology at Bonn, Halle, Berlin und Marburg between 1901 and 1906. His tutors included Paul Feine (1859-1933), Karl Heim (1874-1958) and Friedrich Loofs (1858-1928). He also became, according to at least one major source, the most significant of the students of Martin Kähler (1835-1912). In 1910 he received his Licentiate (higher degree) at Halle for a piece of work on the writings and preaching of Paul the Apostle ("Die Begriffe Wort und Evangelium bei

masks:
Julius Schniewind
Julius Daniel Schniewind
Julius Schniewind
Heinrich Ernst Schniewind


texts:
 Paulus"). He remained at Halle, teaching New Testament studies, till 1914. That year he received his habilitation (degree) for a piece of work on parallel pericopes for Luke and John ("Die Parallelperikopen bei Lukas und Johannes"). His academic progress was interrupted during at least a part of the First World War, when Schniewind became a volunteer field chaplain.He was awarded the Iron Cross 2nd Class (Eisernes Kreuz 2. Klasse). Marriage and family
<mask> married Anna Alice Wanda Eveline Countess of Keyserling (1884-1955) at Elberfeld on 7 May 1919. His bride came from Courland. The marriage was followed by the births of the couple's two sons. Academic progression
In 1919 <mask> was appointed to a provisional extraordinary professorship which in 1921 became a regular extraordinary professorship with a full teaching contract covering New Testament studies, Patristic Philology and Palaeography. The university awarded him a doctorate in theology in 1925.The next year he was appointed to the teaching chair in New Testament studies. He moved in 1927 when he received a full professorship in New Testament studies at the University of Greifswald in the extreme north of the country. Two years later he moved again, this time accepting an offer from the University of Königsberg where he was in regular (and sometimes disputatious) contact with a younger generation of notable theologians such as Günther Bornkamm, Hans Iwand and Martin Noth. Nazi years
In 1933 the Nazis took power, following several years during which politics had become progressively more polarised and then gridlocked. The new government lost no time in transforming Germany into a one-party dictatorship. In April 1933 leading protestant churchmen were

masks:
Julius Schniewind
Schniewind


texts: persuaded to draft a new constitution for the "German Evangelical Church", which was part of a government plan for a state controlled protestant church. The idea was not one that sat comfortably with German tradition, and many protestant theologians responded by creating the Confessing Church ("Bekennende Kirche") movement,  Actively backed by Bornkamm and Iwand, Schniewind took a lead in the struggle to establish the Confessing Church in East Prussia.They managed to involve the Bahnauer Fraternity. The Theology faculty at Königsberg became a power house for theological training on behalf of the Confessing Church. Schniewind joined the Pfarrernotbund (loosely "Emergency League of Pastors"). As a result of his activities involving the Confessing Church and his openly hostile attitude to the Nazi regime, in 1935 <mask> was expelled from the University of Königsberg. He had made a public attack on the East Prussian Gauleiter, Erich Koch. He was sent to Kiel where, as before, he engaged actively with the  Confessing Church. Meanwhile relations between the Confessing church and the more mainstream regional protestant churches had broken down.Professors involved with the Confessing Church had been forbidden from setting exams for theology students since February 1935. Schniewind continued to profess his support for the Confessing Church and refused to set exams on behalf of the regional churches. In 1936, because of his continuing refusal to comply with the requirements of the authorities in Kiel, he was sent away after a few months. He accepted an invitation to return to Halle. He nevertheless persisted with his open commitment to the Confessing Church. Along with Ernst Wolf he became a leader of the student


texts:
 religious community. In March 1937 Schniewind was removed from his university post and early in 1938 the authorities launched a criminal investigation case into his involvement with the Confessing Church.He was obliged to take an 80% salary cut. Many sources assume or imply that he remained deprived of his professorship till war ended in May 1945, but recent investigation of personnel records retained in the archives at the University of Halle has indicated that <mask>'s professorship was quietly restored in some form later in 1938. There is no report of the criminal case having reached the stage of a prosecution. According to one source, alongside his lecturing activities on behalf of the Confessing Church, he was able to continue "mentoring his students privately". After 1939 he combined his activities at the university with work as a military-hospital chaplain. Final years
As the war ended, the western two thirds of Germany was divided into zones of military occupation. The central portion, including Halle, was now administered as the Soviet occupation zone.The Ruhr region, where he had been born and lived as a young man became part of the British occupation zone. Schniewind received invitations to take up university appointments from Münster, Mainz and Berlin, but he turned them down. If his employment status at the University of Halle had been unclear before 1945, it now became a matter of public record, as he was restored to a full professorship. As a lecturer at the university and church provost in the Halle-Merseburg region he played a decisive role in a revival of public Christian awareness and the life of the church in Halle and in the Ecclesiastical Province of Saxony more widely. <mask> died in

masks:
Schniewind
Julius Schniewind


texts:
 Halle aged 65. Theology
<mask> is regarded as the most important student of Martin Kähler (1835-1912). He was also influenced by Hermann Cremer, Adolf Schlatter and Søren Kierkegaard.He understood bible theology as the Word of God, deeply rooted in the Old Testament. In that respect he decisively stood apart from the ranks of the liberal theologians from Ferdinand Christian Baur to Adolf von Harnack. Schniewind's programme of "spiritual renewal" created a happy unity out of the frequently problematic relationship between scriptural belief and historical-critical biblical exegesis. At the same time, his first interest was in the New Testament and in his pastoral duties. ("Others write books. I must be there for my students.") Recognition of the value of religious scholarship and form criticism never prevented Schniewind from stressing in his elaboration of the Words of Christ the "signs of the times".In that respect he applied a pauline interpretation of National Socialism as nothing less than the Wrath of God. With regard to the state's attempts to control the church, he would have endorsed Dietrich Bonhoeffer's judgement that Protestantism without the Confessing Church would amount to a denial of the Truth of the Gospel. During the Nazi years <mask> exercised a huge influence over his students. He uncompromisingly rejected National Socialist ideology, and sought to combine subjective religious experience with the objectivity of biblical witness. References

Clergy from Wuppertal
20th-century German Protestant theologians
Martin Luther University of Halle-Wittenberg faculty
University of Greifswald faculty
20th-century Lutheran clergy
University and college chaplains in Germany
New Testament scholars
1883


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<mask> (born 25 July 1930, in Manchester, England) is a British doctor who has been offering medical treatment as well as vocational training to the poor in the Indian city of Kolkata and in other parts of West Bengal since 1972. He established the relief agency Calcutta Rescue. <mask> graduated from St Edmund Hall, Oxford with a post-graduate degree in economics and political science. He worked for a few years as a farmer in Wales before selling his farm and deciding to become a doctor instead. In 1965, he was admitted into the Royal College of Surgeons in Dublin at the age of 35. Work in Bangladesh

In 1972, when he had just finished his internship, although his plans had been to dedicate his life to the poor in South or Central America, and he had prepared himself by learning Spanish, he answered a call over the radio for doctors to help the people of then newly independent Bangladesh. He was soon in Dhaka, where he worked, under squalid conditions, in refugee camps filled with Urdu-speaking people who intended to return to Pakistan.He learnt Urdu and later Bengali. In 1975, he set up a 90-bed clinic in Dhaka and two farms on the outskirts of the city. However, his work in Dhaka came to an abrupt end when he discovered that Dutch non-government organisation Terre des Hommes was operating a child-smuggling racket, and exposed it despite the Bangladesh government warning him not to. He was deported to Bangkok in 1979. Work in Kolkata

After being deported from Bangladesh, he went to India the same year and worked in Kolkata for six months under Mother Teresa's Missionaries of Charity. However, Preger criticized the inadequate conditions in Mother Teresa's charities, saying "If one wants to give love, understanding and care, one uses sterile

masks:
Jack Preger
Preger


texts: needles. This is probably the richest order in the world.Many of the dying there do not have to be dying in a strictly medical sense." <mask> thought that he would be able to do more if he operated independently, and started a clinic for the poor below the flyover connecting the Howrah Bridge. He also requested a work permit, which ultimately was not given. When carrying medical supplies to and from the bridge proved impractical, <mask> moved to Middleton Row located off Park Street where he was offered free storage facilities at a Presbytery. With medicines and equipment now at hand, he set up a clinic on the pavement flanking the Presbytery’s exterior wall. The result was a basic but structured medical facility operating illegally at the side of the road. Partially covered by tarpaulins, it comprised several departments.Preger sat in a central consultation area assisted by local doctors willing to work for a small fee. Medical records were stored here in metal boxes. Physical examinations were conducted behind held-up cloth sheets. An adjoining pharmacy section dispensed medicines. Patients were sent for diagnostic procedures, including radiology and laboratory tests. A treatment area was staffed by volunteers, including several nurses. Many of these were overland travellers who postponed their travel plans to help Preger.This section provided first aid and wound care for ulcers, burns, infections and other conditions. A welfare department gave out vitamins and maternal supplies, plus small sums of money to cover travel costs for patients from rural areas. Serious cases, including cancer and heart disease, were referred to local hospitals for surgery, radiotherapy, or other medical procedures. The clinic was erected at daybreak and dismantled

masks: Preger Preger


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 every day at dusk, leaving the sidewalk empty. Supported by donations, all treatment was provided free. Defying threats and demands from street mafia, and conflict with the authorities, <mask> operated this clinic six days a week for fourteen years from 1979 to 1993, often treating several hundred patients a day. When <mask> received official registration as Calcutta Rescue, he was able to set up legal, permanent clinics.An American doctor called Jim Withers who met <mask> on a trip to India in 1993, was inspired to introduce the concept in his home town of Pittsburgh, USA. Withers went on to found the Street Medicine Institute in 2009. As a result, Street Medicine programmes now operate in over 85 cities in 15 countries. <mask> became known as “The Pavement Doctor of Calcutta” and today is widely regarded as the founder of street medicine. Today, Calcutta Rescue operates three clinics, two schools and two vocational centres. It employs 150 locally hired staff and international support groups. Support groups for the work of <mask> have been formed in several countries, mostly spurred on by tourists returning home, who had witnessed his selfless work : England, Switzerland, France, Germany, Norway, The Netherlands, Canada, the US.Intervention by the government

In 1980, the Foreigners' Registration Office (FRO) of the West Bengal government noted that <mask> had accepted a donation from a missionary organisation based in the United States, and demanded that he declare himself as a missionary worker, in addition to being a doctor. He resolved this only after explaining to New Delhi officials that he was not a missionary worker. (Calcutta Rescue is entirely secular), and was permitted to stay in Kolkata without a visa. In 1981, the FRO charged him

masks: Preger Preger Preger Preger Preger Preger


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 with entering India without a missionary visa, but he was released on bail. The FRO dropped the charge in 1989 after intervention by the then high commissioner of New Zealand to India, Sir Edmund Hillary. After <mask> registered Calcutta Rescue as a charity in 1991, he started two more clinics in Kolkata and donations came in from eight European countries. He also obtained a resident's permit.However, the government refused to grant him the clearance needed to accept foreign donations. <mask> then sued the government in Kolkata's courts. Eventually the courts struck down the government's rejection, and <mask> was allowed to accept 1.5 million rupees per month in donations. As of 1999, <mask> has to apply for a re-entry visa from the FRO before he leaves India for any reason. Most of these applications have required legal intervention to succeed. On 23 February that year, the FRO suddenly asked <mask> to leave India within seven days. The Calcutta High Court intervened by ordering the government to speedily grant him a return visa.Aged 88 and in declining health, <mask> retired in January 2019 and returned to the United Kingdom after 40 years of service to the poor in Kolkata. The work continues in his absence. " Awards

In 1993, <mask> was named a Member of the Order of the British Empire for his "continued perseverance and incredible selflessness". In 2017, <mask> was named "Philanthropist of the Year" by The Asian Awards at a ceremony in London, England on 5 May 2017. " "

References

Further reading
 – includes an interview with <mask>

External links

1930 births
Living people
20th-century English medical doctors
Alumni of St Edmund Hall, Oxford
British humanitarians
Members of the Order of the British Empire
People in health professions from

masks: Preger Preger Preger Preger Preger Preger Preger Preger Preger


texts: <mask>ė née Kymantaitė (13 March 1886 – 1 December 1958) was a Lithuanian writer, educator, and activist. After studies at girls' gymnasiums in Saint Petersburg and Riga, she studied philosophy, literature, art history at the  and Jagiellonian University. She returned to Lithuania in 1907 and joined the cultural life of Vilnius. In January 1909, she married painter and composer Mikalojus Konstantinas Čiurlionis, but he died in April 1911 leaving her with an infant daughter. Until the start of World War I, she taught Lithuanian language and literature at teachers' courses established by the Saulė Society in Kaunas. She lectured at the Vytautas Magnus University from 1925 to her retirement in 1938. Čiurlionienė was also active in public life – she was a delegate to the Assembly of the League of Nations in 1929–1931 and 1935–1938, leader of the Lithuanian girl scouts in 1930–1936, an active participant in various women's organizations, including the Women's International League for Peace and Freedom and the Lithuanian Women's Council.During World War II, she helped save Jews from the Kovno Ghetto and was recognized as Righteous Among the Nations in 1991. In her essays on art and literature, influenced by ideas of fin de siècle and Young Poland movements, she criticized realism and supported symbolism. However, some of her own literary works are good examples of realism. Her most popular works are theater plays, in particular comedies Pinigėliai (Money; 1919) and Vilos puošmena (Decoration of a Villa; 1932). She also wrote dramas, plays for school theaters, poems. Most of her


texts:
 novels explore the Lithuanian press ban and the Lithuanian National Revival. Biography

Early life and education
Kymantaitė was born to a family of a landless Lithuanian noble on 13 March 1886 in the clergy house in Joniškis.The family lived with her maternal uncle Catholic priest  who taught her privately and sponsored her education. When her parents' business, a guest house and a small shop in Šiauliai failed, the family moved back to live with Jarulaitis in Kuliai in 1893. In 1898, she enrolled into a primary girls' school in Palanga. The same year, Kymantaitė met priest Juozas Tumas-Vaižgantas, an active participant in the Lithuanian National Revival and editor of Tėvynės sargas, who was assigned to Kuliai. He taught her to read and write in the Lithuanian language. In 1899, she saw America in the Bathhouse, the first Lithuanian-language play in present-day Lithuania. In 1899–1904, Kymantaitė studied at the girls' gymnasium attached to the Catholic Church of St. Catherine in Saint Petersburg, at a private girls' school and a public girls' gymnasium in Riga.In Riga, she participated in a secret Lithuanian student society established by Kipras Bielinis. continued to teach her Lithuanian. She also frequently visited the family of writer Pranas Mašiotas and read her first poems. In 1904–1907, she studied in Kraków (then part of Austria-Hungary) at the  established by  and the Jagiellonian University. She initially hoped to study medicine, but she did not know Latin and instead studied philosophy, literature, art history. In Kraków, she met such Polish painters as Piotr


texts:
 Stachiewicz and ; her teachers included  for art history and Lucjan Rydel for literature. She also joined the Rūta Society, a Lithuanian society established by , and started writing articles on Lithuanian literature.Her first longer study on poets , Maironis, and Pranas Vaičaitis was published by Vilniaus žinios in December 1906. When her uncle Jarulaitis suffered a fire and could no longer support her education, Kymantaitė returned to Lithuania and joined the cultural life of Vilnius in 1907. Encouraged by Juozas Tumas-Vaižgantas, she took a job at the office of Viltis (Hope) and contributed articles and feuilletons on Lithuanian literature. She received further lessons in Lithuanian from Tumas-Vaižgantas, Jonas Jablonskis, . She participated at the First Congress of Lithuanian Women in September 1907. Together with Marija Pečkauskaitė, she was selected as vice-chair for the event. Kymantaitė delivered a speech on teaching the history of Lithuania and was elected to a 10-person committee charged with the establishment of the Lithuanian Women's Union.She also participated in the activities of the Rūta Society; for example, she performed the main female role of Aldona in the historical play Mindaugas by Juliusz Słowacki in May 1908. Marriage to Čiurlionis

She met her future husband Mikalojus Konstantinas Čiurlionis at the opening of the First Lithuanian Art Exhibition in January 1907. At the time, she was engaged to Zygmunt Ruszczyc, a manor owner from Širvintos. Kymantaitė and Čiurlionis met again in November 1907 at an event commemorating Vincas Kudirka during which she


texts: delivered a speech and he played a piano. After the event, he asked her to teach him Lithuanian. She agreed, teaching him three times a week using a Lithuanian grammar by Jonas Jablonskis and a Lithuanian folk song collection by Antanas Juška. In summer 1908, they spent some time in Palanga and then visited their families in Plungė and Druskininkai to inform them about their engagement.They wed on 1 January 1909 in . The couple departed to Saint Petersburg to further Čiurlionis' artistic career. They returned to Lithuania to spend the summer in Druskininkai, Vilnius, and Plungė. In fall 1909, Čiurlionis returned alone to Saint Petersburg. When Čiurlionienė visited him around Christmas, she found him in deep depression and barely aware of his surroundings. He was placed in a sanatorium in Marki near Warsaw. She remained in Lithuania and gave birth to their daughter  on 12 June 1910.Čiurlionis never saw his daughter – he caught cold, developed pneumonia, and died on 10 April 1911 in Marki. During their short relationship, the couple worked on a few joint projects – organized the Second Lithuanian Art Exhibition, published a collection of literary criticism Lietuvoje (In Lithuania; 1910), painted a backdrop for the Rūta Society (she painted tulip ornaments in the Lithuanian folk style), and worked on an unfinished opera Jūratė. They both had a artistic strong influence on one another. The paintings of Čiurlionis received universal acclaim in Lithuania and the government founded the M. K. Čiurlionis National Art Museum in 1921. In 1922, Čiurlionienė agreed to sell 193 works by


texts:
 Čiurlionis for 65,000 German gold marks to the government. However, the money was put into a trust for the benefit of their daughter until she turned 21. Educator and activist

Widowed at age 25 and with an infant daughter, Čiurlionienė settled in Kaunas.She got a teaching position at teachers' courses established by the Saulė Society and taught Lithuanian language and literature. To raise funds to support struggling students, activists organized cultural evenings with lectures, music, plays. During several such evenings, plays by Čiurlionienė were performed. During World War I, she evacuated to Voronezh and taught at Lithuanian teachers' courses and girls' school established by Martynas Yčas. Since there was a lack of Lithuanian textbooks, she prepared and published a collection of articles Iš mūsų literatūros (From Our Literature; 1913), textbook Lietuvių literatūros istorijos konspektas (Outline of the History of the Lithuanian Literature) and an accompanying anthology (both in 1918). In 1919, she returned to Kaunas and got a job in the education department of the Ministry of Defence and prepared an anthology for the Kaunas War School. From 1925 to 1938, she taught the Lithuanian language at Vytautas Magnus University.In 1935, the university sent her to Western Europe to learn best practices of teaching language and literature. She visited Basel, Bern, Geneva in Switzerland, Lyon in France, Toruń, Warsaw, Kraków in Poland. She collected material for a book on the methodology of teaching Lithuanian language and literature, but it was not finished due to World War II.


texts: Čiurlionienė continued to be active in public life. In March 1929, she attended a meeting on the situation in Eastern Europe organized by the Women's International League for Peace and Freedom (WILPF) in Vienna. Her efforts to defend Lithuania's territorial claims to Vilnius Region received praise in Lithuania and she was sent to the 6th congress of WILPF in Prague in August 1929. She also became a member of the Lithuanian government delegations to the Assembly of the League of Nations in 1929–1931 and 1935–1938.The other two members of the 1929 delegation were Prime Minister Augustinas Voldemaras and diplomat Vaclovas Sidzikauskas. In 1930, she joined the League's Fifth Committee which dealt with social and humanitarian questions such as human trafficking, prostitution, children's welfare. In Switzerland, she learned about the Union of Friends of Young Women () established in 1877 and founded its chapter in Lithuania (Mergaičių bičiulių draugija) in 1929. The union sought to help young women who moved from villages to larger cities to avoid being exploited or trafficked. In 1935, Čiurlionienė returned to the League and became a member of the Fist Committee (legal and constitutional questions) and Sixth Committee (mandates, slavery and political questions), but returned to the Fifth Committee in 1936. In 1937, participated in the Second Congress of Lithuanian Women organized by the Lithuanian Women's Council where she read a paper on the causes for marriage failures. The Lithuanian Women's Council unsuccessfully suggested her to the State Council of Lithuania and to run as a