texts: Vladimir Svyatoslavich died and thus Oleg became the second in precedence in the dynasty after <mask> (his father’s cousin), and it was also his turn to rule Novgorod Seversk. In the spring of 1201, <mask>, the prince of Chernigov died, and the office of senior prince passed to Oleg, and thus he occupied Chernihiv.Shortly afterwards, Grand Prince Rurik Rostislavich of Kiev summoned the Olgovichi to campaign against Roman Mstislavich of Volodymyr who had begun wreaking havoc on domains belonging to him. <mask> decided to cooperate with Rurik Rostislavich and pledged loyalty to him. The Kievans, however, opened the gates of the podol to Roman Mstislavich, who forced <mask> and Rurik Rostislavich to capitulate, and the Olgovichi returned to Chernihiv. Rurik Rostislavich and the Olgovichi captured Kiev on 2 January 1203; the former avenged himself against the Kievans for opening the gates to Roman Mstislavich, and he ordered his men to set fire to the podol where the townsmen had betrayed him. The troops plundered the Cathedral of St. Sofia, the Tithe Church, and all the monasteries. Rurik Rostislavich and Oleg seized the garments of the blessed first Christian princes of Rus’; their objective, undoubtedly, was to adorn their own cathedrals with them. By hanging the robes in their throne rooms, however, they may have also hoped to buttress their dynasties’ claims to the capital of Rus’.Nevertheless, Rurik Rostislavich had no intention of occupying Kiev, and thus <mask>’s younger brother Vsevolod Svyatoslavich occupied the town.

masks:
Igor Svyatoslavich
Igor Svyatoslavich
Oleg
Oleg
Oleg


type: original

texts:
 Since Roman Mstislavich’s raids had provoked Rurik Rostislavich and the Olgovichi to despoil Kiev, he took it upon himself to restore peace; he therefore asked Vsevolod Yuryevich of Suzdalia to be pacified with the Olgovichi, which occurred in February 1203. On 16 February, after Roman Mstislavich himself also concluded peace with the Olgovichi, he marched against Rurik Rostislavich who submitted to him and to Vsevolod Yuryevich promising to sever relations with the Olgovichi and the Cumans. In 1203, Oleg defeated 1,700 Lithuanians; it is plausible that he attacked the Lithuanians in order to help the princes of Polotsk, but the possibility remains that he attacked them in defense of the Dregovichi domains. Under the year 1204, a number of chronicles state that Oleg died, while others add that his son died with him. They probably fell in battle against the Lithuanians. Marriages and children
<mask> <mask> married his first wife before 1166.She was a daughter of Prince Andrey Yuryevich of Suzdalia and his Cuman wife and may have been named Euphrosyne. <mask>'s second wife was a daughter of Prince Prince Yuriy Rostislavich of Ryazan and may have been named Euphrosyne. Oleg had three children: one whose name is unknown (died in 1204), a son named David (died in 1196), and a son named Ingor (died between 1211 and 1223). Footnotes

Sources
Dimnik, Martin: The Dynasty of Chernigov - 1146-1246; Cambridge University Press, 2003, Cambridge; . 12th-century princes in Kievan Rus'
Olgovichi family
Princes of Chernigov
Eastern Orthodox

masks: Oleg III Oleg


texts:
<mask>Pat<mask> (September 4, 1929April 8, 2016) was an American astronomer and educator who specialized in astronomy with a particular focus on comets and minor planets. She was well-known for the recovery of lost comets, as well as for her discovery of two asteroids, the co-discovery of Jupiter's moon Themisto, and for the asteroid 1657 Roemera that was named in her honor. Life
<mask> was born on September 4, 1929 in Oakland, California, and was raised in Alameda, California, by her father and mother, Richard Quirin and Elsie B<mask>. From a young age, Roemer expressed interest in scientific reasoning and matters regarding astronomy. It was revealed by Roemer in an interview that while she was a freshman in high school many of her teachers lacked the proper qualifications. This was because she was a student during the Second World War, when many individuals were teaching on emergency credentials. One of her general science teachers had made remarks with astronomical implications that Roemer believed to be incorrect.One of these statements was that Polaris was the largest star. Despite not having books or sources that contained the correct answers, <mask> was encouraged to look for the right answers elsewhere. She got in touch with a teaching assistant in the Astronomy Department at Berkeley who helped her find the information she was looking for. This marked the beginning of her interest in other aspects of astronomy. <mask> graduated valedictorian of her high school class in 1946, and in that same year she won the National Westinghouse Science Talent Search. She became a serious amateur astronomer and was determined to pursue her interest in comets and asteroids. In 1950 she graduated from the University of California, Berkeley with a BA in astronomy.She graduated with honors as a Bertha Dolbeer Scholar. During her graduate studies at Berkeley, Roemer taught adult extension classes in Oakland to finance her tuition from 1950–1952. This was the experience that allowed her to develop a passion for teaching. From 1954–1955, she worked as an assistant astronomer and lab technician at UC’s Lick

masks:
Elizabeth "
" Roemer
Roemer
. Roemer
Roemer
Roemer


texts:
 Observatory, and in 1955 she earned her PhD from Berkeley. After receiving her PhD, <mask> continued her time at UC as an assistant astronomer and conducted research at the University of Chicago’s Yerkes Observatory. <mask> received the title of astronomer in 1957 at the US Naval Observatory in Flagstaff, Arizona. She began to gain traction for rediscovering comets by using a high definition 40-inch reflecting telescope to photograph and analyze nuclei.Her groundbreaking research led to the recovery of dozens of short period comets–comets that take less than 20 years to orbit the Sun. Scientists at the time did not have methods or equipment that could easily track short period comets around the Sun, and these comets would become “lost” once the distance became too great. Roemer found these lost comets by searching the area they were predicted to be as they rounded the Sun and detected faint movement relative to surrounding stars. This was no simple feat, as predicting the position and brightness of the comet was extremely difficult, especially for comets that had been missing for extended periods of time. <mask>’s data and measurements of the brightness of these recovered comets at large distances has aided astronomers of her time and allowed for the tracking of many short period comets around the Sun until this day. In 1965, she became the acting director at the US Naval Observatory. She was then hired by the University of Arizona in Tucson as an associate professor in the lunar and planetary laboratory in 1966, and promoted to full professor by 1969.In addition, she was asked to chair the committee that would set up UA’s Department of Planetary Sciences in 1972. In 1980, while still a UA professor, she served as an astronomer at Tucson’s Steward Observatory. She served at the observatory until 1997. <mask> finally retired in 1998 but continued her research on comets and asteroids as astronomer and professor emerita. On April 8, 2016, <mask> died in Tucson, Arizona. International Astronomical Union
<mask> was noted as an exemplary member of the astronomy community and served on many

masks: Roemer Roemer Roemer Roemer Roemer Roemer


texts:
 astronomical commissions and organizations. She held various positions throughout the years, including president and vice-president of the International Astronomical Union's Commission 6 and Commission 20.Major accomplishments
In 1961, asteroid 1657 Roemera was named in Dr. <mask>’s honor. She discovered the asteroid 1930 Lucifer on October 29, 1964 and the asteroid 1983 Bok on June 9, 1975. She also co-discovered Jupiter’s moon Themisto with Charles T. Kowal in 1975. Themisto was lost soon after its discovery because it is an irregular moon of Jupiter. However, it was finally recovered in 2000. Throughout her career, Roemer detected the return of 79 periodic comets and computed the orbits of numerous comets and minor planets. Awards and recognition
Roemer received several awards and recognitions in the course of her lifetime and professional career.She was a recipient of the BA Gould Prize of the National Academy of Sciences, the NASA Special Award, and the Donohoe Lectureship of the Astronomical Society of the Pacific. In 1960, Mademoiselle Magazine honored her work with comets and named her one of its Ten Young Women of the Year. Roemer expressed her hope that her Mademoiselle Merit Award would encourage others to explore the field of astronomy in a letter to the manager of Women’s News for Westinghouse. Death and legacy
<mask> was an active member of the astronomy community until her death in 2016. She became a member of the Friends of Lowell Observatory in 2006, as well as a member of the Percival Lowell Society. Before passing away, she made a donation that created what is known as the Elizabeth Roemer Foundation Donation. The money was used to create an instrumentation fund in the Lowell Observatory Foundation, supporting the acquisition, development, maintenance of, and access to improved technologies and materials within the observatory’s facilities.Her support created safe and effective organization and operation of the observatory's equipment and technology. References

1929 births
2016 deaths
American women astronomers
Discoverers of moons
Discoverers of asteroids

University of

masks:
Roemer
Elizabeth Roemer


texts:
<mask> (August 9, 1883 – March 10, 1965) was an American suffragist, civil rights activist, organization executive, and community practitioner whose career spanned over half a century. <mask>’s effective skills as an orator, fundraiser, organizer, and political activist guided the work being conducted by the National Association of Colored Women (NACW); National Association for the Advancement of Colored People (NAACP); National Council of Negro Women and other leading civil rights organizations of the Progressive Era. Early life
Born on August 9, 1883, in Reading, Pennsylvania, <mask> was educated in Reading, Pennsylvania. She was the daughter of <mask>, born in Virginia, and of Rose Proctor born in 1860 in Charles County, Maryland. <mask>'s maternal grandparents were Joseph Jenifer Proctor and <mask>, free persons of color. After completing her formal education in the public school system, she relocated to Pittsburgh, Pennsylvania, in 1909. In 1912, she married <mask>, a restaurateur in the Pittsburgh suburbs.It was during this time that she developed her passion for social justice and civic engagement. Those issues that initially resonated with her were connected to her life as an African-American housewife. Motivated by the suffragette movement of the early 20th century, <mask> began hosting local suffragist meetings at her home in 1912. After relocating within the city limits of Pittsburgh, <mask> became increasingly involved in the local leadership of the suffragist movement. She joined the New Negro Women's Equal Franchise Federation, which would later be renamed the Lucy Stone League. <mask>'s early career as a suffragist included assembling street-corner speeches and organizing other black housewives to actively

masks:
Daisy Elizabeth Adams Lampkin
Lampkin
Daisy Elizabeth Adams
George Adams
Daisy
Elizabeth Swann
William Lampkin
Lampkin
Lampkin
Lampkin


texts:
 engage in consumer groups. In 1915, her leadership and oratorical ability earned her the position of president of the Lucy Stone League, a post she maintained until 1955.It was also during this time that <mask> became intimately involved with the national framework of the black women's club movement. Her leadership within the women's club movement introduced her to the leadership circles within the federation of women's clubs, particularly the National Association of Colored Women (NACW), where she would eventually serve as National Board Chairwoman. During this period she developed collegial friendships with black women's movement leaders such as Addie Waites Hunton, Mary Church Terrell and Charlotte Hawkins Brown. Still her most noted partnership would come through her association and friendship with Mary McLeod Bethune, with whom she would later assist in founding the National Council of Negro Women (NCNW) in 1935. Civil Rights Movement
Upon securing the right to vote, <mask> became increasingly involved in civic engagement and civil rights advocacy effort on both the local and national level. She served as Chairwoman of the Allegheny County Negro Women's Republican League, vice-Chairwoman of the Negro Voters League of Pennsylvania and vice-Chairwoman of the Colored Voters Division of the Republican National Committee. She established the first Red Cross chapter among black women and organized local chapters of both the Urban League and NAACP in Pittsburgh.Most notably, she was made a stockholder and subsequently vice-president of the Pittsburgh Courier, which she used to raise funds for social justice causes and events. In her role as writer, editor, and executive, the paper became the top African-American-run

masks: Lampkin Lampkin


texts:
 circulating paper in the world during the 1950s. <mask>'s influence in national politics would eventually take her to the White House to meet with then President Calvin Coolidge and other noted black leaders regarding racial equality in 1924. Reflective of both the period and <mask>'s position, she was the only woman in attendance at the meeting. Field Secretary of the NAACP
These efforts would eventually lead to then national secretary of the NAACP, Walter White recruiting <mask> as the first field secretary for the organization in 1930. Here <mask>'s efforts to organize and bolster the image of the NAACP nationally have become legendary. In 1931, <mask> single-handedly organized the NAACP's 1931 National Convention in Pittsburgh.Her fundraising and organizing skills so impressed NAACP leadership that in 1935, she was moved from regional to National Field Secretary of the organization. That same year, while continuing to establish local NAACP chapters and participating in fundraising efforts, <mask> along with White, spearheaded the organization’s drive to pass a federal anti-lynching bill in the United States Congress. <mask>'s direct involvement within the lobbying efforts on behalf of the bill far surpassed her collection of the $9,378 that she grossed through the button campaign during the Great Depression. In her description of opposition to the federal bill by white southern anti-lynching activist, Jessie Daniel Ames, because of its anti-states’ rights stance, notes: "Black women thoroughly disgusted by Ames's stance, called a meeting with her and some of her supporters, in Atlanta in 1935. <mask> who had been involved with the confrontation with the National Woman's Party and who was now a field secretary for the

masks:
Lampkin
Lampkin
Lampkin
Lampkin
Lampkin
Lampkin
Lampkin
Daisy Lampkin


texts:
 NAACP, began the discussion. The silence of the Association of Southern Women for the Prevention of Lynching (ASWPL), she said, was strengthening the position of congressional opponents of the bill. They "[would] take new courage and they [would] use it to their advantage when they can stand on the floor and say that the…southern white women did not endorse the Costigan-Wagner Bill."While other black leaders such as Nannie Helen Burroughs and Mary Bethune proved to be more conciliatory in their understanding of southern white women's opposition to the anti-lynching law, <mask> continued to decry the lack of support amongst her supposed white peers. Such insistence garnered <mask> the image of the no-nonsense community activist that she was most known for during the era. Legacy
In addition to her lobbying, organizing and fundraising efforts, <mask> has also been credited with recruiting a young Baltimore attorney and future Supreme Court Justice, Thurgood Marshall to become a member of the NAACP's Legal Defense Committee in 1938. Marshall would go on to lead the organization in its successful litigation in Brown vs. Board of Education of Topeka before the U.S. Supreme Court. She was credited with having the most substantial gains in membership among any of the organization's executive leadership. During her last year as National Field Secretary she raised over $1 million for the organizations. So dedicated was she to the NAACP and community organizing that has been said she to have crossed the country conducting 40 NAACP chapter meetings in one month.<mask> would eventually take on a renewed interest in black women's organizing; assisting the Delta Sigma Theta sorority with internal fundraising and the centralizing of its

masks: Lampkin Lampkin Lampkin Lampkin


texts:
 finances and records. She has been credited with advancing the organization's ability to have a presence in the policy-making center of the nation. She was inducted as an Honorary Member in 1947. Death
While she resigned as national field secretary in 1947, <mask> continued to serve on the organization's executive board. She suffered a stroke while at a NAACP membership drive in Camden, New Jersey, and died on March 10, 1965. A Pennsylvania State Historical Marker is Placed at 2519 Webster Ave., Pittsburgh, Pennsylvania commemorating her accomplishments. Her grave is at Homewood Cemetery, Pittsburgh.See also
List of suffragists and suffragettes
Timeline of women's suffrage

References

Sources
Axinn, J., &. Mark J. Stern (2008). Social Welfare: A history of the American response to need. Boston: Allyn and Bacon. Giddings, P. (1988). In Search of Sisterhood: Delta Sigma Theta and the challenge of the black sorority movement. New York: HarperCollins.Giddings, P. (1984). When and Where I Enter: The impact of black women on race and sex in America. New York: HarperCollins. Hine, D. H. (2006). The African American Odyssey, 3rd edn. Upper Saddle River: Pearson Education, Inc.
Houck, D. W. (2009). Women and the Civil Rights Rovement, 1954–1965.Oxford: University Press of Mississippi. Levin, Steve (1998, February 2). "<mask> was a dynamo for change". Pittsburgh Post-Gazette. White, D. (1999). Too Heavy a Load: Black women in defense of themselves 1894–1994. New York: Norton.1883 births
1965 deaths
American suffragists
American civil rights activists
Women civil rights activists
Pennsylvania Republicans
Burials at Homewood Cemetery
African-American suffragists
20th-century African-American people
20th-century African-American

masks:
Lampkin
Daisy Lampkin


texts:
Anthony "<mask><mask> (born May 20, 1960) is an American actor, singer, producer, director, and political activist. He made his debut appearing as Darren in the slasher film Friday the 13th Part VI: Jason Lives (1986), and had his breakthrough for starring as Carl Bruner in the fantasy thriller film Ghost (1990), which earned him a nomination for the Saturn Award for Best Supporting Actor. He went on to star as Harold Nixon in the biographical film Nixon (1995), which earned him a Screen Actors Guild Award nomination, and as Neil Armstrong in the HBO miniseries From the Earth to the Moon (1998). <mask> voiced the main character in the Disney animated film Tarzan (1999), and portrayed Colonel Bagley in The Last Samurai (2003), Johnathon "John" Collingwood in the horror film The Last House on the Left (2009), Andrew Prior in the Divergent film series (2014–2015) and Paul Cohen in King Richard (2021), the latter of which earned him a second nomination for a Screen Actors Guild Award. He starred as Fitzgerald Grant III in the ABC legal/political drama Scandal (2012–2018) and directed a number of episodes for the series, for which he won a Peabody Award. Early life
<mask> was born in Los Angeles, California, the son of actress Jennifer Howard and film producer <mask>. <mask>'s paternal grandparents were mogul <mask>, a Polish Jewish immigrant from Warsaw, and actress Frances Howard, who was originally from Nebraska. His maternal grandparents were playwright Sidney Howard and actress Clare Eames.One of his maternal great-great-grandfathers was Maryland Governor and Senator William Thomas Hamilton. <mask> attended Hamilton College in Clinton, New York, Brandeis University in Waltham, Massachusetts (where he received

masks:
Tony
" Howard Goldwyn
Goldwyn
Goldwyn
Samuel Goldwyn Jr
Goldwyn
Samuel Goldwyn
Goldwyn


texts:
 his Bachelor of Fine Arts degree), and the London Academy of Music and Dramatic Art. He additionally studied acting at HB Studio in New York City. Career

Following his departure from drama school, <mask> began acting in guest star roles in the mid-1980s. <mask> had his breakthrough for playing Carl Bruner, friend-turned-betrayer of Patrick Swayze's character Sam Wheat, in the fantasy thriller film Ghost. The film earned positive reviews, and won the Academy Award for Best Original Screenplay. For his performance, <mask> earned a nomination for the Saturn Award for Best Supporting Actor.<mask> appeared on the comedy series Designing Women, in which he played a young interior designer named Kendall Dobbs, an HIV-positive man who was dying from AIDS and who asked the women of Sugarbakers to design his funeral. In the HBO miniseries From the Earth to the Moon, <mask> played astronaut Neil Armstrong, commander of Apollo 11. He also voiced the title character in the 1999 animated feature film Tarzan which was produced by Walt Disney Feature Animation and grossed over $400 million. He reprised the role in the video games Disney's Tarzan Untamed and Kingdom Hearts. <mask> had a recurring role on the NBC-Universal drama Law & Order: Criminal Intent as Frank Goren, brother of lead character Robert Goren, played by Vincent D'Onofrio. He also had acting and directing duties for the first season of Dexter for Showtime (brother <mask> is executive producer). As a stage actor, <mask> has appeared twice in Off-Broadway shows at Second Stage Theatre and on Broadway at Circle in the Square Theatre.At Second Stage Theatre he appeared in Theresa Rebeck's Spike Heels (1992) alongside Kevin Bacon and Julie White. In the summer of

masks:
Goldwyn
Goldwyn
Goldwyn
Goldwyn
Goldwyn
Goldwyn
John Goldwyn
Goldwyn


texts: 2006 at Second Stage Theatre he starred opposite Kate Burton in another Rebeck play, The Water's Edge. <mask> played J. D. Sheldrake, the philandering business executive, in the Broadway musical Promises, Promises starring Sean Hayes and Kristin Chenoweth. The cast recording was released on June 23, 2010, with <mask> in three tracks. <mask> played Captain von Trapp (opposite Laura Osnes as Maria) in a concert performance of The Sound of Music at Carnegie Hall on April 25, 2012. The benefit included opera singer Stephanie Blythe as the Mother Abbess, Brooke Shields as Baroness Schraeder and Patrick Page as Max. As a director, <mask> has directed four feature films, A Walk on the Moon, Someone Like You, The Last Kiss, and Conviction.He has also directed many episodes of television series such as Without a Trace, The L Word, Dexter, Law & Order: Criminal Intent, Grey's Anatomy and Scandal. In 2014, he directed the pilot episode of the WE tv series, The Divide, of which he also served as executive producer along with Oscar-nominated screenwriter Richard LaGravenese. <mask> starred as President Fitzgerald Grant III in the ABC legal/political drama Scandal from 2012 to 2018. In 2013, <mask> was cast in the Lifetime original movie, Outlaw Prophet, as Warren Jeffs. In 2014, he appeared in Divergent as Andrew Prior, Caleb (Ansel Elgort) and Tris' (Shailene Woodley) father. In 2015, he signed on to star in James Gunn's horror thriller film The Belko Experiment. In June 2018, <mask> was cast as Ben Lefevre in the Netflix supernatural series Chambers.On 20 January 2021 during the inauguration of Joe Biden, <mask> was the host of the Virtual Parade Across America aired on television networks, organized by the Biden

masks: Goldwyn Goldwyn Goldwyn Goldwyn Goldwyn Goldwyn Goldwyn Goldwyn


texts:
 Inaugural Committee. Also in 2021, <mask> appeared in King Richard, which was acclaimed and earned several accolades. Personal life
<mask> has been married to production designer Jane Michelle Musky (born 27 May 1954) since 1987. They have two daughters, Anna and Tess. Additionally, <mask>'s brother John is a former executive of Paramount Pictures and the executive producer of Dexter. His brother Peter is also a film producer and the current President of Samuel Goldwyn Films. A former president of the Creative Coalition, <mask> is also heavily involved with arts advocacy.He is also a spokesperson of the AmeriCares Foundation. He was an avid supporter of Hillary Clinton and in 2016 directed a commercial featuring his Scandal co-star Kerry Washington, as well as Viola Davis, Ellen Pompeo, and Shonda Rhimes to support Clinton's presidential campaign. Goldwyn also serves as an ambassador for The Innocence Project, a non-profit organization that works to exonerate the wrongfully convicted and reform the criminal justice system and on the Board of Governors for the Motion Picture & Television Fund (MPTF). Filmography

Film

Television

Video games

Director

Audiobook

Stage

Discography

Awards and nominations

References

External links

1960 births
Living people
20th-century American male actors
21st-century American male actors
Alumni of the London Academy of Music and Dramatic Art
American male film actors
American male television actors
American male voice actors
American male video game actors
American people of Polish-Jewish descent
American television directors
Brandeis University alumni
Film directors from California
Tony
Hamilton College (New York) alumni
Jewish American male actors
Male actors from Los

masks: Goldwyn Goldwyn Goldwyn Goldwyn


texts:
<mask><mask> (born 1942) is the Alumni University Professor Emeritus in the Department of Philosophy at Carnegie Mellon University. He is also a senior research scientist at the Florida Institute for Human and Machine Cognition. <mask> is the founder of the Philosophy Department at Carnegie Mellon University, a Guggenheim Fellow, a Fellow of the Center for Advanced Study in Behavioral Sciences, a Phi Beta Kappa lecturer, and is a Fellow of the statistics section of the AAAS. <mask> and his collaborators created the causal interpretation of Bayes nets. His areas of interest include epistemology (particularly Android epistemology), machine learning, automated reasoning, psychology of judgment, and mathematical psychology. One of <mask>'s main contributions to the philosophy of science is in the area of Bayesian probability, particularly in his analysis of the Bayesian "problem of old evidence". <mask>, in collaboration with Peter Spirtes and Richard Scheines, also developed an automated causal inference algorithm implemented as software named TETRAD.Using multivariate statistical data as input, TETRAD rapidly searches from among all possible causal relationship models and returns the most plausible causal models based on conditional dependence relationships between those variables. The algorithm is based on principles from statistics, graph theory, philosophy of science, and artificial intelligence. <mask> earned undergraduate degrees in chemistry and philosophy. He did graduate work in chemical physics and obtained a Ph.D in History and Philosophy of Science from Indiana University in 1969. Publications

Books
Theory and Evidence (Princeton, 1980)
Examining Holistic Medicine (with D. Stalker), Prometheus,

masks:
Clark N
. Glymour
Work Glymour
Glymour
Glymour
Glymour
Glymour


texts:
 1985
Foundations of Space-Time Theories (with J. Earman), University of Minnesota Press, 1986
Discovering Causal Structure (with R. Scheines, P. Spirtes and K.Kelly) Academic Press, 1987
Causation, Prediction and Search (with P.Spirtes and R. Scheines), Springer, 1993, 2nd Edition MIT Press, 2001
Thinking Things Through, MIT Press, 1994
Android Epistemology (with K. Ford and P. Hayes) MIT/AAAI Press, 1996
The Mind's Arrows: Bayes Nets and Graphical Causal Models in Psychology, MIT Press, 2001
Galileo in Pittsburgh Harvard University Press, 2010. Journal articles
"The Evaluation of Discovery: Models, Simulation and Search through “Big Data”", Open Philosophy, 2019. Available on-line (Open Access): https://doi.org/10.1515/opphil-2019-0005
 "When is a Brain Like the Planet?", Philosophy of Science, 2008. (with David Danks) "Reasons as Causes in Bayesian Epistemology", Journal of Philosophy, 2008. "Markov Properties and Quantum Experiments", in W. Demopoulos and I. Pitowsky, eds. Physical Theory and Its Interpretation: Essays in Honor of Jeffrey Bub, Springer 2006. (with Chu, T. and David Danks) "Data Driven Methods for Granger Causality and Contemporaneous Causality with Non-Linear Corrections: Climate Teleconnection Mechanisms", 2004. "Review of Phil Dowe and Paul Nordhoff: Cause and Chance: Causation in an Indeterministic World", Mind, 2005. (with Eberhardt, Frederick, and Richard Scheines)."N-1 Experiments Suffice to Determine the Causal Relations Among N Variables", 2004. (with F. Eberhardt and R. Scheines), "Log2(N) Experiments are Sufficient, and in the Worst Case Necessary, for Identifying Causal Structure", UAI Proceedings, 2005
(with Handley, Daniel, Nicoleta Serban, David Peters, Robert O'Doherty, Melvin


texts:
 Field, Larry Wasserman, Peter Spirtes, and Richard Scheines), "Evidence of systematic expressed sequence tag IMAGE clone cross-hybridization on cDNA microarrays", Genomics, Vol. 83, Issue 6 (June, 2004), 1169-1175. (with Handley, Daniel, Nicoleta Serban, and David G. Peters). "Concerns About Unreliable Data from Spotted cDNA Microarrays Due to Cross-Hybridization and Sequence Errors", Statistical Applications in Genetics and Molecular Biology, Vol. 3, Issue 1 (October 6, 2004), Article 25. "Comment on D. Lerner", "The Illusion of Conscious Will", Behavioral and Brain Sciences, in press."Review of Joseph E. Early, Sr. (Ed. ): Chemical Explanation: Characteristics, Development, Autonomy", Philosophy of Science, Vol. 71, No. 3 (July, 2004), 415-418. (with Spirtes, and <mask>). "Causal Inference", Encyclopedia of Social Science, in press
"We believe in freedom of the will so that we can learn", Behavioral and Brain Sciences, Vol.27, No. 5 (2004), 661-662. "The Automation of Discovery", Daedelus, Vol. Winter (2004), 69-77. (with Serban, Nicoleta, Larry Wasserman, David Peters, Peter Spirtes, Robert O'Doherty, Dan Handley, and Richard Scheines). "Analysis of microarray data for treated fat cells", (2003). (with Danks, David, and Peter Spirtes)."The Computational and Experimental Complexity of Gene Perturbations for Regulatory Network Search", (2003). (with Silva, Ricardo, Richard Scheines, and Peter Spirtes). "Learning Measurement Models for Unobserved Variables", UAI '03, Proceedings of the 19th Conference in Uncertainty in Artificial Intelligence, August 7–10, 2003, Acapulco, Mexico (2003), 543-550. (with Danks, David and Peter Spirtes). "The Computational and Experimental Complexity of Gene Perturbations for


texts:
 Regulatory Network Search", Proceedings of IJCAI-2003 Workshop on Learning Graphical Models for Computational Genomics, (2003), 22-31. (with Frank Wimberly, Thomas Heiman, and Joseph Ramsey). "Experiments on the Accuracy of Algorithms for Inferring the Structure of Genetic Regulatory Networks from Microarray Expression Levels", International Joint Conference on Artificial Intelligence Workshop, 2003
"A Semantics and Methodology for Ceteris Paribus Hypotheses", Erkenntnis, Vol.57 (2002), 395-405. "Review of James Woodward, Making Things Happen: A Theory of Causal Explanation", British Journal for Philosophy of Science, Vol. 55 (2004), 779-790. (with Fienberg, Stephen, and Richard Scheines). "Expert statistical testimony and epidemiological evidence: the toxic effects of lead exposure on children", Journal of Econometrics, Vol 113 (2003), 33-48. "Learning, prediction and causal Bayes Nets", Trends in Cognitive Sciences, Vol. 7, No.1 (2003), 43-47. (with Alison Gopnik, David M. Sobel, Laura E. Schulz, Tamar Kushnir, and David Danks). "A theory of causal learning in children: Causal maps and Bayes nets", Psychological Review, Vol. 111, No. 1 (2004). "Freud, Kepler, and the clinical evidence", in R. Wollheim and J. Hopkins, eds. Philosophical Essays on Freud'', Cambridge University Press 1982.
and many others dating back to 1970.References

External links
IHMC website
Carnegie Mellon Department of Philosophy faculty page
TETRAD Project

1942 births
Living people
American logicians
Philosophers of science
Indiana University alumni
Florida Institute for Human and Machine Cognition people
20th-century American philosophers
Carnegie Mellon University faculty
Place of birth missing (living people)
Fellows of the American


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<mask> (c. 1547 – 7 January 1619) was an English goldsmith and limner best known for his portrait miniatures of members of the courts of Elizabeth I and James I of England. He mostly painted small oval miniatures, but also some larger cabinet miniatures, up to about  tall, and at least two famous half-length panel portraits of Elizabeth. He enjoyed continuing success as an artist, and continuing financial troubles, for forty-five years. His paintings still exemplify the visual image of Elizabethan England, very different from that of most of Europe in the late sixteenth century. Technically he was very conservative by European standards, but his paintings are superbly executed and have a freshness and charm that has ensured his continuing reputation as "the central artistic figure of the Elizabethan age, the only English painter whose work reflects, in its delicate microcosm, the world of Shakespeare's earlier plays." Early life and family

<mask> was born in Exeter in 1547. He was the son of <mask> (1519–1594) of Exeter, Devon, also spelt Hellyer, a goldsmith who became a staunch Protestant and was Sheriff of Exeter in 1568, by his marriage to Laurence, daughter of John Wall, a City of London goldsmith.He was one of four boys: two others became goldsmiths, and one a clergyman. <mask> may have been a close relative of Grace Hiller (Hilliar), first wife of Theophilus Eaton (1590–1657), the co-founder of New Haven Colony in America. He appears to have been attached at a young age to the household of the leading Exeter Protestant John Bodley, the father of Thomas Bodley who founded the Bodleian Library in Oxford. John Bodley went into exile on the accession of the Catholic Queen Mary I of England, and on 8 May 1557 <mask>, then ten years old, was recorded in Geneva as one of an eleven-strong Bodley family group at a Calvinist service presided over by John

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Nicholas Hilliard
Hilliard
Richard Hilliard
Hilliard
Hilliard


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 Knox. Calvinism does not seem to have struck with <mask>, but the fluent French he acquired abroad was later useful. Thomas Bodley, two years older, continued an intensive classical education under leading scholars in Geneva, but it is not clear to what extent <mask> was given similar studies. <mask> painted a portrait of himself at the age of 13 in 1560 and is said to have executed one of Mary, Queen of Scots, when he was eighteen years old.<mask> apprenticed himself to the Queen's jeweller Robert Brandon (d. 1591), a goldsmith and city chamberlain of London, and Sir Roy Strong suggests that <mask> may also have been trained in the art of limning by Levina Teerlinc during this period. She was the daughter of Simon Bening, the last great master of the Flemish manuscript illumination tradition, and became court painter to Henry VIII after Holbein's death. After his seven years' apprenticeship, <mask> was made a freeman of the Worshipful Company of Goldsmiths in 1569. He set up a workshop with his younger brother John; another brother was also a goldsmith, and the youngest a clergyman. He married Brandon's daughter Alice (1556–1611) in 1576 and they had seven children. Career

Royal limner

<mask> emerged from his apprenticeship at a time when a new royal portrait painter was "desperately needed". Two panel portraits long attributed to him, the "Phoenix" and "Pelican" portraits, are dated c. 1572–76.<mask> was appointed limner (miniaturist) and goldsmith to Elizabeth I at an unknown date; his first known miniature of the Queen is dated 1572, and already in 1573 he was granted the reversion of a lease by the Queen for his "good, true and loyal service." In 1571 he had made "a booke of portraitures" for the Earl of Leicester, the Queen's favourite, which is likely to be how he became known to the Court; several of his children were named after Leicester and

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texts: his circle. Despite this patronage, in 1576 the recently married <mask> left for France "with no other intent than to increase his knowledge by this voyage, and upon hope to get a piece of money of the lords and ladies here for his better maintenance in England at his return", carefully reported the English Ambassador in Paris, Sir Amyas Paulet, with whom <mask> stayed for much of the time. Francis Bacon was attached to the embassy, and <mask> did a miniature of him in Paris. He remained until 1578–79, mixing in the artistic circles round the court, staying with Germain Pilon and George of Ghent, respectively the Queen's sculptor and painter, and meeting Ronsard, who perhaps paid him the rather double-edged compliment later quoted by <mask>: "the islands indeed seldom bring forth any cunning man, but when they do it is in high perfection". He appears in the papers of the duc d'Alençon, a suitor of Queen Elizabeth, under the name of "<mask>t, peintre anglois", in 1577, receiving a stipend of 200 livres. The miniature of Madame de Sourdis, certainly the work of <mask>, is dated 1577, in which year she was a maid of honour at the French court; and other portraits which are his work are believed to represent Gabrielle d'Estrées (niece of Madame de Sourdis), la princesse de Condé, and Madame de Montgomery.Money was a persistent problem for <mask>. The typical price for a miniature seems to have been £3 – which compares well with prices charged by Cornelis Ketel in the 1570s of £1 for a head-and-shoulders portrait and £5 for a full-length. A portrait of the Earl of Northumberland cost £3 in 1586. Around the year 1574 <mask> invested in a gold mine in Scotland with Cornelius de Vos and lost money. In 1599 <mask> secured an annual allowance from the Queen of £40, and in 1617 managed to obtain a monopoly on producing miniatures and engravings of James I, something

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Hilliard
Hilliard
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Nicholas Belliar
Hilliard
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Hilliard
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 Elizabeth had refused in 1584. Nonetheless, he was briefly imprisoned in Ludgate Prison that year, after standing surety for the debt of another, and being unable to produce the amount. His father-in-law evidently had little trust in his financial acumen; his will of 1591 provided for his daughter by an allowance administered by the Goldsmiths' Company.The same year the Queen gave him £400, a large amount, after he made a second Great Seal, and perhaps bearing in mind that he had not had an annuity. After his return from France he had invested in a scheme, or perhaps scam, for gold-mining in Scotland, which he still remembered bitterly twenty-five years later. During a low point in his finances, in July 1601 <mask> wrote to the Secretary of State Robert Cecil acknowledging the annuity of £40, but asking permission to retire from London and live more cheaply in the countryside. He explained that he had trained apprentices who now competed with him in the private painting market. <mask> asked that Cecil employ his son as a clerk, because he could not keep him in his own trade. 21st century research at Waddesdon Manor has transformed our understanding of his work as two large-scale paintings have been newly attributed to him. The portraits, of Sir Amyas Paulet and Elizabeth, are painted on French oak panels, not the Baltic oak commonly used in England, and are thought to date to <mask>'s time in France.The new data supports Sir Roy Strong's 1983 attribution of the portrait of Elizabeth to <mask>. Later career

After his return from France he lived and worked in a house in Gutter Lane, off Cheapside, from 1579 to 1613, when his son and pupil Laurence took it over, carrying on in business for many decades. <mask> had moved to an unknown address in the parish of St Martins-in-the-Fields, out of the city and nearer the Court. Strong describes the opening of the

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texts: shop as "a revolution" which soon broadened the clientele for miniatures from the Court to the gentry, and by the end of the century to well-off city merchants. Apart from Laurence, who continued in a "feeble" version of his father's style, his pupils included Isaac Oliver, by far the most important, and Rowland Lockey. He appears to have given lessons to amateurs also; a letter from a young lady being "finished" in London in 1595 says: "For my drawing, I take an hour in the afternoon ... My Lady.. telleth me, when she is well, that she will see if <mask> will come and teach me, if she can by any means, she will". He continued to work as a goldsmith, and produced some spectacular "picture boxes" or jewelled lockets for miniatures, worn round the neck, such as the Lyte Jewel in the British Museum, which, typically, was given by James I (more generous in this respect than Elizabeth) to a courtier, Thomas Lyte, in 1610.The Armada Jewel, given by Elizabeth to Sir Thomas Heneage and the Drake Pendant given to Sir Francis Drake are the best known examples. As part of the cult of the Virgin Queen, courtiers were rather expected to wear the Queen's likeness, at least at Court. Elizabeth had her own collection of miniatures, kept locked in a cabinet in her bedroom, wrapped in paper and labelled, with the one labelled "My Lord's picture" containing a portrait of Leicester. His appointment as miniaturist to the Crown included the old sense of a painter of illuminated manuscripts and he was commissioned to decorate important documents, such as the founding charter of Emmanuel College, Cambridge (1584), which has an enthroned Elizabeth within an elaborate framework of Flemish-style Renaissance ornament. He also seems to have designed woodcut title-page frames and borders for books, some of which bear his initials. As a New Year's day gift in 1584, <mask> presented

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 Queen Elizabeth wirh a picture of the story of five wise and foolish virgins. He was in high favour with James I as well as with Elizabeth, receiving from the king a special patent of appointment, dated 5 May 1617, granting him a sole licence for royal portraits in engraved form for twelve years; he had already been producing these, although probably usually using the immigrant Renold Elstrack to actually engrave the plates.James's more lavish presentation of portraits had its effect on the quality of the work from the <mask> workshop. When the Earl of Rutland returned from an embassy to Denmark, sixteen members of his party were given chains of gold with the king's picture, and others received just a picture. The esteem of his contemporaries for <mask> is testified to by John Donne, who in a poem called The Storm (1597) praises the work of this artist. He died on 7 January 1619 and was buried in the church of St Martins-in-the-Fields, Westminster, leaving in his will twenty shillings to the poor of the parish, thirty between his two sisters, some goods to his maidservant, and all the rest of his effects to his son, <mask>, his sole executor. By far the largest collection of his work is in the Victoria and Albert Museum, London. The National Portrait Gallery and British Museum in London have several others. The conditions in which miniatures have been kept ensure that many remain in excellent condition, and have avoided the attention of restorers, although fading of pigments, and oxidization of silver paint are common.Style

He was the author of an important treatise on miniature painting, now called The Art of Limning (c. 1600), preserved in the Bodleian Library. Although it was once believed that the author of that treatise was John de Critz, Serjeant Painter to James I, from instructions by <mask> for the benefit of one of his pupils, perhaps Isaac

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 Oliver, more recent scholarship holds that the Art "can be dated rather closely and established convincingly" as the work of <mask>. The masters mentioned in The Art of Limning are Hans Holbein the Younger, Henry VIII's court painter, and Albrecht Dürer, who he probably only knew from his prints. Both were dead by the time of <mask>'s birth, and in many respects he is more conservative even than Holbein. He also learned from French art, including their chalk drawings, and refers to the artist and theoretical writer Gian Paolo Lomazzo. English art was distinctly provincial, and <mask>'s art is a world away from that of the early-Baroque Italian artists of his time, or his close contemporary El Greco (1541–1614). In the Art of Limning he cautioned against all but the minimal use of chiaroscuro modelling that we see in his works, reflecting the views of his patron Elizabeth: "seeing that best to show oneself needeth no shadow of place but rather the open light ...Her Majesty .. chose her place to sit for that purpose in the open alley of a goodly garden, where no tree was near, nor any shadow at all ..."

He emphasises the need to catch "the grace in countenance, in which the affections appear, which can neither be well used nor well-judged of but by the wiser sort". So the "wise drawer" should "watch" and "catch these lovely graces, witty smilings, and these stolen glances which suddenly like lightning pass and another countenance taketh place". His normal technique (except for duplicates of royal images) was to paint the whole face in the presence of the sitter, probably in at least two sittings. He kept a number of prepared flesh-coloured blanks ready, in different shades, to save time on laying the "carnation" ground. He then painted the outlines of the features very faintly with a "pencil", actually a very fine pointed squirrel-hair brush, before

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 filling these out by faint hatchings. He added to the techniques available, especially for clothes and jewels, often exploiting the tiny shadows cast by thick dots of paint to give a three-dimensionality to pearls and lace. A few half-finished miniatures give a good idea of his working technique.He probably made few drawings; certainly few have survived. His style shows little development after the 1570s, apart from developing some technical refinements, except that many of his later repetitions of James I and his family are much weaker than his early works. James did not like sitting for his portrait and <mask> probably had few sittings with him. From the 1590s on, his old pupil Isaac Oliver was a competitor, who was appointed as Limner to the new Queen Anne of Denmark in 1604, and then to Henry, Prince of Wales when he established his own household in 1610. Oliver had travelled abroad and developed a more modern style than his master, and was certainly better at perspective drawing, though he could not match <mask> in freshness and psychological penetration. Gallery

Panel portraits

Portrait miniatures

Elizabeth I

Drawing and illumination

See also
Artists of the Tudor court
List of British artists
Portraiture of Elizabeth I
Portrait of Sir Francis Drake wearing the Drake Pendant, 1591

Notes

References

 (now Yale History of Art series)

External links

The Heneage or Armada Jewel at the Victoria & Albert Museum site (also contains a miniature not shown)
Second Great Seal of Elizabeth I, designed by <mask> c. 1584
"Dangers Averted" medal, c. 1569, attributed to Hilliard

Power & Portraiture exhibition: painting at the court of Elizabeth I

1540s births
1619 deaths
People from Exeter
16th-century English painters
English male painters
17th-century English painters
English portrait painters
Portrait miniaturists
English medallists
English


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<mask> (31 May 1911 – 3 February 1996) was a British artist, "the father of Art Therapy in Britain", and the creator of the Adamson Collection. Early years: Sale, Tunbridge Wells, Fleet Street, WW2 (1911–1945)

<mask> was born in 1911 at Sale, near Manchester, in Cheshire. He had two brothers. Later his family moved to Tunbridge Wells in Kent. They were well off, successful in manufacturing. This gave <mask> some financial independence to achieve all he did during his life. He received a degree in Fine Art from Bromley School of Art in London (now part of  Ravensbourne College).Subsequently, he trained and qualified as a chiropodist, at his parents' behest as they wanted him to have 'a proper profession', concerned about his livelihood as an artist. He probably only saw a few patients – though his brass plate is in the Edward Adamson Archive at the Wellcome Library: 'E.J.Adamson. M.B.A.Ch. Chiropodist' (a gift from his parents, but never hung). Then Adamson returned to a career in art, working as a graphic artist at a Fleet Street advertising agency for the rest of the 1930s, while doing his own drawings and paintings, which he exhibited in both London and Paris. During World War II, he was a conscientious objector, serving as a medical orderly in the Royal Army Medical Corps, the Army happy to have him as a qualified chiropodist. He became interested in helping long-term hospital patients pass the time.Netherne and Hollywood Road

Art and research at Netherne (1946–1951)

After the War, he volunteered to work with Adrian Hill, an artist who had coined the term "Art Therapy" in 1942

masks:
Edward Adamson
Edward Adamson
Adamson


texts: while a patient in tuberculosis sanatoria, teaching drawing and painting to his fellow patients, and, later, to hospitalised soldiers. At the time Adamson met him, Hill was working with the Red Cross Picture Library to loan and lecture on reproductions of paintings to patients in British hospitals to enhance their recovery. <mask> was in the group who first brought this programme to a long-stay mental hospital - Netherne Hospital, Surrey – in 1946. During his early visits to Netherne, Adamson was given several drawings by a man on a locked ward - JJ Beegan - made with the only materials he had, char from burnt matches and toilet paper. These objects were the first collected by Adamson, and the start of the Adamson Collection. The Medical Superintendent, the psychiatrist Eric Cunningham Dax (1908 - 2008), was impressed by Adamson's rapport at his lectures with the people who were compelled to live at Netherne. Dax asked him to facilitate a new research art studio at Netherne, to investigate the role of art in the diagnosis and treatment of mental disorder - a project maybe of its time.This project was the post-war continuation of the 1930s research at the Maudsley Hospital on art and psychosis (and mescaline) by the psychiatrists Eric Guttmann (1896–1948), Walter Maclay (1902–1964) and Francis Reitman (1905–1955) – the latter was Head of Clinical Research at Netherne from 1945. The research art sessions were run single-handedly by <mask> from 1946 to 1950, and, according to Robertson, 689 people painted with Adamson in this period. Robertson does not report how many works were created in

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 this period, only referring to

"The number of paintings per patient showed extreme variation. It seemed that the most standard comparison could be attained by confining attention to the first 10 pictures of the 215 patients who had painted at least that number". It may be reasonable to infer that at least 3000 paintings were created. In early 2013, several small ceramics, with '1948' written on their base, were found in storage. It had not been known Adamson was encouraging people to work with clay at this time.The people painted in "experimental and reproducible conditions": everyone had identical easels, with the same materials available, and even the same size sheets of paper (22 by 18 inches, 55 cm by 45 cm). Adamson was to provide only minimal technical advice. Initially Adamson worked inside the hospital in a committee room with up to forty patients at once, conducting at first two sessions, and, later, four per week. Another early location was a shower room, chosen by the nursing staff to be easy to clean afterwards. By 1948, when he was employed full-time, a studio was built in the hospital grounds for Adamson's own use. This building was a converted army hut, 48 feet (15 metres) by 16 feet (5 metres), and able to accommodate twenty people 'with comfort'. From 1948, Adamson also saw, for two hours each morning, a group of women, on a ward of the main hospital, most of whom had the diagnosis of schizophrenia, and who had all lived in Netherne for many years.In 1950, Dax lectured on and showed paintings from the early Netherne sessions (alongside works from 45 collections,


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 including from five other British mental hospitals) at the influential "International Exhibition of Psychopathological Art", held at the Sainte-Anne Hospital in Paris during the First World Congress of Psychiatry. Dax describes the Sainte-Anne show at as "probably the second most important event in the history of psychiatric art, the first being the collection of pictures by Prinzhorn from Heidelberg and his 1922 publication "The Prinzhorn Collection" (Dax is referring to Prinzhorn's highly influential book, " Artistry of the Mentally Ill: a contribution to the psychology and psychopathology of configuration") One critic wrote, 'The parallels between the works of patients and the art of 20th Century painters - expressionists, surrealists, and certain pure abstract painters - is established without a doubt'. Reitman drew heavily on the findings from these art sessions, and used works which are now in the Adamson Collection, for his 1950 book, "Psychotic Art": though Adamson is mentioned in the acknowledgments, Reitman writes little on Adamson's contribution. Dax published his full account of the results in 1953 in "Experimental Studies in Psychiatric Art": Adamson only warranting a single mention by name:

"In 1946, an artist, Mr E.J<mask> was engaged for 2 sessions weekly in the reception hospital,
 then for half time, and since 1948 he has been appointed on a full-time basis. His experience
 was that of a commercial artist who was lecturing in both sanatoria and mental hospitals. He had
 not been analysed nor did he have any special knowledge of psychology, but he


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 was particularly
 interested in the evolution of artistic products, and the use of art activities in the treatment of
 the psychiatric illnesses" (p19-20).Dax left Netherne in 1951 to move to Australia in 1952, taking "a few pictures and tapestries (20, according to Dr Eugen Koh, former Director, Dax Centre) from Netherne shown at the 1950 exhibition [the "International Exhibition of Psychopathological Art"], and these formed the basis of the (Dax) collection", p3. The Dax Collection is housed at the Dax Centre at the University of Melbourne (Dax Centre), which holds 'over 15,000 creative works on paper, paintings, ceramics, and textiles created by people who have experienced mental illness or psychological trauma' - and is now under the director Charmaine Smith. Art and healing at Netherne (1951–1981)

Adamson continued working at Netherne until his retirement in 1981, enabling and encouraging hundreds of people to express themselves through art. Out of the 1946-1950 quasi-scientific 'experiments', Adamson established an open art studio, allowing people to come and paint freely: a radical act when those detained in the 'asylums' were living in bleak conditions, profoundly excluded from society, with minimum dignity, autonomy or even personal possessions. By 1970 he had 5 studios (including the army hut) in the grounds at Netherne, with a gallery for the Adamson Collection (see below), which at that time contained an estimated 60,000 works: he kept all the paintings, drawings, ceramics and sculptures created in the studios. Adamson was more widely involved across the hospital, from


texts:
 having the courage of having endless corridor walls  painted primrose yellow to designing costumes for the annual pantomime, a key feature of asylum life in Britain at the time. Among the artists he encouraged at Netherne were the painter William Kurelek (1927–1977), the sculptor Rolanda Polonska (1923-1996 - Rolanda preferred Polonska, the Polish feminine spelling of her surname, but she is also known as Polonski and Polonsky), for both of whom he secured studios in disused rooms in the hospital; and the illustrator and engraver George Buday (1907–1990), for whom Adamson took over a summerhouse in the grounds of Netherne for his printing press.Kurelek came to Netherne from the Maudsley in November 1953 to work with <mask> for 14 months. He gave the Adamson Collection three major paintings created while he was at Netherne: "Where Am I? Who Am I? Why Am I? ", "I Spit On Life", and "The Ball of Twine and Other Nonsense". About the last, completed shortly before he left hospital, Kurelek said,

 "I have never really been mad. I was only fooling.I had you all on the end of a piece of string all the time!" Polonska had been an artist before the onset of schizophrenia, but when Adamson first met her, she was scrubbing the hospital floors. For Polonska to practise her sculpture, Adamson had to persuade the hospital authorities to lift the restrictions on 'potential offensive weapons in the hands of mental patients' so she could have a hammer and chisel. In 1971 the Arts Council of Great Britain released a short film, "Rolanda Polonsky, Sculptor". Polonska is filmed at Netherne, where she had


texts: already been living for 24 years, 'talking about her work, and the meanings that it has for her. Her art is deeply religious and personal, and she uses Christian themes in a refreshing and idiosyncratic way'. The film features, among other works, her masterpiece Stations of the Cross, which are in the Collection (along with several other sculptures and about 2000 sketches and drawings) but are still the original plaster casts, funding never found to cast them in bronze.<mask> met his long-term partner and collaborator, the teacher and writer John Timlin (1930-2020), in 1953 at Timlin's production of Kenneth Woollard's play "Morning Departure" (1948). Timlin was working with 'emotionally disturbed' children in East London, and subsequently contacted Adamson about a series of drawings of apples by a boy, Tommy, who he was working with. Adamson visited the school, and met the children and looked at their paintings. <mask> and Timlin then worked together until <mask>'s death. They wrote and lectured on art and mental health, and exhibited the Adamson Collection across the world, including Europe, Japan, Canada and the United States. By the mid 1970s, Adamson moved into the Studios, Hollywood Road, London. A pair of artists studios, Adamson lived in one and saw patients in the other - particularly after his retirement from Netherne in 1981 - until 1996.Hollywood Road remained at the centre of the Adamson Collection and Adamson Collection Trust until John Timlin died at there on the morning of 11 September 2020. In 2012 Wellcome Collection relocated documents, photographs, notebooks and other

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 material to become the Edward Adamson Archive at Wellcome  Edward Adamson Archive. Art therapy in the UK

<mask> was the first artist employed in the National Health Service. He commenced work in 1946 at Netherne Hospital at an annual salary of just £1000. This was never subsequently increased in line with inflation. The reason given was that his post was not officially recognised at the time, and it was "not on the establishment". A Charitable Trust – 'The Mrs Smith Trust', under the patronage of Cornelia Stuyvesant Vanderbilt – offered to increase his salary, and provide facilities to maintain and store the Collection at Netherne.This request was turned down by the hospital authorities, saying <mask>'s salary would then "exceed that of the doctors" (as documented in correspondence in the Edward Adamson Archive at the Wellcome Library). <mask> was obliged to make up the financial difference himself, and so he kept art therapy alive until it was later officially recognised by the NHS, and prevented it from being subsumed under Occupational Therapy. The emerging field of art therapy was thereby protected by means of <mask>'s professional and financial efforts. He was involved from the late 1940s in the discussions and working groups that eventually led to the British Association of Art Therapists (BAAT) in 1964, of which he was a founder member and, briefly, its first Chair. From 1969 and through the early 1970s, he was Head of the first British Art Therapy training programme, at St. Albans School of Art (the School was later renamed the Hertfordshire College of Art and Design, and then

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 amalgamated with the University of Hertfordshire in 1992: art therapy training continuing in the University's School of Creative Arts, and still generally known as the St Albans' course). First Move: After Netherne, Ashton. 'Art as Healing' and Outsider Art (1981–1996)

After his retirement, <mask> opened a gallery on Miriam Rothschild (1908–2005)'s Ashton Wold estate in 1983, where the Adamson Collection was held until 1997.Rothschild was a friend and supporter of <mask> and Timlin, and a Trustee and subsequently Patron of the Adamson Collection Trust. The Adamson Collection Trust had been established in 1978 to promote research into Art Therapy, Adamson's work and the Collection. Timlin was Chair from 1978 to 2005, and David O'Flynn (b. 1960), a psychiatrist at Lambeth Hospital (a Trustee since 1998) has been Chair since. <mask> was the Collection's Curator until his death. In 1984, <mask> and Timlin published their book on <mask>'s work and the Collection, "Art as Healing", with the introduction by the psychiatrist and Jungian analyst Anthony Stevens, and with images of 116 objects and the personal stories behind them (including a chapter on the Apple pictures that brought <mask> and Timlin together). It was published in the UK and USA, and reprinted in 1990."Art as Healing" won the UK mental health charity Mind's 'Book Of The Year Award' in 1985. Though <mask> eschewed affiliation with psychological ideologies or organisations, "Art as Healing" has a Jungian spirit. He and Timlin had been regular visitors to Withymead, the Jungian art community led by Irene and Gilbert Champernowne

masks: Adamson Adamson Adamson Adamson Adamson Adamson Adamson


texts: from its founding in 1942 to its closure in 1967; and later to Stanton, where Irene Champernowne and some of the Withymead staff moved after Withymead's demise with the intention of continuing with their work. Timlin had a cottage in Stanton, where he and <mask> would be most weekends. They were friends and associates with the group of British Jungians who are known as the 'Zurich classical school', as they were almost all trained at the C. G. Jung Institute in Zürich, and emphasised archetypal imagery and its amplification, rather than transference, object relations and early child development. In 1982, they split from their colleagues to establish the Independent Group of Analytical Psychologists (IGAP). Both Timlin and O'Flynn analysed with members of this group: Timlin with Anthony Stevens (b.1933) and Molly Tuby (1917–2011); O'Flynn with <mask> (1930–2010), an influential art therapist, a friend of <mask> and Timlin, on the staff at Withymead and Stanton, and a founder member of the BAAT in 1964 and its Chairman from 1971 to 75. <mask>'s importance in the history of British art therapy  is widely accepted. However, his point of view differed from art therapists who were psychoanalytically oriented, and in later life, he seemed more at home with those interested in outsider art, the spontaneous creations of  untrained artists. He was a close friend of Rebecca Alban Hoffberger, and involved as she created the American Visionary Arts Museum (AVAM) in Baltimore. Hoffberger came to London to meet <mask> after reading 'Art as Healing'. <mask> and Timlin attended AVAM's inauguration in

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 1995, and donated Kurelek's "Where am I? Who Am I?Why Am I? ", Timlin's Apple pictures, along with other works to the museum. Hoffberger describes <mask> as 'renowned for his gentle nature as the British  Buddha' in the celebratory catalogue. In 1996, after <mask>'s death, Timlin gave <mask>'s library to AVAM. Death

In November 1995 <mask> was advised privately that he was to be awarded the MBE for his services to mental health but he died before this was formally bestowed upon him. He died at his London home, the Studios, Hollywood Road in West Brompton, on 3 February 1996, aged 84. His ashes were interred at the Ashton Chapel (c 1706) on the Ashton Wold estate.The Adamson Collection

The Adamson Collection is a body of work of international and historical importance, which has been exhibited nationally and internationally, and received wide media coverage. Adamson showed the Collection as early as 1947 in group shows of - to use a term from the time - 'psychiatric art'. In 1950, the "International Exhibition of Psychopathological Art" of '2000 works by 63 people from 17 countries' - including several paintings from the first Adamson studio - was held at the Sainte-Anne Hospital in Paris, during the First World Congress of Psychiatry, and 'helped create a climate of acceptance for work of the mentally ill' (p67). Works were included in three influential exhibitions held 'to promote the public awareness of art therapy' between 1955 and 1968. The sub-titles of all these three surveys - particularly 1968's - speak of the attitudes of the time

 The first two were at the Institute of


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 Contemporary Arts:

 * in 1955, "Aspects of Schizophrenic Art: an exhibition of work by patients in mental hospitals", with 27 out of the 94 paintings shown from the Adamson Collection, curated by the psychiatrist G.M. Carstairs, and the catalogue introduction by the art critic  Herbert Read, who had founded and led the ICA with Roland Penrose: the two were the leading proponents of Surrealism in the UK;

 * in 1964, "Art as Communication: an exhibition of paintings made in art therapy departments of psychiatric hospitals and clinics";

 * in 1968, at the Commonwealth Institute: "Art and Mental Health: an exhibition of paintings, clay models and ceramics by psychiatric and subnormal patients and maladjusted children". When <mask> retired from Netherne in 1981, he estimated there were 100,000 objects - paintings, drawings, sculptures and ceramics - in the Collection.The Netherne gallery had been opened in 1956, and was being visited by 3500 people a year by 1981, when it was closed on <mask>'s retirement. Among them was Hazel Guggenheim (1903–1995), Peggy Guggenheim's sister. Timlin recalls

"Hazel was immaculately dressed and met the patients. She wore some fashionable red satin and diamanté, high heel shoes which a patient admired. Hazel sent them to <mask> after her visit to present to the patient". In 1981 about 6000 of the objects, by over a hundred people, were taken to Ashton Wold (with a further 150 added after his retirement as he continued to see people at the Hollywood Road studio until 1995). They were chosen by <mask> and Rudolf Freudenberg (a senior psychiatrist and Medical

masks: Adamson Adamson Edward Adamson


texts:
 Superintendent at Netherne) for "both artistic and psychiatric interest".The Ashton gallery opened to the public in 1983. When <mask> and Timlin returned to Netherne later to move the rest of the Collection, it had disappeared, probably destroyed as considered by the hospital authorities to be of no value. A Police investigation never established their fate. In 1984, when the Adamson Collection was exhibited as "Selections from the <mask> Adamson Collection", at Art Gallery of Ontario, <mask> donated a large pencil drawing by Kurelek of one of the interiors of Netherne Hospital showing a group of patients at leisure to the Ontario Psychiatric Association, to decorate their common room - a donation facilitated by a psychiatrist, Dr. Appleton. Second Move: After Ashton, Lambeth

After <mask>'s death in 1996, the Adamson Collection was moved for a second time, to Lambeth Hospital, an inner London mental health unit, part of South London and Maudsley NHS Foundation Trust (SLaM), on permanent loan by the Adamson Collection Trust. The Collection was curated by the hospital Art Therapist, Alice Jackson, until 2012. In 2000 SLaM named a new mental health unit at St Thomas' Hospital as the Adamson Centre for Mental Health as a tribute to his pioneering work.Timlin donated  50 ink portraits by Adamson of people at work in the Netherne shower room, which he drew after one of the people in the session asked Adamson why wasn't he also drawing. (There are many more of these at the Wellcome Library Adamson Archive). Since 1997, around 300 paintings have hung in corridors in Lambeth Hospital, the

masks: Adamson Edward Adamson Adamson


texts: Adamson Centre for Mental Health (since it opened in 2000), and a SLaM community base. The rest of the paintings and drawings were stored either in a disused shower room (seemingly fitting as Adamson's first working space was in a shower room at Netherne), or stacked, unframed, in cardboard folders on shelves in a working team office at Lambeth Hospital, with the two Kureleks wrapped in blankets under a desk. Between 2007 and 2010, the Adamson Collection Trust employed the then Curator, Alice Jackson, to undertake the Herculean task of cataloguing all the unframed paintings and drawings: they number about 2500 by Polanska - most are preparatory sketches for the "Stations of the Cross" - and another 2500 by over 200 people, more than half of them women. Adamson's records from Ashton, including albums of press cuttings and coverage, and of examples of Buday's Christmas cards and other prints, were in a filing cabinet. Almost all the collection of several hundred stones, flints, ceramics and other small sculptures are in the third Adamson gallery (after the first and second at Netherne and Ashton), a small room outside a mental health ward.The objects were created with the cheapest materials – for example, almost all the paintings are poster paint on wallpaper backing paper - and date from 1946, so need specialist conservation and storage. Polonska's masterpiece "Stations of the Cross" and two other larger Polonska pieces were in a former Trustee's garage in Edinburgh - Michael Freudenberg, Rudolf Freudenberg's son - and very fragile and at risk as they are still the original plaster casts.


texts:
 Freudenberg was also storing a number of paintings and drawings. Almost all Adamson's personal papers, photographs and other artefacts, including hundreds of photographic transparencies of works (including of many now lost)  were at the Adamson's Hollywood Road studio, where Timlin still lives. Adamson Collection Trust records were in Trustees' homes across the country. Adamson's library of books and journals has been secured at AVAM since 1996. The Adamson Centre closed in November 2016, due to service changes.The 50 drawings by Adamson passed to ACT; and 38 Adamson Collection paintings and drawings to the Wellcome Library. Writings by <mask> (selected)

At Edward Adamson Archive, Wellcome Collection, London. 1984:  "Art as Healing". Coventure, London;
1970:  "Art for Mental Health", in 'Jean Creedy (ed): Social Context of Art'. Tavistock, London;
1968:  "Art and Mental Health", in the exhibition catalogue, the Commonwealth Institute, London;
1965: "Review of artistic self expression in mental disease: the shattered image of schizophrenics", in 'Mental Health', the Journal of the National Association for Mental Health (Mind). December, 272-274;
1963:  "Art and mental health", in 'Mental Health', the Journal of the National Association for Mental Health (Mind). Vol.22, No.2;
1962:  "Darkness into Light" in 'The Observer', 17 June. Ideas about art and mental health

Adamson saw people psychologically recovering – 'healing', in his terms – by means of expressing themselves through art. The act of creating was what mattered to Adamson, who felt the artist or therapist should avoid


texts: influencing, distorting, or impinging upon self-expression. Adamson encouraged 'free expression' by letting people come to paint or sculpt without comment or judgement, and with only minimal technical assistance. If the creator talked about a work, he'd listen. He abhorred psychological interpretation, which he dismissed as 'the therapist's own projections' onto the work, and maintained that only the creator could explain their own work. This is the essence of his 'non-interventionist' working style, which perhaps would not be recognized as part of contemporary art therapy practice."The actual "therapy" is purely incidental. The important thing is the art! You see, it's therapeutic for patients to walk across the hospital grounds to get to the studio. If they're going to sit in a group of patients, it's therapeutic. But the great thing is the actual art they are producing: that's the thing that is getting them better. The mere fact that they put their brush to paper and try and paint". He saw himself an artist, "somewhere in between" the clinical staff and the patients, and the space where he worked as an art studio.He thought only artists should work with art as therapy. "In his later years Mr. Adamson was critical of a movement to train as art therapists people whose background was more in the field of psychology than art – 'Can't the psychologist remain a psychologist and not try and take art over?' he asked in the 1987 interview". "The important thing is know about art, to know how to draw and paint, so that you can encourage from that angle the whole time... The patients appeal to


texts:
 you as an artist, knowing that you can paint, knowing you are ready to help them through art – not with all that knowledge of psychology. That's something completely different". Adamson exhibited work from the Collection from 1947 on, and internationally until his death in 1996.He believed the exhibiting of the Collection educated the public about the creativity and humanity of those diagnosed with mental disorders. "Adamson was an educator, who saw the socio-cultural intervention of showing these people's works to the public who had excluded them - and showing it as an important contribution to their culture - as a way to change public opinion". There is debate about whether these objects should be exhibited, and/or creators named: questions about intention, capacity, consent, confidentiality and ownership; about if these works are clinical records or can they be outsider art, or be both; and about the notion that should these people – excluded, voiceless and nameless in their lifetime – have their creations hidden, their art forgotten, and their identity again denied. Adamson across media

Documentary

 2019. "Art & Mind ". Directed, written & edited: Amélie Ravalec. Consultant: Mike Jay & David O'Flynn.Art & Mind

 ' A journey into art, madness and the unconscious. An exploration of visionary artists and the creative impulse, from the Flemish Masters of the Renaissance to the avant-garde movement of Surrealism and the unsung geniuses of Art Brut and Outsider Art 2014. "Abandoned Goods". Dir: Pia Borg & <mask>renson. Prod: Kate Ogborn & Lisa Marie Russo. Consultant: David O'Flynn. Fly


texts:
 Film:

 "Abandoned Goods was awarded the Golden Pardino for the Best International Short Film in the Leopards of Tomorrow Competition at Locarno Film Festival.To date it has also screened at the Hamptons, London BFI Film Festival, Sundance, True/False, Full Frame Documentary Film Festival, Oberhausen, Festival Internacional de Cine De Huesca, Janela Internacional de Cinema Festival, Bucharest Experimental Film Festival, First Fortnight Film Festival, DocAviv, San Francisco Documentary Film Festival and Busan International Short Film Festival"

 2011: "William Kurelek's The Maze", (60mins)
 re-edited, digitalized version of Robert M. Young & David Grubin's 1969 documentary about William Kurelek. New version by his sons Nick & Zack Young, and includes additional unseen interview footage of Adamson. Radio
2020. "Naming the Orphans". ‘A poetic audio response to Adamson Collection’. RADIOPHRENIA, Glasgow. Broadcast 16 Nov 3.30-4pm.Artist and writer Rose Ruane with David 0’Flynn & Suzie ‘the Clown’ Ferguson. 2015. "Object spotlight: Gwyneth Rowlands, 'woman's head" in Medicine in Music. 'Gryff Rhys Jones and Simon Chaplin discuss a work of art on a piece of flint'. BBC3 Broadcast 22 September: https://www.bbc.co.uk/sounds/play/p0336smy

 Videos
At Edward Adamson Archive, Wellcome Collection, London. Edward Adamson Archive

1971: "Rolanda Polonsky, Sculptor", (10mins): Arts Council film, dir:  Lionel Miskin. Polonska filmed in her 25th year at Netherne, talking about her beliefs and works, most of which are in the Collection;

1984: "Link", (20mins): video of Central TV


texts:
 interview

 with Adamson and Timlin, at Ashton Gallery and in Miriam Rothschild's wildflower garden, by Rosalie Wilkins & Bradley Borum.In connection with 1984 Marlborough Gallery exhibition and launch of 'Art as Healing';

1989: "Night Network", (11mins): video of TV studio interview
 with Adamson about his working, with particular reference to the 'Metamorphosis' series of paintings;

1990: "Art was my salvation": Michele Staniland, (10mins):
 filmic essay of  several paintings with music and intertitles from 'Art as Healing';

1991: "Look East", (3mins 30secs): video of TV interview with Adamson at Ashton;
1994: "Visit to Ashton by Cambridge Jungian Circle", (50mins). Video by visitor. Comprehensive tour of Ashton Gallery;

 Edward Adamson YouTube channel

A selection of short films, filmed events and other archive material, ( Edward Adamson YouTube). 2013: "Art in the Asylum' 2013: <mask>'s life and work: creativity, part 1". Filmed at 'Art in the Asylum', Djanogly Art Gallery, Nottingham. 2013: "Art in the Asylum' 2013: <mask>'s life and work: creativity, part 2"
2014: "Edward Adamson Festival 2014 opening night: 'A Gaze at the Collection"
2015: "In Conversation with Dr O'Flynn on the Adamson Collection"
2015: "Edward Adamson Festival: scART Panel, part 1"
2015: "Edward Adamson Festival: scART Panel, part 2"
2015: "Insulin Coma Dreams". A film by Andrew Locke.Exhibitions of the Adamson Collection (selected)

1947: Kingston Town Hall;
1950: "International Exhibition of Psychopathological Art" at the First International Congress of Psychiatry, Paris;
1955: "Aspects of Schizophrenic

masks:
Edward Adamson
Edward Adamson


texts:
 Art: an exhibition of work by patients in mental hospitals", Institute of Contemporary Arts, London;
1961: Royal Society of Medicine;
1964: "Art as Communication: an exhibition of paintings made in art therapy departments of psychiatric hospitals and clinics", Institute of Contemporary Arts, London;
1967: "Fifth International Congress  of Psychopathology of Expression", Paris. International Society for Psychopathological Art (SIPE);
1968: "Art and Mental Health: an exhibition of paintings, clay models and ceramics by psychiatric and subnormal patients and maladjusted children", The Commonwealth Institute, London
1969: House of Commons;
1974: University of Cairo;
1984: "Selections from the <mask> Adamson Collection", Art Gallery of Ontario;
1984: Marlborough Gallery, London;
1991: Kfar Saba Cultural Centre, Jerusalem, Israel;
1995: "The Tree of Life: The Inaugural Exhibition of the American Visionary Arts Museum". Baltimore;
1997: Lambeth Hospital. Opened by Jo Brand;
1999: Lambeth Hospital. Opened by Stephen Tumim;
2002: Fifteenth Triannual Congress of the International Association for Analytical Psychology (IAAP), Cambridge;
2004: Mexico Gallery, London;
2012: Glaziers Hall, London. Slideshow of 120 Collection objects, and short promo of "Abandoned Goods" (see Filmography, above). SLaM Annual Public Meeting, 11 September;
2013: "Art in the Asylum".Group survey of asylum art. Djanogly Art Gallery, Nottingham
2013-14: "Raw Vision: 25 ans d’Art Brut". JJ Beegan drawings in a major international survey of art brut. Halle St Pierre, Paris
2014: "Edward Adamson Festival 2014" at the Long


texts:
 Gallery and ORTUS, Maudsley Hospital; and at Bethlem Gallery and Bethlem Museum, UK
2015: "Art as Healing", Feb - Mar. At Stash Gallery, London, E1
2015: "The Ball of Twine and Other Nonsense", William Kurelek,  c 1956. Permanent loan to Bethlem Museum of the Mind
2015-25: Gwyneth Rowlands: Six "Paintings on Flints". On loan to Reading Room, Wellcome Collection;
2016-17: "Bedlam: the asylum and beyond".Abandoned Goods and JJ Beegan drawing at major survey. Wellcome Collection. 2017: "Mr A Moves in Mysterious Ways". Selected artists from the Adamson Collection, Peltz Gallery, Birkbeck School of Art. 2020:  Gwyneth Rowlands: Four "Paintings on Flints" in "Monochromatic Minds: Lines of Revelation". 25 February – 4 March. Candid Arts Centre, London EC1.25 Feb – 4 Mar. 'Monochromatic Minds' was the largest ever exhibition of self-taught, disabled and outsider artists from around the world, featuring black and white art through a variety of mediums including drawing, ceramics and textiles. 'Monochromatic Minds | Pre Recorded Talk about Gwyneth Rowlands': at  https://vimeo.com/441992680
"Here Jennifer chats with Dr. David O'Flynn and Rose Ruane about the late Gwyneth Rowlands. Her painted flints make up part of the Adamson Collection and six are on permanent display at the Wellcome Collection, London. Hear more about her life here and an upcoming article in Raw Vision magazine about her". Third Move: 'Four Adamson Collections' & Adamson Collection / Wellcome Collection

Since January 2010, the Adamson Collection Trust focused on identifying and securing all and any objects, archive or other


texts: material related to Adamson, the Adamson Collection and the Adamson Collection Trust. Henry Boxer, a leading international authority on and dealer in outsider art, has been a key adviser and supporter since 2010.At that time there was no inventory or catalogue, not even of the objects moved to SLaM from Ashton, and all the material was at risk. After three decades of effort since the move from Netherne, funding to save the Collection as a whole was never found. Since 2010, the Trust has been collaborating with the Wellcome Library to secure the archives, and the Collection - in need of rescue for the third time in its history. In 2010-11, the Wellcome Library accepted Timlin's donation of Adamson's archive from Hollywood Road. In July 2013, the Wellcome took Adamson's Ashton archive (1981–1996); and further archive material from Lambeth Hospital. The Wellcome Library at the same time relocated all the 5000 paintings and drawings from Lambeth Hospital to temporary storage in their 'stacks' under Euston Road. The transfer deed was signed in December 2015 for all the flat works (bar Polonska's drawings and one Kurelek canvas).These are now known as "Adamson Collection - Wellcome Library". In 2017 Wellcome Collection undertook a re-evaluation of its policy towards its handling of the Adamson Collection. A series of public consultations in July 2017 explored the complex ethical issues surrounding questions of copyright ownership, attribution and terminology. The remaining 2500 drawings are by Rolanda Polonska - many studies are for her 'Stations of the Cross' - and are located at the Wellcome.


texts:
 ACT holds about 500 sculptures at Lambeth Hospital, including the oeuvre of Gwyneth Rowlands. Six of her painted flints are on long-term loan to the Wellcome Reading Room. Kurelek's ' 'The Ball of Twine and Other Nonsense' is on permanent loan to the Museum of the Mind (Museum of the Mind).AVAM are cataloging the objects that <mask> donated in 1995. The Adamson Collection Trust notes there are probably about twenty pictures and tapestries Dax took from the Netherne research studio to Melbourne to start the Dax Collection (now at the Dax Centre). Literature on Adamson and Adamson Collection from 2011

Resources: open access at http://www.adamsoncollectiontrust.org/resources/ unless indicated

2011: O'Flynn, D. "Art as Healing: <mask>". Raw Vision, 72, Spring, p46-53;
2013: O'Flynn, D. "<mask>: art as healing". In Michaela Ross (ed) "Bethlem Papers 1: On the Inside of Outsider Art". Bethlem Gallery, UK. https://bethlemgallery.com/bethlem-salon/
2015 Ostrowska, A."'‘The Adamson Collection: illustrations of mental illness or a testament to spontaneous artistic expression?''''". Journal of Visual Communication in Medicine, 38(3-4): 196–202;
2015. O'Flynn, D. "Almost Certainly, the Catalogue Rasionné of the Creator(s?) Known as JJ Beegan" Raw Vision, 88, Winter, p22-29;
2016: O'Flynn, D. "Private Intentions: The story behind the Adamson Collection". Ladybeard Magazine, "Mind Issue";
2018: O'Flynn, D, Szekir-Papasavva, S & Trainor, C. " ‘Art, power, and the asylum: Adamson, healing, and the Collection’ ". Lancet Psychiatry ,5,5,396-399. doi.org/10.1016/S2215-0366(18)30147-0. 2018: O'Flynn, D &

masks:
Adamson
Edward Adamson
Edward Adamson


texts:
 Trainor, C. "Myth, Metaphor or Metamorphosis?Ron Hampshire and the Adamson Collection". BAAT newsbriefing Winter. 2019: O'Flynn, D. " ’<mask> and the history of art therapy ". Mental Health Nursing, April/May, p16-17. 2019: O'Flynn, D &  Schupbach, W.  "The art of those with lived experience: excavating the Adamson Collection". Journal of European Association of Health Information & Libraries, Vol. 15 (4): 23-28. doi: 10.32384/jeahil1535.2020: O'Flynn, D &  Ruane, R.  "Our Lady of the Flints''": monograph on Gwyneth Rowlands. Raw Vision, 106, Summer, p12-19

References

External links

   Adamson Collection Trust
   'Art as Healing'. <mask>'s 1984 book. Open Access at Wellcome Library
 Edward Adamson Archive at Wellcome Library
  Adamson Collection: Sculptural Objects at Art UK
  Obituary: <mask>. New York Times, 10 February 1996
  Obituary: <mask>. The Guardian, 21 May 2010
  Obituary: Molly Tuby. The Guardian, 13 April 2011
  Kashmira Gander, "Healing with paint: How the pioneer of art therapy helped millions of mental health patients".Independent, London. 7 September 2016. Art therapists
Outsider art
British conscientious objectors
History of mental health in the United Kingdom
Royal Army Medical Corps soldiers
1911 births
1996

masks:
Edward Adamson
Adamson
Edward Adamson
Michael Edwards


texts:
<mask> (; born 22 February 1975) is a French singer, songwriter, and multi-instrumentalist. He represented France in the Eurovision Song Contest 2008 with his song "Divine". He has also produced songs for Dita Von Teese and he composed music for the French films Narco and Steak, among others. He is currently signed to Record Makers, a French independent record label. He sings in English, French, and Italian. Biography
Tellier's first album, L'incroyable Vérité (The Incredible Truth), was released in 2001. Tellier went on tour with Air in support of the album and was joined on stage by theremin player Pamelia Kurstin.L'incroyable Vérité is a pop album featuring styles from lo-fi electronica to bizarre cabaret tunes. The same year, he appears, alongside Vincent Belorgey (Kavinsky) in Nonfilm, directed by Quentin Dupieux. His second studio album, Politics, released on 31 January 2004. Politics included the popular song "La Ritournelle", a string-led tune with Nigerian drummer Tony Allen. The same year, he composed the soundtrack for the film Narco, directed by Tristan Aurouet and Gilles Lellouche. The soundtrack released two years later, on 9 November 2007. Since the release of Politics, Tellier has also recorded an acoustic album of his more popular songs, Sessions (2006).The album was repackaged for the British market as Universe (2006), to include both highlights from the French CD, as well as compositions from <mask>'s score for the film Narco. This compilation included a cover of "La Dolce Vita", a song originally by French singer Christophe. In 2007, he composed a few songs with Mr. Oizo, for the soundtrack of the film Steak, directed by Quentin Dupieux (Mr. Oizo himself). Also co-composed by SebastiAn, the soundtrack was released by Ed Banger and Because Music

masks:
Sébastien Tellier
Tellier


texts: the same year. <mask> also appears in the film as Prisme, the man with the electric wheelchair. His third studio album Sexuality was produced by Guy-Manuel de Homem-Christo of Daft Punk. Like his previous album Politics, Tellier used a single term as title and theme of the album.Tellier's label Record Makers collaborated with retailer American Apparel for an exclusive three-month pre-release of the album, whilst American Apparel sold limited edition versions of the Sexuality CD, LP and "Divine" 7" and 12" single through their North American stores and website. On 7 March 2008, it was announced by Bruno Berberes, head of EBU delegation in France, that <mask> would represent France in the Eurovision Song Contest 2008. It was held in Belgrade on 24 May 2008. <mask> sang "Divine". This was the first time in the history of the contest that the nominated French entry was to be performed largely in English, which caused controversy, leading to <mask> pledging to increase the amount of French in the song prior to the competition itself. In total, the entry received 47 points. His fourth album My God Is Blue was released in 23 April 2012.As the name suggests, the concept of this album is religion. <mask> is presented in this album as a guru, founder of a fictional sect called "Alliance Bleue". The album is entirely produced by Mr Flash and Pavle Kovacevic. His fifth album Confection was released in October 2013. This was partially inspired by the death of Tellier's grandmother. Some of the music on the album was intended to appear on a film soundtrack, but ended up not being used. In an interview with artistxite, Tellier noted: "You can say my grandmother's death as well as this nonexisting soundtrack had an impact on “Confection“.To me this has been a super strange

masks: Tellier Tellier Tellier Tellier Tellier


texts: situation. I was full of love for my grandmother and full of dedication to this soundtrack; Confection is the result of both of these emotional conditions." In Spring 2014, <mask> performed a medley of tracks from Confection at the Chanel Haute Couture show at the Grand Palais. <mask> recounts that Karl Lagerfeld invited him to perform, having listened to the album himself. His sixth album L'Aventura, was released on 14 July 2014. The album was inspired by the childhood and Brazil, where the video to its lead single, "L'Adulte", is set. This album, consisting of 10 tracks, is sung entirely in French.In 2016, he composed soundtracks for the two French films Saint-Amour, directed by Benoît Delépine and Gustave Kervern, and Marie et les naufragés, directed by <mask> Betbeder. The same year, he composed the music for the credits of the comedy show broadcast on Canal+, Groland Le Zapoï. The next year, he composed the soundtrack for the series A Girl Is a Gun. In 2018, <mask> composed all the songs from the eponymous album by Dita Von Teese. In 2020, <mask> returned with a new single "A Ballet", released on 29 January, to promote his seventh album Domesticated, consisting of 8 tracks, which released on 29 May 2020. On 8 April, "Domestic Tasks", the second single released and "Stuck in a Summer Love" the third single on 19 May. The concept on this album is domestic life and this concept was born following his marriage and the birth of his two children.The album is produced by Corentin "nit" Kerdraon, Mind Gamers (John Carroll Kirby and Daniel Stricker), Jam City, Varnish La Piscine and Philippe Zdar (who died in 2019). Apart from this album, on 14 February 2020, he appeared as a featured artist on "Boycycle" by Salvatore Ganacci. The same year, he released an album

masks: Tellier Tellier Sébastien Tellier Tellier


texts:
 titled Simple Mind, in which he covered several tracks from his previous albums, Sexuality, My God Is Blue, L'Aventura and Domesticated. Use of Tellier's songs
 The track "Fantino" from L'incroyable Vérité was chosen by Sofia Coppola for the soundtrack to her 2003 film Lost in Translation. Coppola also used the song "Look" from his Sexuality album in her 2010 film Somewhere
 The songs "Look" and "La Ritournelle" were featured in Ugly Betty's episodes "Crush'd" and "Dressed for success", respectively. "La Ritournelle" also featured in Joachim Trier's Oslo, 31 August movie soundtrack. The song "Universe" from the album L'incroyable Vérité is featured in the film Daft Punk's Electroma."Divine" (as remixed by Danger) was used in the 2009 racing game Gran Turismo for the PSP. "La Ritournelle" is sampled in The Weeknd's single, "Kiss Land"
 "La Ritournelle" is the first of many final soundtracks used in the movie "One Way" – 2006. "Slow Lynch" was used by Top Gear in Seasons 13 Episode 3 (Ken Block's Airfield Rally Run). Personal life
Tellier is married to Amandine de la Richardière with whom he has two children. Discography

Studio albums

Soundtracks

Compilations

Other contributions

Singles

Other appearances

References

External links

Official website
Anthem interview with <mask>, on Anthemmagazine.com

Photos of Tellier Performing in Philadelphia, April 2009, on Phrequency.com
<mask>, on Soundcloud

1975 births
Living people
People from Le Plessis-Bouchard
French pop singers
French singer-songwriters
French electronic musicians
English-language singers from France
Synth-pop singers
New wave musicians
21st-century French singers
21st-century French male singers
Eurovision Song Contest entrants for France
Eurovision Song Contest entrants of 2008
French male

masks:
Sebastian Tellier
Sebastian Tellier


texts:
<mask> (January 18, 1957 – November 8, 2013) was a hand surgeon from Greater Houston, Texas. He owned the Brown Hand Center and also owned, managed, or was an officer in other medical centers. He became well known in Texas and elsewhere for his advertising and his social connections, but became involved in scandals and lost his medical license. He committed suicide in 2013. Early life and education
<mask> was born in Galena Park in the Greater Houston area. While attending Galena Park Junior High School, he saw a film of <mask>y performing heart surgery. He wanted to be a heart surgeon, but he said that he ultimately became a hand surgeon because the specialty allowed for greater creativity and was "more profitable and glamorous".After graduating from Galena Park High School with honors in 1975, he attended the Southwest Texas State University (now Texas State University–San Marcos), where he received a grade point average of 3.97. He then graduated from the Baylor College of Medicine. He received his medical license in 1983 and did surgical training in a hospital in Stockton, California. Career
In 1988 he founded the Brown Hand Center. He also owned, managed, or was an officer in several other medical businesses, including the St. Michael's Center for Speciality Surgery with locations in three states, the Achilles Foot and Ankle Specialists, LLC, and the Allied Center for Special Surgery. He became well known in Houston for television advertisements showing him with Sophie, his baby daughter, which ended with the slogan, "In the Brown Hand Center, we'll care for you just as I care for my own family." The same advertisements also aired in Greater Phoenix.By the early 21st century, <mask> was making $2.5 million annually. He had a residence in the East

masks:
Michael Glyn Brown
Brown
Michael DeBake
Brown


texts:
 Wedgwood Glen section of The Woodlands and a mansion in the Memorial area of Houston. At his death he also owned a mansion in Miami Beach, Florida, a ranch in Normangee, and a residence in New York. As of 2010 the Brown Hand Center had locations in Houston, Dallas, Austin, Las Vegas, and Phoenix, and <mask>'s businesses were expected to gross about $45 million in the next year, more than in the previous five years. <mask> was also prominent in Houston society. In 2008, despite being already involved in scandals, he was awarded the Republican Congressional Medal of Distinction and in connection with the award had dinner with President George W. Bush and lunch with Vice President Dick Cheney. In 2010, he threw the first pitch at a Houston Astros game."<mask> advertised the "patented <mask> technique" of carpal tunnel surgery, an endoscopic surgery for the wrist; the Brown Hand Center advertisements and website credited him with inventing the technique and contrasted it with more traditional surgery, which requires stitches. In 2010 Dr. Robert Szabo, the president of the American Society for Surgery of the Hand and the chief hand surgeon of the University of California-Davis School of Medicine, told Todd Ackermann of the Houston Chronicle that <mask>'s business had "nothing unique ... in regards to the surgeries they perform or helping hand patients generally"; according to Szabo and other orthopedic surgeons, <mask>'s claim to a special technique rested on his having patented his own surgical instruments, which resembled those used by other hand surgeons. Personal life and downfall
<mask> was married four times. In 2002, he was convicted of beating his third wife and was placed on probation by the Texas Medical Board for that and for "concerns he had an

masks: Brown Brown Brown Brown Brown Brown Brown