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 studies of law. He arrived in Paris on March 18, 1884 and was to remain there for the next decade. Studies in France
Kuroda had received painting lessons in his youth, and had been given a watercolor set by his adoptive mother as a present upon leaving for Paris, but he had never considered painting as anything more than a hobby. However, in February 1886 Kuroda was attending a party at the Japanese legation for Japanese nationals in Paris; here, he met the painters Yamamoto Hōsui and Fuji Masazō, as well as art dealer Tadamasa Hayashi, a specialist in ukiyo-e. All three urged the young student to turn to painting, saying that he could better help his country by learning to paint like a Westerner rather than learning law.Kuroda agreed, and began formally studying art at an art studio while simultaneously continuing his studies in law in an effort to please his adoptive father. This situation proved untenable, however, and Kuroda finally succeeded in convincing his father to allow him to abandon his legal studies and study painting full time. In May 1886, Kuroda entered the studio of Raphaël Collin, a noted Academic painter who had shown work in several Paris Salons. Kuroda also received guidance from Pierre Puvis de Chavannes, who influenced Kuroda's later use of the human body to represent abstract concepts. In 1886, Kuroda met another young Japanese painter, Kume Keiichiro, newly arrived in France, who also joined Collin's studio. The two became friends, and soon became roommates as well. It was during these years that he began to mature as a painter, first following the traditional course of study in Academic studio art before eventually also encountering plein-air painting.In 1890 <mask> moved from Paris to the village of Grez-sur-Loing, an artists' colony about 70 kilometers south of Paris which had been formed by painters from the United States


type: original

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 and from northern Europe. It was at Grez-sur-Loing that Kuroda first began to experiment with plein-air techniques, discovering inspiration in the rural landscape, as well as a young woman, Maria Billault, who became one of his favorite models. In 1893, Kuroda returned to Paris and began work on his most important painting to date, Morning Toilette, which would later become the first nude painting to be publicly exhibited in Japan. This large-scale work, which was destroyed in World War II, was accepted with great praise by the Académie des Beaux-Arts; Kuroda intended to bring it with him to Japan to shatter the Japanese prejudice against the depiction of the nude figure. With the painting in hand, he set out for home via the United States, arriving in July 1893. Back in Japan
Having spent many long years of study in France to gain mastery of Western-style painting, Kuroda was eager to try out his newfound skills on the landscapes of his home country. Soon after arriving back in Japan, Kuroda traveled to Kyoto for the first time in his life, and used plein-air techniques to depict famous local sights, such as geisha and ancient temples.Paintings inspired by this trip include Maiko (1893, Tokyo National Museum) and Talk on Ancient Romance (1898, destroyed). When Kuroda returned to Japan, the best-known society for Western-style painting was the Meiji Fine Art Society (Meiji Bijutsukai [ja]), which was strongly under the influence of European Academicism and the Barbizon School, which had been introduced to Japan by the Italian artist Antonio Fontanesi at the government-funded Technical Fine Arts School [it] (Kо̄bu Bijutsu Gakkо̄) beginning in 1876. Kuroda submitted several of his paintings to the Meiji Fine Arts Society's annual exhibition, which exhibited nine of his works in 1894. His innovative painting style, heavily influenced by the latest


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 European plein air and Impressionist techniques, shocked Japanese audiences. For example, the art critic Takayama Chogyū wrote that anyone who found this type of painting beautiful must have "poor eyesight." However, many younger artists found Kuroda's innovative style inspiring and flocked to become his students. In particular, Kuroda's style of bright color tones emphasizing the changes of light and atmosphere was considered revolutionary.Kobayashi Mango, one of Kuroda's students from this time, recalled that when Kuroda returned to Japan, it was as if "those who had been groping along a wild dark path suddenly became aware of a single ray of brightness." In 1894, Yamamoto Hōsui, one of the artists who had encouraged Kuroda to study art in France, handed over control of the art school he had founded, the Seikо̄kan (生巧館), to Kuroda, who inherited all of Yamamoto's students. Kuroda renamed the school Tenshin Dо̄jо̄ (天心道場) and remodeled its pedagogy to focus on Western precepts and plein-air painting. Controversy
In April 1895, Kuroda helped to organize the Fourth National Industrial Exhibition, held in Kyoto; he also submitted Morning Toilette for exhibition in the same venue. Although he was awarded a prize for the painting, the exhibition of a picture of a nude woman before so many visitors outraged many, and led to a furor in the press where critics condemned the perceived flouting of social standards. None criticized the technical aspects of the painting, choosing instead to lambaste Kuroda for its subject matter. Kume, Kuroda's friend from his Paris days, wrote a spirited defense of the nude figure in art for newspaper publication, but this helped little.For his part, Kuroda maintained a public silence on the issue; privately, however, he expressed the opinion that morally, at least, he had won the day. Further controversy erupted in October of


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 the same year, when Kuroda exhibited 21 of his works done in Europe at the 7th Exhibition of the Meiji Fine Art Society. Kume also entered some of his work in the exhibition, as did several of Kuroda's students from the Tenshin Dо̄jо̄. Visitors were struck by the vast differences between Kuroda's plein-air-derived style and the more formal work of the other artists, leading critics to focus on the difference as one between the old and the new. Some even went so far as to suggest a factional rivalry between two "schools" of painting, an "Old School," represented by the Meiji Fine Art Society and the "New School," represented by Kuroda and his students. Displeased by the bureaucratic methods inherent in the hierarchy of the Meiji Fine Art Society, Kuroda withdrew from the society in June 1896 and founded his own, rival art society, along with Kume and a number of their students. The new group was christened the "White Horse Society" (白馬会, Hakubakai), after a brand of unrefined sake they favored called "White Horse" (白馬, Shirouma).The White Horse Society had no set rules; rather, it was a free, equal gathering of like-thinking artists whose only goal was to find a way for members to display their works. The group held exhibitions every year until it dissolved in 1911; in total, thirteen shows were held. A number of prominent artists received their first public exposure in these exhibitions; among them were Fujishima Takeji and Aoki Shigeru. Academic career
By 1896, Kuroda was at the peak of his career. That May Okakura Tenshin, the Dean of the Tokyo School of Fine Arts (Tokyo Bijutsu Gakkо̄, present-day Tokyo National University of Fine Arts and Music), appointed Kuroda as the director of the newly established a Department of Western-style Painting. This allowed him to design an even broader curriculum, meant for general students of art, and to be better


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 equipped to reach a broader public. An academic role, with its emphasis on structure and conformity, contrasted with the painter's focus on individuality, but Kuroda nonetheless approached his new role with zeal.In particular, Kuroda stressed the importance of painting outdoors directly from nature (plein air), and insisted that courses in anatomy and the sketching of a live nude model be included in the curriculum. Ultimately, Kuroda set as his goal the teaching of history painting, feeling that it was the most important genre for students to learn. In his opinion, paintings depicting myths, history, or themes such as love or courage, in which figures painted in poses and compositions reflecting these issues had the highest social value. Coinciding with this was the creation of one of his most ambitious works, the Talk on Ancient Romance. The painting was a large undertaking; it seems to have been among the first for which Kuroda employed charcoal drawings and oil sketches. He would go on to employ this technique in most of his later work, teaching it to his students as well. Talk on Ancient Romance appears to have been intended as a wall panel; as with much of Kuroda's work, it was destroyed during World War II, leaving only preparatory studies to indicate its possible grandeur.Later career

<mask> was by this time well-regarded not only by the Japanese, but by the art world at large; his triptych Wisdom, Impression, Sentiment (completed 1900) was exhibited alongside his 1897 work Lakeside at the Exposition Universelle held in 1900 in Paris; it received a silver medal. Lakeside, however, is arguably Kuroda's most famous and recognizable work in Japan. It depicts Kuroda's wife Teruko, seated by a lake in the famous resort town of Hakone. Lakeside represents the apotheosis of Kuroda's personal style, in which he dialed back the more controversial


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 aspects of European Impressionism to combine it with aspects of Academicism and the Barbizon School, while emphasizing native Japanese subjects such as Japanese landscapes and clothing. The result was a hybrid style art historian Chinghsin Wu has termed "Academic Impressionism," which Kuroda thought was more palatable to Japanese tastes and sensibilities. In 1907, members of the White Horse Society, Kuroda among them, exhibited in the first Bunten exhibition, sponsored by the Ministry of Education; their continued participation led to the disbanding of the group in 1911. Meanwhile, Kuroda had been appointed a court painter at the Imperial Court in 1910, becoming the first yōga artist so honored.From then until the end of his life his artistic activities were curtailed; he became more of a politician and an administrator, only creating small works intended for display. In 1917, on the death of his father, Kuroda inherited the kazoku peerage title of viscount, and in 1920, was elected to a seat in the House of Peers, the upper house of the Diet of Japan. In 1922, Kuroda was made head of the Imperial Fine Arts Academy. In 1923, he was awarded the Grand Cross of the Legion d'Honneur; this followed numerous other honors from the French government in the years before. <mask> died at home in Azabu Kōgai-chō on July 15, 1924; immediately upon his death the Japanese government conferred upon him the Order of the Rising Sun. Legacy
Few artists have influenced Japanese art as much as Kuroda. As a painter, he was among the first to introduce Western-style paintings to a broad Japanese audience.As a teacher, he taught many young artists the lessons that he himself had learned in Paris; among his students were painters like Wada Eisaku, who were to become among the preeminent Japanese painters of their generation. Many students also followed Kuroda in choosing to


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 study in Paris, leading to a greater awareness of broader trends in Western art on the part of many Japanese artists in the twentieth century; a number of these, such as Asai Chū, even went as far as going to Grez-sur-Loing for inspiration. In particular, the "Academic Impressionism" style that Kuroda promoted, as exemplified in iconic paintings such as Lakeside (1897) and Lilies (1909), achieved a long-lasting predominance within Japanese art society, forming the bedrock of modern, Western-style art training and practice in Japan for many decades to come. Perhaps Kuroda's greatest contribution to Japanese culture, however, was the broader acceptance of Western-style painting he fostered on the part of the Japanese public. Despite their initial reluctance, he was able to convince them to accept the validity of Western-style art theories and practices. This, coupled with the honors bestowed upon him later in his life, bespeak a broader understanding by the Japanese people, and by their government, as to the importance of yōga in their culture. Philately
Two of Kuroda's works have been selected as the subject of a commemorative postage stamps by the Japanese government:

 1967: Lakeside, (1897), for the 1967 Philatelic Week
 1980: Maiko (1893), for the Modern Art Series

References

Citations

Bibliography

External links

 Homepage of the Kuroda Memorial Hall in Tokyo, containing a biography, analysis of selected works, and images of portions of the collection (in English, Chinese, Korean, and Japanese)
 National Diet Library photo and bio

1866 births
1924 deaths
Court painters
Yōga painters
Kazoku
Members of the House of Peers (Japan)
Members of the Japan Art Academy
People from Kagoshima
People from Satsuma Domain
Grand Croix of the Légion d'honneur
Recipients of the Order of the Rising Sun
19th-century Japanese painters
20th-century Japanese


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<mask> (born 4 September 1987), commonly known as <mask>, is a Brazilian professional footballer who plays as a striker for Kuwaiti club Al-Salmiya SC. Having played for clubs in Asia since 2009, he went to represent Timor-Leste internationally in 2014 in order to be registered as an Asian player in his Asian clubs since then, despite having no connection to Timor-Leste. He was declared as ineligible to play for that national team by the Asian Football Confederation in 2017. Club career

Youth career
<mask> began his footballing career in 2004 with the U-16 team of São Bernardo do Campo-based club, Palestra de São Bernardo. In 2005, he moved to his home town São Paulo where he signed a one-year youth contract with one of Brazil's top most club, Guarani and thus became eligible to play for the U-17 team of the club. Grêmio Mauaense
<mask> began his professional footballing career in 2006 with Mauá-based Grêmio Esportivo Mauaense. He scored eight goals in 11 appearances in the 2006 Copa Paulista for the Mauá-based club.Destroyers
He first moved out of Brazil in 2007 to Bolivia where he signed a one-year contract with Liga de Fútbol Profesional Boliviano club, Club Destroyers. He scored 19 goals in 22 appearances for the Santa Cruz de la Sierra-based club in the 2007 Liga de Fútbol Profesional Boliviano. He also made 2 appearances in the 2007 Copa Aerosur. Blooming
In 2008, he signed a one-year contract with another Bolivian club, Club Blooming. He made 7 appearances in the 2008 Liga de Fútbol Profesional Boliviano. He also scored 3 goals in 5 appearances in the 2008 Copa Aerosur for the Santa Cruz de la Sierra-based club. Tecos U.A.G.In 2009, he again moved out of Brazil and this time to Mexico where he signed a short-term contract with Liga de Ascenso club, Club de Fútbol U.A.G. (now known as Estudiantes

masks:
Patrick Fabiano Alves Nóga Luz
Patrick Fabiano
Patrick Fabiano
Patrick Fabiano


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 Tecos). He made his Liga de Ascenso debut and scored his first goal on 26 January 2009 in a 4-1 loss against Jaguares de Chiapas F.C. He scored 2 goals in 13 appearances in the 2009–10 Liga de Ascenso for the Guadalajara-based club. Al-Nasr
In December 2009, he moved to the Middle East and more accurately to Kuwait where he signed a one-year contract with Kuwaiti Premier League club, Al-Nasr SC. He scored 12 goals in 17 appearances in the 2009–10 Kuwaiti Premier League, finishing one goal behind Oman's Ismail Al-Ajmi who finished as the top scorer with 13 goals. He also scored 6 goals in 5 appearances in the 2010 Kuwait Emir Cup for the Al-Farwaniyah-based club.Al-Khaleej
In 2010, he moved to another Middle Eastern country and this time to the United Arab Emirates where he signed a two-year contract with UAE First Division League club, Al-Khaleej Club. He made his debut for the club on 26 August 2010 in a 2010–11 Etisalat Emirates Cup qualification match in a 1-0 win over Al-Fujairah SC and scored his first goal in the same competition two days later on 30 August in a 1-1 draw against Dibba Al-Hisn Sports Club. In the qualification process, he put up an eye-catching performance for the club which included a record of 5 goals in a single match on 7 October 2010 in a 7-0 win over Ras Al Khaima Club and three hat tricks, on 4 September 2010 in a 6-1 win over Armed Forces, on 6 November 2010 in a 5-0 win over Al-Dhaid and on 14 November 2011 in a 6-1 win over Al-Rams Club. He also made an appearance in the 2010–11 UAE President's Cup in Round 1 on 21 September 2010 in a 4-1 loss against Baniyas F.C. He made his UAE First Division League debut and scored his first goal in the competition on 9 December 2010 in a 3-3 draw against Emirates Club. He scored 19 goals in 17 appearances in the 2010-11 UAE First


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 Division League, finishing as the top scorer. He also scored 24 goals in 13 appearances in the qualification to the 2010–11 Etisalat Emirates Cup.In his second consecutive season for the club, he made his first appearance and scored his first goal for the club on 30 September 2011 in a 2011–12 Etisalat Emirates Cup qualification match in a 3-3 draw against Al-Ittihad Kalba SC. He made his first appearance in the 2011-12 UAE First Division League on 24 November 2011 in a 4-0 win over Al-Urooba. In the competition, his performance of the season was on 5 December 2011 when he scored a hat trick in a 3-3 draw against Al-Fujairah SC. He also made an appearance in the 2011–12 UAE President's Cup in Round of 16 on 18 December 2011 in a 2-1 loss against Al-Sharjah SCC. He scored 8 goals in 7 appearances in the 2011-12 UAE First Division League. He also scored 5 goals in 4 appearances in qualification to the 2011–12 Etisalat Emirates Cup. Paranaense
In 2012, he moved back to Brazil and more accurately to Curitiba where he signed a two-year contract with Campeonato Brasileiro Série B club, Clube Atlético Paranaense.He made 2 substitute appearances for the club in the 2012 Campeonato Brasileiro Série B, one on 19 May 2012 in a 4-1 win over Joinville Esporte Clube and another on 2 June 2012 in a 3-0 win over Grêmio Barueri Futebol. He also scored 1 goal in 4 appearances in the 2012 Copa do Brasil. The goal was scored on 13 April 2012 in a 5-1 win over Criciúma Esporte Clube. He helped his team to reach the Quarter-finals of the tournament where the club lost 4-2 on aggregate to Sociedade Esportiva Palmeiras. Hatta
In 2012, he moved back to the United Arab Emirates where he was signed by UAE First Division League club, Hatta Club on a one-year loan deal from Clube Atlético Paranaense. He scored 25 goals in 28


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 appearances in the 2012-13 UAE First Division League finishing as the second top scorer. He also scored 2 goals in 3 appearances in qualification to the 2012–13 Etisalat Emirates Cup.Al-Fujairah
In 2013, he signed a one-year contract with another Emirati club, Al-Fujairah SC. He made his debut and scored his first goal for the club on 7 September 2013 in a 2013–14 UAE President's Cup qualification match in a 7-0 win over Al-Rams Club. He made his 2013-14 UAE First Division League debut on 9 November 2013 in a 1-0 loss against Al-Ittihad Kalba SC and scored his first goal in the competition on 14 September 2013 in a 2-2 draw against Hatta Club. He scored 14 goals in 22 appearances in the 2013-14 UAE First Division League, helping his team to secure the second position in the league and thus getting promoted to the UAE Arabian Gulf League. He also scored 6 goals in 8 appearances in qualification to the 2013–14 UAE President's Cup, sharing the top scorer award with Asamoah Gyan of Al-Ain FC and Grafite of Al-Ahli F.C. Kazma

On 23 July 2014, he moved back to Kuwait where he signed a three-year contract with Kuwaiti Premier League club, Kazma SC. He made his first appearance for the club on 23 August 2014 in a 2-0 loss against Al-Arabi SC and scored his first goal in his second appearance for the club on 30 August 2014 in a 1-1 draw against 2013–14 Kuwaiti Premier League winners, Qadsia SC.On 9 December 2014, he scored the fastest goal in the history of Kuwaiti Premier League, since the league started in the 1961-1962 season. He scored the first goal of the match in a 3-0 win over Al-Yarmouk SC in just 7 seconds after the kick-off. He also made an appearance in the Quarter-finals of the 2014–15 Kuwait Emir Cup in a 3-2 loss against Al-Arabi SC. He made 5 appearances in the 2015 GCC Champions League and


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 helped his team to reach the Semi-finals of the competition where his side lost to 2-1 Qatari side, Al-Rayyan SC. He scored 22 goals in 24 appearances in the 2014-15 Kuwaiti Premier League, finishing as the top scorer and also equaling the record of Kuwait's Hamad Al Harbi who also scored 22 goals in the 2005–06 Kuwaiti Premier League, one less than the record of 23 goals from Syrian international Omar Al Soma in the 2013–14 Kuwaiti Premier League. He began the 2015-16 season in style as he helped his side win their first ever Kuwait Federation Cup, 2015-16 Kuwait Federation Cup with a brace in a 2-1 win over Kuwaiti giants, Kuwait SC. Kuwait
On 27 July 2017, he signed a two-year contract with Kuwaiti giant, Kuwait SC.He made his official debut with the Kuwaiti giants on 7 September 2017 in the 2017 Kuwait Super Cup and helped his side lift the coveted trophy. CSA
On 24 December 2018, he signed a loan of one-year contract with Centro Sportivo Alagoano, CSA. International career
<mask> was part of the first team squad of the Timor-Leste national football team. He was selected for the national team for the first time in 2014. He made his first appearance and scored his first goal for Timor Leste in a 2014 AFF Championship qualification match on 12 October 2014 in a 4-2 win over Brunei. He made another appearance in the tournament on 14 October 2014 in a 0-0 draw against Myanmar. His second goal for the national team came on 17 March 2015 in a 1-0 win over Mongolia in a 2018 FIFA World Cup qualification match.This goal helped them secure a 5-1 aggregate win over the Mongolians and thus helping them to advance to the 2018 FIFA World Cup qualification – AFC Second Round. He has made appearances in the 2014 AFF Championship qualification and an appearance in the 2018 FIFA World Cup qualification (AFC). On 19


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 January 2017, the Asian Football Confederation declared <mask> and eleven other Brazilian footballers ineligible to represent East Timor. Personal life
On 18 June 2013, he received an East Timorese passport and hence he shares dual-citizenship between Brazil and Timor-Leste. However, the Asian Football Confederation found four years later that he had a falsified Timorese birth or baptismal certificate. Career statistics

Club

International goals
Scores and results list East Timor's goal tally first, score column indicates score after each <mask> goal. Honours
Kazma SC
 Kuwait Federation Cup: 2015–16

Kuwait SC
 Kuwait Super Cup: 2017

Individual
 KPL Golden Boot: 2014–15,  2016–17
 Kazma SC top scorer: 2014–15, 2015–16, 2016-17

References

External links

<mask> - EUROSPORT
<mask> - SOCCER PUNTER
<mask> - KOOORA
<mask> - fanet.ae

1987 births
Living people
Footballers from São Paulo
Brazilian footballers
Association football forwards
Club Destroyers players
Club Blooming players
Tecos F.C.footballers
Al-Nasr SC (Kuwait) players
Club Athletico Paranaense players
Hatta Club players
Fujairah FC players
Kazma SC players
Kuwait SC players
Khor Fakkan Sports Club players
UAE First Division League players
UAE Pro League players
Bolivian Primera División players
Brazilian expatriate footballers
Brazilian expatriate sportspeople in Bolivia
Expatriate footballers in Bolivia
Brazilian expatriate sportspeople in Mexico
Expatriate footballers in Mexico
Brazilian expatriate sportspeople in Kuwait
Expatriate footballers in Kuwait
Brazilian expatriate sportspeople in the United Arab Emirates
Expatriate footballers in the United Arab Emirates
Brazilian expatriate sportspeople in Qatar
Expatriate footballers in Qatar

East Timorese footballers
Timor-Leste international footballers
Al Salmiya SC players
Kuwait Premier

masks:
Patrick Fabiano
Patrick
Patrick Fabiano
Patrick Fabiano
Patrick Fabiano
Patrick Fabiano


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<mask> (born 6 December 1977) is an English former professional footballer and manager who is currently professional development coach in the academy of Premier League club Crystal Palace. He previously managed Notts County and Cambridge United, and played for Crystal Palace, Leeds United and Queens Park Rangers among other clubs. <mask> was known for his hard-tackling and aggressive midfield style, and was primarily a defensive midfielder but could also play at right-back. Playing career

Early career
Born in Nottingham, <mask> started his career at Notts County as a trainee before being bought by Sheffield United in 1998 for a fee of £700,000. He scored once during his spell at Sheffield United, his goal coming in the FA Cup against Rushden & Diamonds. Portsmouth
Derry was sold to Portsmouth in 2000 for £300,000. He was a regular in the side under both Tony Pulis and Steve Claridge before being made team captain by Graham Rix.After Rix's departure, <mask> was amongst the many players deemed surplus to requirements by new manager Harry Redknapp in summer 2002 rebuilding and was sold to Crystal Palace for £400,001. He scored only once during his spell at Portsmouth, his goal coming in a crucial win over against West Bromwich Albion. Crystal Palace
Derry helped Crystal Palace in their return to the Premier League in 2004, making 44 appearances including an appearance in the 2004 First Division play-off final. It was his corner that led to Darren Powell scoring a 90th-minute header to send the Eagles to extra-time in the semi-final, which they would win on penalties. He struggled to get into the team during the 2004–05 season and, after a loan spell at

masks:
Shaun Peter Derry
Derry
Derry
Derry


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 Nottingham Forest, Leeds signed him for an undisclosed amount in February 2005. Leeds United
Derry's first goal for Leeds United came on his home debut against West Ham United, sealing a 2–1 victory against the Hammers. <mask> was a regular in the Leeds starting eleven in season 2005–06, becoming a vital part of the squad as they pushed for promotion back into the Premier League and a cult hero with the Leeds fans for his passionate displays.<mask> was part of the Leeds team which reached the Championship Playoff finals, but Leeds ended up on the wrong end of a 3–0 defeat to confine them to another season in the Championship. In August 2006 he pledged his future to the club, signing a contract extension until July 2009. Leeds' manager Kevin Blackwell was sacked after a poor start to the 2006–07 season. In October 2006, new Leeds manager Dennis Wise revealed Derry as the new vice captain of the club, with Kevin Nicholls made captain. <mask> was once again a regular in the Leeds team in the 2006–07 season. A hernia and Achilles tendon injury in January 2007 saw Derry being ruled out for the rest of the season. Derry's fitness returned the following season as Leeds prepared for life in League One.However, he did not feature for the club again and returned to former club Palace on loan in November 2007. Back to Palace
Further doubts about the midfielder's future at the Elland Road club arose when it was reported that Derry had declined Wise's offer to return and feature in the home tie against Oldham Athletic on New Year's Day 2008 with Leeds' missing midfielders due to injuries. It was later revealed that it was actually manager Neil Warnock who

masks: Derry Derry Derry


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 blocked <mask>'s return to Leeds rather than Derry himself. Shortly after his loan spell concluded, <mask> made his move back to Palace a permanent one, signing for the club on a three-year deal. for £150,000. In his second season back at the club he was named club captain after the departure of former captain Mark Hudson to Charlton. He held the position for the next two seasons.In the 2009–10 season, <mask> played every minute of every match for Crystal Palace. The season was an eventful one during which Palace were placed into administration, leading to the departure of Neil Warnock to Queens Park Rangers and a fight to avoid relegation to League One. This was finally achieved on the last day of the season, 2 May 2010 after an away 2–2 draw against Sheffield Wednesday. Queens Park Rangers
Derry departed from Selhurst Park at the end of the season to reunite with Warnock at his new club Queens Park Rangers signing a two-year contract, on a free transfer, after his contract at Palace had expired. On 21 March 2012 <mask> scored his first league goal for the club, and his only in the Premier League, in the 3–2 win over Liverpool. <mask>, alongside his former Crystal Palace teammate Clint Hill, won much respect from QPR fans for his tireless work ethic and leadership on the pitch throughout the Championship title-winning season and the subsequent 2 years in the Premier League. On 21 January 2013, <mask> signed a one-year contract extension with QPR, keeping him at the club until 2014.On 8 August 2013, Derry joined Millwall on a 28-day loan. Managerial career

Notts County
Derry was appointed manager at Notts County on 6 November 2013. Despite looking

masks: Derry Derry Derry Derry Derry Derry


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 destined for relegation, Derry secured Notts's League One status with six wins from the last nine games, a draw on last day of season kept County up by three points. He was sacked on 23 March 2015 with Notts County one place above the relegation positions in League One on goal difference and having won only three games in their previous 24 league matches. Cambridge United
Derry was appointed manager of League Two club Cambridge United on 12 November 2015. On 9 February 2018, following a poor run of form, Derry left the club by mutual consent. Oxford United
In June 2018, Oxford United announced Derry's appointment as first-team coach, under manager Karl Robinson.Derry played, and scored a penalty, during a pre-season friendly victory over Irish club Longford Town in July 2018. Crystal Palace
In September 2019, Derry returned to Crystal Palace as professional development coach in the club's academy system. Career statistics

Managerial statistics

Honours
Crystal Palace
Football League First Division play-offs: 2003–04

Queens Park Rangers
Football League Championship: 2010–11

References

External links

1967 births
Living people
Footballers from Nottingham
English footballers
Association football midfielders
Notts County F.C. players
Sheffield United F.C. players
Portsmouth F.C. players
Crystal Palace F.C. players
Nottingham Forest F.C.players
Leeds United F.C. players
Queens Park Rangers F.C. players
Millwall F.C. players
English Football League players
Premier League players
English football managers
Notts County F.C. managers
Cambridge United F.C. managers
Oxford United F.C. non-playing staff
English Football League managers
Association football


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<mask> (born 4 September 1976) is an Australian politician who was elected deputy leader of the National Party in February 2020. He serves as Minister for Agriculture and Northern Australia in the Morrison Government and has been a member of the House of Representatives since 2016, representing the Division of Maranoa. Littleproud grew up in Chinchilla, Queensland, the son of former state government minister Brian Littleproud. He worked as an agribusiness banker before entering politics. He was appointed to cabinet in the Turnbull Government in December 2017, and has served as Minister for Agriculture and Water Resources (2017–2019), Water Resources, Drought, Rural Finance, Natural Disaster and Emergency Management (2019–2020), and Agriculture, Drought and Emergency Management (2020–present). Early life
Littleproud was born in Chinchilla, Queensland. His grandfather George Littleproud served on the Chinchilla Shire Council, while his father Brian Littleproud was a state Nationals MP and government minister.He attended Chinchilla State High School and Toowoomba Grammar School. As of 2019, he was one of the two members of the national cabinet who had no tertiary qualification. Littleproud was an agribusiness banker before entering politics. He spent 17 years with the National Australia Bank (NAB), including 12 years based in Warwick, Queensland, as district manager (agribusiness and commercial). He joined Suncorp in 2011 as executive manager (business and agribusiness banking) for South West Queensland. Littleproud was the owner of Mr Rental Southern Downs, a rent-to-buy business that employed four people. Political career

Littleproud was elected to parliament in 2016, succeeding retiring Nationals MP Bruce Scott.Within 18 months, Littleproud was elevated directly to cabinet as Minister for Agriculture and Water Resources, following a reshuffle of the Second Turnbull Ministry. He was sworn in at Government House in Canberra on 20 December 2017. In November 2018, Littleproud was additionally appointed Minister Assisting the Prime


texts:
 Minister for Drought Preparation and Response. Following the Morrison Government's return at the 2019 federal election, his title was changed to Minister for Water Resources, Drought, Rural Finance, Natural Disaster and Emergency Management. He re-assumed the agriculture portfolio following Bridget McKenzie's resignation in February 2020, becoming Minister for Agriculture, Drought and Emergency Management. Deputy leadership
Littleproud was viewed as a potential candidate to replace Barnaby Joyce as National Party leader in February 2018. The position was eventually won by Michael McCormack.On 4 February 2020, following Bridget McKenzie's resignation, he defeated Keith Pitt and <mask> to become deputy leader of the National Party. The ballot for the deputy leadership was held simultaneously with a leadership spill in which McCormack defeated a challenge by Joyce. It has subsequently been suggested that Littleproud may emerge as a compromise candidate if conflict continues between supporters of McCormack and Joyce. Political positions

Murray-Darling Basin

On 14 February 2018 Labor voted with the Greens to disallow a mechanism in the Murray Darling Basin Plan which would have prevented farmers in the Northern Basin giving up 70GL of water which otherwise would have been lost to seepage and evaporation. The disallowance motion triggered a crisis in basin states when New South Wales and Victoria pledged to abandon the Plan as a result. It was widely considered the withdrawal of the two largest states would see the Basin Plan dismantled after it had taken more than a century to strike the agreement. On 7 May 2018, in the lead up to a second disallowance motion that would have blocked 36 environmental water savings projects, Littleproud struck a deal with Labor that both secured the works in question and the 70GL recovery reduction for Northern Basin farmers which had previously been disallowed.This effectively resurrected the Murray-Darling Basin Plan by reassuring Basin states the Plan would be fulfilled as agreed in 2012. In


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 addition to securing the Basin Plan, Littleproud delivered enhanced protections for Aboriginal people in the Basin. This included an Indigenous position on the MDBA board and a world-first $40 million indigenous fund so Aboriginal communities could buy water for either cultural or economic purposes. Regional Investment Corporation

Littleproud successfully negotiated with the Senate cross bench for passage of legislation establishing the Regional Investment Corporation. On 6 February 2018 the new laws passed the upper house, breaking a political deadlock that had dragged on months. On 16 May 2018 it was announced that the RIC's headquarters would be set up in Orange, New South Wales, fulfilling in part the Nationals' commitment to deliver public service jobs to regional areas. Same-sex marriage
In December 2017, Littleproud was one of four members of the House of Representatives to vote against the Marriage Amendment (Definition and Religious Freedoms) Bill 2017, which legalised same-sex marriage in Australia.Littleproud had pledged to vote according to the majority response of his electorate of Maranoa in the Australian Marriage Law Postal Survey, and Maranoa recorded a result of 56.1% against changing the definition of marriage. Personal life
Littleproud has three children. He and his wife Sarah announced their separation in 2019 following a 20-year marriage. As on 23 October 2021, Littleproud possesses a large share portfolio in the resources industry: he owns shares in BHP, mining company South32, oil and gas exploration company Blue Energy, iron ore company Atlas and engineering company Ausenco. References

1976 births
Living people
Liberal National Party of Queensland members of the Parliament of Australia
Members of the Australian House of Representatives for Maranoa
Members of the Australian House of Representatives
21st-century Australian politicians
Government ministers of Australia
Members of the Cabinet of Australia
Turnbull Government
Morrison Government
National Party of Australia members of the Parliament of


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<mask> (born March 27, 1964) is a Filipina broadcast journalist known as the host of the news magazine program Kapuso Mo, <mask> (2004present) on GMA Network. She formerly anchored the newscast State of the Nation with <mask> on GMA News TV from 2011 to 2020. <mask> is a multi-awarded journalist. In 1998, <mask> became the first Filipino to win the British Fleet Street Award for Journalism. In 1999, <mask> and the I-Witness team received the Philippines' first Peabody Award for producing the "Kidneys for Sale" and "Kamao" documentaries. <mask>'s story of a hostage crisis in Cagayan Valley made her the first Filipino to win in the New York Film Festival. Early life
<mask> was born in La Union in the northern Philippines, on March 27, 1964.Her parents are Abelardo <mask>, a government employee, and Maura Aspiras, an agriculturist. <mask>'s grandmothers, Sixta "Apo Ittang" Aspiras and Concepción "Cion" <mask>, influenced her in telling stories. Soho attended the University of the Philippines Diliman to study mass communication. One of her professors was Luis Beltran, who inspired <mask> to finish her studies and practice journalism in Manila. Career

<mask> joined GMA News and Public Affairs in January 1985. <mask>'s first voice-over report was a feature story on the inauguration of the Manila Line 1 from Baclaran to Monumento. <mask> was later assigned to the defense and military beats.In 1991, <mask> earned a Bronze Award at the New York Film Festival for her coverage of a hostage

masks:
Maria Jessica Aspiras Soho
Jessica Soho
Jessica Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho
Soho


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 crisis in Cagayan Valley, the first for a Filipino. She also received the Ka Doroy Valencia Award given by the Kapisanan ng mga Brodkaster ng Pilipinas. In 1994, she received the Grand Prize from the Asia-Pacific Broadcasting Union for her coverage of a breaking news story. <mask> is included in the list of 100 Filipino Women of Distinction chosen during the Philippine Centennial celebrations. <mask> helped conceptualize the one-hour documentary television program I-Witness, which she co-presented from its premiere in 1999 to 2004. The I-Witness documentaries "Kidneys for Sale" and "Kamao" made her the first Filipino reporter, with GMA Network as the first Filipino network, to win a Peabody Award in 1999. She won the Asian Television Award for Best News and Current Affairs Special for the 2001 "Saksi Sa Kasaysayan" documentary.In 2014, <mask>'s GMA news programs Kapuso Mo, <mask> and State of the Nation with <mask> were recognized by the Peabody Awards for their coverage on Super Typhoon Yolanda. State of the Nation also earned Soho consecutive wins for Most Trusted News Presenter by Reader's Digest Asia. In 2015, <mask> was given an honorary doctorate in humanities by the University of Northeastern Philippines during its 67th commencement exercises on April. Controversy
In May 2013, a controversy sparked involving <mask> and comedian Vice Ganda, involving a joke directed at the anchor during the latter's concert held that May. Vice mentioned <mask>, among several other

masks:
Soho
Soho
Soho
Jessica Soho
Jessica Soho
Soho
Soho
Soho


texts: personalities, in a stand-up skit involving celebrities starring in a pornographic film, adding that <mask> would be gang raped if she were cast, as well as making several jokes ridiculing her weight. Vice Ganda later issued a public apology during his regular appearances in It's Showtime, admitting to his wrongdoing and that he offended <mask> and several others with his jokes. <mask> later acknowledged Vice's apology but she denied any intent to close any further discussion with the comedian.In June 2021, Nas Daily announced that <mask>, among other known Filipino personalities, which include Miss Universe 2018 Catriona Gray, fashion designer Michael Cinco, and food vlogger Erwan Heussaff would teach courses through his Nas Academy. However, following the Whang-od controversy, <mask> has made a statement that she would no longer pursue the <mask> course in Nas Academy. In January 2022, <mask> was accused of being "biased" against Bongbong Marcos, a presidential candidate in the 2022 Philippine presidential election, by his spokesman Victor Rodriguez after declining to participate in The Jessica Soho Presidential Interviews on GMA Network. GMA responded to Rodriguez's claim on Marcos' absence, saying "Throughout her career, Ms. <mask> has consistently been named the most trusted media personality in the Philippines by both local and foreign organizations, a testament to her embodiment of the GMA News and Public Affairs ethos: 'Walang Kinikilingan, Walang Pinoprotektahan, Serbisyong

masks:
Soho
Soho
Soho
Soho
Jessica Soho
Jessica Soho
Soho
Soho


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<mask> is Professor of Economics and Director of the Development Policy Research Unit (DPRU) at the University of Cape Town. His area of research has concentrated on labour economics and poverty/income distribution mainly in his native South Africa, and recently, been expanded to other parts of Africa - in which he is world-renowned authority. Early life and education
<mask> was born in Roodepoort, a mining town in Gauteng province, South Africa. He attended school at Diocesan College (Bishops) in Cape Town before achieving a BA (Honours) in Economics from University of Cape Town in 1991. He completed the coursework component of a Master of Economics at the Massachusetts Institute of Technology in 1992, then proceeded to obtain a master's degree and Ph.D., in Economics from Stellenbosch University in 1996 and 2003 respectively. Career
<mask> is Professor of Economics, and the Director of the Development Policy Research Unit (DPRU), a university-recognized research unit located within the School of Economics at the University of Cape Town, South Africa. He holds an National Research Foundation (South Africa) B2 rating, and with a total citation estimate of over 7700 and an h-index of 47 (as at October 2021), he is one of the most cited South African economists globally.He is active on Twitter and features regularly on the DPRU's Facebook and YouTube accounts. Appointments and memberships
Bhorat is a member of the South African Presidential Economic Advisory Council (PEAC), announced by President Cyril Ramaphosa in the 2019 State of the Nation Address (South Africa), to ensure greater coherence and consistency in the implementation of economic policy and ensure that government and society in general is better equipped to respond to changing economic circumstances. Bhorat also advised previous Presidents Thabo Mbeki and Kgalema Motlanthe on economic matters, formally serving on the Presidential Economic Advisory Panel. Bhorat was the Minister of Labour's appointee on the Employment Conditions Commission (ECC) – the country's minimum wage setting body. He

masks:
Haroon Bhorat
Bhorat
Haroon Bhorat


texts: is a member of the Statistics Council of South Africa. He has served as advisor to the South African National Treasury, and former South African Minister of Finance, Pravin Gordhan. He has undertaken extensive work for several South African government departments – most notably the Department of Employment and Labour and the Presidency, including an appointment as Advisor on the South African Parliament's High Level Panel on Acceleration of Change and Transformation.He joined the IZA as Research Fellow in January 2013 and is a regular IZA World of Labor contributor. In 2013/4 he was invited to be a Non-resident Senior Fellow  at Brookings affiliated to the Global Economy and Development programme, and working on the Africa Growth Initiative (AGI). Bhorat was inducted to the UCT College of Fellows in 2021. Bhorat consults for a number of supranational organisations such as the World Bank, the UNDP, and the ILO, Ratings Agencies and emerging market fund managers. He is an Advisory Board Member for the UNU World Institute for Development Economics Research (UNU-WIDER), Executive Committee Member for the International Economic Association (IEA), a member of the ILO's Global Research Reference Group (RRG), a member of Board of Directors for Partnership for Economic Policy (PEP). He sat on the advisory board of the UNDP's 2019 and 2020 Human Development Reports, and was a member of the World Bank's advisory board of the Commission on Global Poverty, as well as a member of the Program Committee of the 2017 International Economic Association (IEA) World Congress. He is a member on the Advisory Committee of the joint United Nations and World Bank Policy Study on the role of Development in the Prevention of Violent Conflict.He also sits on the UN/WHO's High Level Commission on Health Employment and Economic Growth. <mask> previously served as a member of the UN Commission on Legal Empowerment of the Poor (LEP), and was Head of Research for the UN's High-Level Panel on the Post-2015 Development Agenda. Prof. <mask> holds the DST/NRF SARChI Chair in Economic

masks: Haroon Bhorat


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 Growth, Poverty and Inequality Research. He also served as a Social Sciences jury member for the Infosys Prize 2020. Academic contributions
<mask>'s work has three key discernable strands:  Firstly there is a long-standing focus on the empirics of household poverty and inequality dynamics in South Africa. Secondly,  a consistent and expansive research programme for a period close on 25 years - on developing country labour markets. Thirdly, and possibly much more recently – has been a relatively new avenue of research on trying to undertake applied work in the area of economic complexity.In each of the strands, his modus operandi, is the application of econometric techniques to large survey datasets. Serving in a variety of public roles ranging from high-level advisory work for government departments and multi-lateral institutions, to giving public lectures and seminar presentations at the world's leading universities (including for example Columbia University, Cornell University, Yale University and University of Oxford), Bhorat's ability to seamlessly switch between conducting hard empirical analysis and providing evidence-based policy advice that is accessible to a broader audience, has had a direct impact on the discipline. His research feeds into policy decisions and pronouncements at the highest level, including Cabinet memoranda, State of the Nation Address (South Africa) and legislative promulgation. His work has been hugely influential in policy making in respect of poverty, inequality and labour market issues in South Africa. <mask> and the DPRU have become the international focal point for African work on understanding the impact of minimum wages in the region. Hence the South African National Minimum Wage Commission have requested Prof <mask> and his team undertake the impact analysis of the National Minimum Wage (NMW) (2020-2021). This work uses innovative econometric techniques, combining a Difference in differences with a Regression discontinuity design.In addition, minimum wage analysis is being done for Mauritius, the Comoros, and

masks: Bhorat Bhorat Bhorat


texts: other African countries. He is widely considered to be one of the leading experts in the world on understanding minimum wages and their impact in the developing country context. This research has elicited a significant debate and discussion within the academic and policy community and the ongoing body of work is viewed as a novel intellectual contribution to the South African, and arguably developing country, literature. This work on minimum wages has also been extended via the development of a Multiple Index of Violation (MVI). The MVI is a novel index used to measure the extent and depth of minimum wage violation, and includes non-wage measures of violation. The MVI involves applying the Alkire-Foster method of measuring multi-dimensional poverty and also using principal components to robustness check the measure (see British Journal of Industrial Relations article). <mask> and his colleagues thus remain leaders in the field in terms of modelling the determinants of violation of labour laws by firms, providing innovative econometric solutions to the problems of endogeneity inherent in this type of work.The MVI has now been applied globally in 24 countries around the world. His early work on poverty and inequality dynamics, much of it in collaboration with Professor Murray Leibbrandt, served as the first empirical work on post-apartheid survey datasets examining poverty and inequality dynamics in South Africa. It is fair to say that this body of work - which garnered the Alan Pifer book Award  and spawned a series of journal articles -  has served as the intellectual seedbed for all the future empirical work by economists, on poverty and inequality issues in South Africa. Some of his earliest research involved a series of studies conducted with Murray Leibbrandt and Prof Ingrid Woolard, that used covariates such as race, gender, education and location as a good predictor of vulnerability in the South African labour market. Bhorat has also conducted research on Sub-Saharan Africa economies' labour markets, where he finds a largely unenforced minimum


texts: wage laws riddled with complexity and vagueness. Furthermore, the study finds that the minimum wage levels within Sub-Saharan Africa seem to be set at various levels relative to median wages, with largely negative impacts on employment levels within African countries. His rich vein of research on labour markets in South Africa rank him possibly as the best known economist working on South African labour market issues.His work has ranged from estimated the gender pay gap in South Africa, to a more careful econometric assessment of the contribution of union membership to wages across the distribution. Most notably though, he was at the forefront of the debates in the early 2000s around labour regulation in South Africa, using his multiple publications to build an empirical argument for estimating the level of labour regulation in South Africa. More recently, and in keeping with <mask>'s attempt to remain at the forefront of trying to analyse changing labour market dynamics in South Africa, he has sought to understand the phenomenon of wage polarisation in South Africa. Using a combination of unique data-sets as well as fairly novel econometric techniques, this work feeds into the global labour market literature on how the task content of occupations are fundamentally changing the nature of work as well as the returns to employment. <mask> was also a key player in the first example of inter-disciplinary academic analysis focused on the emerging Shadow State and institutionalised corruption in South Africa, purposefully targeted at a non-academic audience. “Betrayal of the Promise: How South Africa is Being Stolen” was produced by a number of academics, under the banner of the State Capacity Research Group. This report on state capture in South Africa, was made publicly available in mid-2017, aiming to contribute to an analytically clear, and academically rigorous, treatment of institutionalised corruption in South Africa – and contributing to the public debate about ‘State capture’.Prof. <mask> and a select group of DPRU researchers then started work on


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 related projects such as: “State Capture and the Economics of Corruption” and “Removing Corruption in State-Owned Enterprises in South Africa: Towards An Action Plan”. The research aimed to situate the case of South Africa within the relevant literature, and critically assess how to define what has taken place. They focused on the central role that State-owned enterprises (SOEs) have played given their prominence in the SA economy and their location at the interface between the State and the private sector. The research team used the Worldwide Governance Indicators (WGI) and analysed governance, taking a more detailed empirical approach informed by their access to data. Bibliography

Edited books
These are some of Bhorat's edited books:
 Better Choices for South Africa, FORTHCOMING. Co-edited with Mcebisi Jonas and Greg Mills; Brenthurst Foundation, South Africa. Book Chapters
Bhorat has authored (or co-authored) over 50 book chapters.To read the full list, please visit his CV

Journal articles
Bhorat has written more than 30 refereed journal articles including:

He was also a guest editor for IZA Journal of Labor & Development, with Ravi Kanbur and Li Shi, for the Special Collection, titled "Thematic series on Reforming Minimum Wage and Labor Regulation Policies in Developing Economies" in 2016. Other publications
Bhorat has published more than 20 non-refereed journal articles, 36 collaborative working papers, 63 DPRU working papers, 10 DPRU policy briefs, and more than 100 research reports. He regularly publishes blogs, book reviews, analysis pieces and Op-eds in the media, and is frequently interviewed and cited by the press. Many of his presentations in webinars, conferences and other invited speaking engagements, are available online. References

External links
Profile on Google Scholar
Haroon on IDEAS/RePEc
Haroon on The Conversation

South African economists
University of Cape Town academics
Living people
Labor economists
Development economists
University of Cape Town alumni
Stellenbosch University alumni
Year of birth missing


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<mask> (born October 26, 1956) is a jazz pianist and organist known for post-bop and hard bop. He has worked with Benny Golson since 1996 and performs under his own name all over the world. Early life
<mask> was born in Bridgeport, Connecticut, on October 26, 1956. His parents ran a music store. His father was a jazz guitarist, and LeDonne started performing locally around the age of ten. He also had lessons with John Mehegan for four years. After graduating from the New England Conservatory of Music where he studied with Jaki Byard in 1978, he moved to New York City and joined the Widespread Depression Jazz Orchestra.Later life and career
<mask> left the Widespread Depression Jazz Orchestra in 1981 and toured the UK with Panama Francis and the Savoy Sultans Back in New York, LeDonne became the house pianist at Jimmy Ryan's, where he played with some big names in jazz during 1981–83. He was also part of Benny Goodman's Sextet in 1982–83. LeDonne joined Milt Jackson's quartet around 1987; he also composed for and recorded with the band and eventually became musical director. He stayed with Milt Jackson until Jackson's death in 1999. His first recording as a leader was in 1988. It was released by Criss Cross, and LeDonne went on to record several more albums for them in the 1990s. "As a sideman he played in the Art Farmer–Clifford Jordan Quintet and toured Paris with Grady Tate (both 1988), performed with Charles McPherson (1992), James Moody (1992), Sonny Rollins (1995), and Benny Golson (late 1990s to present), and served as an accompanist to Ernestine Anderson, Annie Ross

masks:
Michael Arthur LeDonne
LeDonne
LeDonne


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 and Mary Stallings."In 1998 <mask> began recording for Double-Time Records. In 2000 <mask> started his organ band called "The Groover Quartet" as the result of a weekly Tuesday night gig at Smoke Jazz Club in NYC. This brought his organ playing to prominence and the band went on to record many CD's for the Savant label as well as tour the world. He continues to split his time between the organ and the piano recording several #1 recordings as well as winning the Downbeat Rising Star Poll and being nominated for Best Keyboards by the Jazz Journalist Association in 2012. As a sideman he played organ  with Lou Donaldson, George Coleman and David "Fathead" Newman. In 2014 LeDonne revived the annual disability pride march in New York City. Playing style
Grove wrote: "A level of understatement in LeDonne's style reflects the playing of Hank Jones and Tommy Flanagan.Predominantly a bop pianist, he introduces a strong left hand into his work and reveals an understanding of swing piano playing". Major influences also include  Wynton Kelly, Cedar Walton and McCoy Tyner. His Hammond Organ playing shows influences ranging from Jimmy Smith, Don Patterson and Charles Earland to Melvin Rhyne and Larry Young. Discography

As leader/co-leader

As sideman
With Eric Alexander
Gentle Ballads (2004) Venus
The Battle (Live at Smoke) [with Vincent Herring] (2005) HighNote
Gentle Ballads II (2006) Venus
Gentle Ballads III (2007) Venus
Lazy Afternoon: Gentle Ballads IV (2008) Venus
Revival of the Fittest (2009) HighNote
Friendly Fire (Live at Smoke) [with Vincent Herring] (2011) HighNote
Live

masks: LeDonne LeDonne


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 Encounter [New York All-Stars] (2018) Ubuntu Music

With <mask>
Keep Steppin'  (2001) Criss Cross

With Chris Flory
For All We Know (1988) Concord
Word on the Street (1996) Double-Time
For You (2007) Arbors

With Benny Golson
Remembering Clifford (1998) Milestone
Brown Immortal (1997 [rel. 2000]) Keystone/Video Arts [Japan]
Terminal 1 (2004) Concord
New Time, New 'Tet (2009) Concord
Horizon Ahead (2016) HighNote

With Wycliffe Gordon
Boss Bones (2007) Criss Cross
Cone and T-Staff (2009) Criss Cross

With Scott Hamilton
Organic Duke (1994) Concord

With Michael Hashim
A Blue Streak (1991) Stash
Guys and Dolls (1992) Stash
Multi Coloured Blue [a tribute to Billy Strayhorn] (1998) Hep

With Milt Jackson
Sa Va Bella (For Lady Legends) (1997) Qwest/WB

With Clifford Jordan
The Mellow Side of Clifford Jordan (1989–1991 [rel. 1997]) Mapleshade

With Hendrik Meurkens
Cobb's Pocket [with Peter Bernstein, Jimmy Cobb] (2019) In+Out

With Alvin Queen
I Ain't Lookin' at You (2005) Enja
Mighty Long Way (2008) Enja

With Duke Robillard
Swing (1986 [rel. 1988]) Rounder

With Scott Robinson
Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong (2004) Arbors
Forever Lasting: Scott Robinson Plays the Compositions of Thad Jones (2007) Arbors

With Jim Rotondi
Blues for Brother Ray [a tribute to Ray Charles] (2009) Posi-Tone

With Tad Shull
Deep Passion (1990) Criss Cross
In the Land of the Tenor (1991) Criss Cross

With Greg Skaff
Blues For Mr. T (2003) Khaeon [note: reissued in 2004 as Ellington Boulevard on Zoho]

With Gary Smulyan
Saxophone Mosaic (1993) Criss Cross
Gary


texts:
 Smulyan With Strings (1996) Criss Cross
The Real Deal (2002) Reservoir
More Treasures (2006) Reservoir
Smul's Paradise (2011) Capri

With Jim Snidero
Standards Plus (1997) Double-Time
 Tippin' (2007) Savant

With Benny Waters
Birdland Birthday: Live at 95 (1997) Enja

With Cory Weeds
Big Weeds (2008) Cellar Live
Up a Step: The Music of Hank Mobley (2012) Cellar Live
Condition Blue: The Music of Jackie McLean (2014) Cellar Live
Let's Groove: The Music of Earth Wind & Fire (2017) Cellar Live
O Sole Mio!Music From the Motherland (2019 [rel. 2021]) Cellar Live

With Laura Welland
Dissertations on the State of Bliss (2004) OA2/Origin

With Saori Yano
Sakura Stamp (2005) Columbia

References

External links
Smokejazz.com bio
<mask>'s home page
In Conversation with <mask>ne by Tomas Peña (Jazz.com)

1956 births
Living people
American jazz pianists
American male pianists
Musicians from Bridgeport, Connecticut
20th-century American pianists
Jazz musicians from Connecticut
21st-century American pianists
20th-century American male musicians
21st-century American male musicians
American male jazz musicians
Widespread Depression Jazz Orchestra members
Double-Time Records artists
Criss Cross Jazz

masks:
Mike LeDne
Mike LeDon


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<mask>na <mask> (born on 26 November 1983; Ukrainian: Уляна Нєшева) is a Ukrainian contemporary painter and tattoo artist, born in Kerch, Crimea, Ukrainian SSR. Following her education at the Academy of Design and Arts KSADA in Kharkiv, <mask> moved to Kyiv, where she experienced a rampant growth as a painter. In the subsequent years since her premiere in 2010, <mask> hosted 6 solo exhibitions and created over 50 paintings. Her paintings are displayed to this day in private galleries of Ukraine, in the Institute of Contemporary Art, Miami as well as in private collections. In 2014, despite of being one of the most prominent Ukrainian painters of her time, <mask> started a career of a tattoo artist. In 2017, she opened her tattoo studio "Nesheva Art Room" in Kyiv. <mask> is consistently cited as one of the best and sought-after minimalist tattoo artist of Ukraine, known for her long branches tattoos and floral style.<mask>'s clientele includes some of the most famous Ukrainian artists, such as Nadya Dorofeeva, Evgeny Filatov, Nata Zhizhchenko and Irina Gorovaya. Within the last years, <mask> has broadened her artistic reach, expanding her work in the areas of fashion and graphic design. Early life
<mask> <mask> was born on 26 November 1983, in Kerch. Her grandmother, Angelina Volozhnina, instilled a love for art in her young granddaughter by taking her to art museums in Dresden, where Nesheva got inspired by Raphael masterpiece the Sistine Madonna. In 1990, she enrolled in the Roman Serdiuk's School of Fine arts. Nesheva showed a passion and a skill for drawing from an early age. Her teachers, including artist Victor Zaporozhec, noticed her artistic abilities, and mother encouraged her talent and any creative endeavors.In May 1998, at the age of fifteen, <mask> graduated as an external student from Zhelyabov High school in Kerch. In 1999,

masks:
Ulyana Akhsarbekov
Nesheva
Nesheva
Nesheva
Nesheva
Nesheva
Nesheva
Nesheva
Ulyana
Nesheva
Nesheva


texts:
 <mask> started taking private classes from Ukrainian academic artist Tatyana Dydnik. In 2000, <mask> moved to Kharkov, where she enrolled to Academy of Design and Arts KSADA. At age 16, <mask> set off for the first time on her own; as she stated: "First thing I did was buying a canvas and a couple of oil paints tubes, and that was the moment when I've found my direction as an artist. Since then, I only work with oil painting, as acrylic paint same as gouache, doesn't have an inner strength in it for me." At the same time, she became interested in film photography and graphic arts; she continued mastering her skills as an artist by extensively producing many illustrations, lithographs and conceptual photography series. Career

Painting
<mask> began her artist career in the early 20s, exploring a variety of painting techniques and creating graphic arts primarily for local publications.Eventually, she developed a style that combined absolute isolation, "conservation" of meanings, crazy play of color pallette, photographic accuracy, which still does not cross the line of photorealism and the ability to let the viewer in. Her breakthrough as an artist, <mask> did in June 2010, when she won the first place in Kyiv Art Week; the same year she displayed her work at Berlin Art Week. In the subsequent years since her debut, <mask> has taken an increasingly experimental approach in her stylistic shifts. Within the six years period, from 2010 to 2016, <mask> had six personal exhibitions and created over 50 paintings. Her approach to artwork is consistently rich, nuanced and thought-provoking. To this day, <mask>'s artwork can be found at Institute of Contemporary Art, Miami and mostly in the private collections. In March 2015, <mask> created illustrations for the book of poetry "Island Being" by Artash Adriasov.Despite of being a versatile artist,

masks: Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva


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 <mask> recalls painting as her favorite form of art: "The painting is like a mirror. You will never see in the reflection of what you do not have inside. Tattoos die with people, but paintings will live forever." Tattoo art
In 2014, despite her success as a painter, <mask> decided to try herself in the other shape of art, as she stated: "Once I felt the need for a new way of self-realization, and I decided to dive into Tattoo art. As a result, intriguing acquaintance grew into love of life. For me, tattooing is primarily art, and when art is transformed into an integral part of the personality, it causes delight." She got her first tattoo of a cat on the shoulder at 16, in the unknown studio in Kerch.However, <mask>'s interest in Tattoo art raised to the new level, when her friend, Andrei Bezpamyatny, who is a realism tattoo artist, showed her how to use the machine. It took her two days to learn and she mastered her skills by making her first tattoo on herself, of two-headed girl in a dress, which represents a close connection with her sister. Many celebrities have tattoos done by <mask>: Nadya Dorofeeva, Evgeny Filatov, Nata Zhizhchenko. She is known for her own unique minimalist style with the finest lines and a laconic plot, as she said: "I started working in minimalism intuitively, just smoothly moved from graphics to what is close to me. Minimalism is the purity of lines, laconicism, restraint and elegance. The peculiarity of such tattoos is that they become a harmonious addition to the graceful lines of the body with its skin color, all these moles and bones." For a long time, a sprig of lavender became a brand mark of her tattoo style.As <mask> stated: "My popularity came with a tattoo of the long branch for one of my clients. At that time, such sketches were not considered by anyone as a tattoo at all. But that was the moment,

masks: Nesheva Nesheva Nesheva Nesheva Nesheva


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 which precisely defined my style. Now you can find a lot of similar tattoos and every time I see them, I feel proud to be the first." Being renowned as one of the pioneers in floral and minimalist style, <mask> is considered to be one of the best tattoo artists of Ukraine. On 4 February 2017, <mask> opened her own tattoo studio "Nesheva Art Room" in Kyiv. In November 2019, she became a member of the National Tattoo Association of Ukraine and a judge in the first online tattoo festival in Ukraine.In November 2020, <mask> <mask> opened a new tattoo studio "6:19", pursuing the concept of minimalism as a reflection of her style and artistic vision. Architectural Balbek Bureau worked on the design of the project. Fashion
Nesheva built a repertoire in the fashion business as well. In 2012, <mask> made clear her interest to work in the clothing design industry, as she stated: "It was always difficult for me to find simple clothes that would not distract from my face. Therefore, I've decided to create my own brand: things so simple that they could be called clothing sketches, but I was solo involved in design and visual part." She launched the clothing line "NESHEVA Sketch Clothing" with her friend, Valeriya, however, the partnership ended six months later, but <mask>'s involvement in the fashion world was not over. In 2015, <mask> collaborated with Ukrainian label TTSWTRS, as the baseline for each new collection of brand was works of acclaimed tattoo artists from all over the world.She created sensual minimalist drawings to combine with the clothes organically, as brand preserves clothing as a second skin and tattoos as the only true way to decorate it, which demonstrates self-expression and freedom in the collections. In 2017, Nike had released a white collection which consisted of brand's main hits – from the dream of all Nike Air Max 90

masks: Nesheva Nesheva Ulyana Nesheva Nesheva Nesheva Nesheva


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 mods to those designed specifically for Nike Cortez athletes, where <mask> was a model to represent Air Force 1. In 2018, <mask> was invited to take a part in the collaboration project of Puma and Buro 24/7. On 14 July 2019, <mask> collaborated with the Ukrainian jewelry brand Côte & Jeunot and launched the capsule collection of accent pendants and earrings. Her illustrations were transformed into gold and silver pieces with a commitment to exceptional craftsmanship. Artistry
<mask>'s transition from being an unknown painter to becoming a prosperous artist took place in a short space of time. In 2008, she moved to Kyiv and started working on her first big art piece.In June 2010, <mask> participated in Kyiv Art Week, an international art week of contemporary art fair, where she was noticed by various critics and curators. Her breakthrough as an artist, <mask> made in 2010, when her painting "Blue Blood" took the first place and traveled to Berlin Art Week. In particular Leonora Yanko, a Ukrainian gallerist, was impressed by her work and invited <mask> to have her first solo exhibition, that opened in May 2011 at Hudgraf Art Gallery, Kyiv. In 2011, <mask> presented her work in Petersburg Art Week, Russia. In June 2011, she made a Studio space in her Kyiv apartment, where she commenced a series of paintings for her upcoming personal exhibition. The first retrospective to be held of her work was the "NoConcept" exhibition at Mystetskyi Prostir 365 Gallery, Kyiv, in 2011. On 7 December 11, two paintings "Chichkan's Skull" and "Eyes" from "NoConcept" collection were sold on the auction for the private collections of Vasily Bondarchuk and Alena Vinnitskaya where Vladimir Dantes was the auctionist.Traditionally, the interpretation of <mask>'s works at the visual level comes from the subdued emotional tone of what they represent compared to what


texts: is actually depicted. For example, as stated by Art Ukraine, "In Contemporary art, which is so closely relying on text and ideas, the lack of concept is perceived as concept. That is why the title of <mask>'s project, "NoConcept", may seem as just another non-conformist game, "rebellious art". But at this show, unlike with most Contemporary art, you won't find anything that speaks of protest, or urges one to do something. Most of the works, presented at the show, are portraits. That is – representations of people's faces, something that in art-history is usually (and sometimes mistakenly) named "portrait". But these are not portraits of real people and not even collective images.Done in photorealist way but still not completely following the conventions of the technique, her characters do not lack realness. These ‘molds’ of reality seem very much like hand of prehistorical men in caves – they exist no matter who and why there were made." In 2012, <mask> took part in Festival of Contemporary arts "Art Olimp", Kyiv, and in the "First Odessa International Festival of the Arts", Odessa. On 14 March 2012, <mask>'s painting "Blue Dog" was presented as a lot at the charity fundraising event "Share the warmth of the soul with a four-legged friend" to raise money for the charitable foundation "Sirius", the animal shelter. On 22 November 2012, <mask> had her second exhibition "DRAMA" at Mystetskyi Prostir 365 Gallery, Kyiv. <mask> said about her work: "Souls lost in love, in prostration. Weightlessness.Passion. Grace. With / without faces, without masks, without borders ... “DRAMA” is a series of paintings depicting semi-naked female bodies. But this is by no means blatant vulgarity and not even eroticism – it's just a woman. Alive woman, packed in silence. Each of these bodies cary an emotion that seeks attention and comfort, which is not able to


texts: break free. These paintings are silent, but silent loudly."In December 2012, <mask>'s paintings "Woman" and "No Thoughts" were published in the "City" magazine. In 2013, <mask> participated in Modern Art Festival, Kyiv. In 2013, <mask> had "Retrospective" exhibition at Mainstream Girls Gallery, Kyiv. This exhibition lionized the artist, brought into full public view the scope of her old and unseen artistry, and became a turning point, which marked the beginning of a new period of the author's work. On 29 November 2013, <mask> was one of the painters presented in the "Hype" exhibition at Kosoy Kaponir Fortress, Kyiv.In April 2014, Greter Art Centre, Kyiv, organized the exhibition "Phoenix. Rebirth". <mask> was one of the four artists presented: Maria Krivopishina, Petra Rubar, a world-renowned sculptor Dmitry Yves, whose works are in the private collection of Patricia Cass and Monica Bellucci.This exhibition is relevant for socio-cultural development and society in general, as it brings up the subject of contrast of the external and internal state of the soul, entering a new level of perception. While "Phoenix. Rebirth" exhibition bears the theme of rebirth, restoration, artists' work illustrates the ambiguous idea of death for the sake of life. The essence of the exhibition is to show the transition from the past to the present and such an ephemeral future. In June 2014, Greter Art Centre hosted another extensive exhibit  "Illusion...Reality?" <mask> was among two other represented artists: Liliya Isyk and Petra Rybar. <mask> designates her series of paintings as a "dramatic story, which is full of subtle emotion and photographic accuracy of the image."As stated by Darina Fialko for "Ukurier" magazine: "Among the exhibited work of <mask>, one can fall in love with black and white paintings, which, as stated in the press release, are

masks: Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva Nesheva


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 "silent out loud". Every brush stroke gives you chills, as if canvases speak to the viewer differently: loudly and in whispers, strictly and sensually." In 2016, Ukrainian art dealer, Anna Turayeva, offered <mask> to exhibit series of her works at the "Art Basel", the premier art show of the Americas offering a premier platform for renowned artists. Five of <mask>'s paintings: "Pigeon Lady", "A Girl in A Musk", "Black Flame", "Birch", "Skull" and "Eyes" are displayed in Institute of Contemporary Art, Miami, to this day. In December 2016, <mask> presented her paintings at the art exhibition within the Fashion Air Days at the Contemporary Art Center M17, Kyiv. List of artworks
<mask> is a versatile artist, she produced over 50 paintings in her career in addition to creating illustrations for books, a great number of drawings, graphics and various projects. This is a partial list of important artworks produced by <mask> from 2011 to 2013.2011: Blue Blood
2011: Branches
2011: 3
2011: Chinese woman
2011: Eyes
2011: Fish-parrot
2011: Girl
2011: Light
2011: Morning
2011: Blue Dog
2011: Blue Red
2011: Palette
2011: Self-portrait
2011: Self-portrait. Red
2011: Self-portrait. Yellow
2011: Mask
2011: Toy horse
2011: Water
2011: Wind
2011: Mulatto
2012: Naked
2012: Birch
2012: A Girl in a Mask
2012: Peas
2012: Dogs
2012: Woman
2012: Silence
2013: Outskirts of Sleep
2013: Emptiness
2013: Target
2013: Red Line
2013: Flying Hands
2013: Aroma of Silence
2013: Beauty of Ageing
2013: Swift
2013: Pigeon Lady
2013: Split
2013: Flying Hands
2013: Field Flower
2013: Ficus
2013: Reflection
2013: Skull
2013: Black Flame

References

External links
 Official website

1983 births
Living people
People from the Crimean Oblast
21st-century Ukrainian painters
Ukrainian women painters
Ukrainian contemporary artists
Contemporary painters
Postmodern artists
Tattoo


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<mask> (born <mask>; November 26, 1822 – May 22, 1902) was one of the most popular and widely reproduced American female genre painters in the mid-nineteenth century. She primarily painted domestic scenes, paintings of women and children in a warm happy atmosphere, although over the course of her career she would also come to paint works of varying style and subject matter, including the portraits of famous individuals such as suffragist Elizabeth Cady Stanton. Although she did have an audience for her work, <mask> had difficulties earning a living as a professional painter and faced financial trouble for much of her adult life. Biography

Early life

<mask> was born in Exeter, England, to French-born parents <mask> and <mask>. In 1830, when <mask> was eight, her family immigrated to New York where they remained for three years before ultimately moving to Marietta, Ohio. There <mask> was home-schooled by her highly educated parents and began what would be her long career as an artist. Her first artistic endeavors were “likenesses of the entire household, in lifelike, characteristic postures, so truthful as to be recognized at once by everyone who knew them."These likenesses were drawn on the walls of the family home. Rather than being scolded, <mask> was encouraged in her love of art by her parents, whose reformist tendencies—her mother was a follower of the Utopian advocate Charles Fourier—included a belief in more opportunity for women. She continued to draw and her work was so impressive that "ladies and gentlemen began to call frequently at the farm, to judge for themselves

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 of these vaunted pictures. Their admiring comments stimulated her ambition and added to her industry; but the difficulty of procuring proper materials and the want of a competent teacher retarded her progress." Yet she drew the attention of local artists and was mentored and helped, especially in coloring her charcoal drawings. One such mentor was Sala Bosworth, a portrait and landscape artist who trained at the Pennsylvania Academy of Fine Arts. The second was Charles Sullivan (1794–1867) who had also studied at the Pennsylvania Academy of Fine Arts; his influence is very apparent in the early work of <mask>.<mask>'s first exhibition in August 1841 was held at a church rectory, where she drew the attention of Nicholas Longworth, a benefactor of many artists. Of <mask>, Longworth said
“…a new genius has sprung up at Marietta or rather within five miles of it, at a farm house in the shape of a French girl of 17 or 18 years of age. She already has painted a great number of pictures. She is entirely self taught, excels in attitudes and designs." Though <mask> had originally traveled with her father to Cincinnati with the hopes of Longworth offering to sponsor an exhibition for <mask>, Longworth offered to help <mask> financially and discouraged her from further shows until she had more training. Longworth first made an offer to <mask> to send her to Boston for training, along with five hundred dollars. This advice she ignored; instead, she along with her father traveled to Cincinnati for an exhibition in the autumn of 1841.Cincinnati was ”swarming with artists" and <mask> would

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Martin
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 spend the next seven years studying there. This would be the most highly productive period in her career, and is marked by her move from Cincinnati to New York, and ends with her move to New Jersey. <mask> turned down Longworth's offer to send her to Europe to study; instead she received help and instruction from portrait artist James Beard and other local artists. While in Cincinnati, <mask> studied under portrait painter John Insco William. However the exact extent of her training is unknown. She produced her most well-known and popular works during the decade between 1848 and 1858. <mask> was rare in the art world.Most women used art as genteel accomplishment and not as a career. <mask>, however, provides an example of a woman who pursued art as a career. Married life

During her third year in Cincinnati she married Benjamin Rush <mask> on August 24, 1844. <mask> was an Englishman who worked in the tailoring business; however once they were married he no longer pursued an independent career, instead dedicating himself to helping his wife both in household chores as well as with her artistic work. This made Mrs. <mask> the main breadwinner for the family. Although the <mask>s did not run a traditional home, from all accounts they had a "singularly happy one". The <mask>s had thirteen children, seven of whom grew to maturity.Although many feared that matrimony would end her career as an artist, it did not; she would become the most popular and widely reproduced female genre painter of the mid-19th century. The <mask>s experienced chronic financial difficulties. In pursuit of

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Benjamin Spencer
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texts: greater opportunity they moved to New York City in 1848. There she was already known through exhibitions at the National Academy of Design and the American Art-Union. By the time the <mask>s arrived in New York "art patronage was firmly in the hands of the middle class which was eager to ‘purchase’ culture, and quick to assert their preference for scenes which they could identify." <mask> <mask> easily filled this gap with domestic scenes, often using her own family and pets as models. In 1849 she produced her first major successful painting, Life's Happy Hour.Scholars have noted that due to the demand of the time <mask> was "able to combine her two roles, as artist and mother with a certain degree of success." Her works were all positive and devoid of tragedy, depicting endearing scenes of domesticity; academics have commented that in this period "her paintings exude an enthusiasm and happiness reminiscent of seventeenth-century Dutch art…(and are) enhanced by a disarming gaze directly toward the viewer or his inclusion in a coy flirtation, tease, or practical joke." Despite her positive reputation there was a disparity between <mask>’s apparent popularity and her financial success. Most of her sales were a result of art unions, and their downfall, as a result of low membership subscriptions, was a blow to her sales. She also sold possibly a million lithographs of her paintings, but of these she only received profit from the sales of the rights to the painting. She also illustrated books and magazines, such as Godey's Lady's Book and Women of the American Revolution. Again,

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texts: due to the difficulty in making ends meet the <mask>s moved to Newark, New Jersey in 1858.There they raised chickens and planted vegetables in order to stave off actual starvation. <mask> continued to make portraits and commissions whenever possible, and still supported her family through her art, but money remained a problem. During the late 1850s, in an attempt to expand the range of her options in domestic scenes she added sexuality to the women in her domestic spaces. This new sexuality could be due to an influx of European images, which showed women as sexual beings. This was demonstrated in more suggestive figures and elaborate hairstyles and dress. Throughout the 1860s the Civil War changed the outlook of many artists, including <mask>. Her paintings become more thoughtful and included more patriotic themes and titles.She produced famous and  perceptive works of art such as War Spirit at Home in 1866 and We Both Must Fade in 1869, which depicts a young female looking in a mirror. The title offers a view of woman in society, which applied at least during the mid-19th century, commenting on concepts of the importance of beauty of women and their role in society. It was during this time that she painted what she considered her masterpiece, Truth Unveiling Falsehood. The piece is divided in half; on one side a monstrous woman with a sheep's head is about to devour a helpless babe in its grasp, and at its feet a figure with a grossly deformed hand pays homage. On the other side a beautiful woman nurses a child. The image is divided by Truth, an angelic blond figure who lifts

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 a cloak (Falsehood) off the monster exposing the woman-as-beast, referred to as Selfishness. The piece was not commissioned, and <mask> refused to sell it even when offered $20,000.The work, whose meaning remains ambiguous today, is her only such piece with an allegorical message. Later life
The family moved again in the winter of 1879–80 to rural Highland, New York. Her paintings reflect this change with increased detail in landscape and farm life scenes. During the 1880s <mask> attempted to reintroduce her work to the public but found that the market had drastically altered since the Civil War. No longer was it driven by middle class mentality; instead the wealthy were steered by art dealers pushing "serious" European work. <mask>’s art dealer said, "You have not lost your old skill but in some particulars have improved on the old time things. You are broader and simpler in execution and finer in color I think," however clients were buying "the great Foreign names."Yet she continued to try and sell work only to find "her particular kind of work had outlived popular favor." Her husband of forty-six years, Benjamin, died in February 1890, leaving <mask> a widow. She sold the farm and moved again, to a farm 10 miles away, while maintaining a studio downtown. <mask> continued to work but her financial situation remained insecure, and sometimes she was forced to pay for services with art. <mask> <mask> worked until the day of her death on May 22, 1902. She had a career that spanned more than 60 years, and painted portraits of influential people of the time, such as First Lady

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 Caroline Harrison and the suffragist Elizabeth Cady Stanton. She persevered despite financial turmoil and facing challenges that all artists must address, as well specific difficulties for a female working in a male-dominated world.Artistic style

<mask>'s paintings are generally oil on canvas, ranging in sizes from as large as 72"x50" to as small as 16"x11". Her themes were drawn from close to home often depicting idealized children, Madonna-like mothers, happy housewives, and loveable, inept husbands. Her work has been considered “both ideological (encouraging accommodation to norms associated with the rising middle class) and utopian (resistant to class or gender domination). She was often influenced by etiquette books, which resulted in attention to details in the settings such as bowls of fruits and neatly designed flower arrangements. Etiquette also affected the activities of the picture's subjects—women were engaged in womanly activities and everyone played their heteronormative roles. Painted in a palette of bright, crisp colors, her canvases are refined in execution and smoothly finished, although in later years her brushstrokes became drier and looser. Her works were usually given short, catchy titles, undescriptive, but rather exclamations on the subject of the painting.One main critique of her work is the variation in the size of the heads of her figures. Her reviewers often comment that the head is larger and disproportionate to the body size of the figures. Such pieces as Shake Hands? (1854), an oil on canvas with arched top, which now resides at the Ohio


texts:
 Historical Society, epitomizes <mask>’s unique style. The piece shows a buxom woman making dough in a homey kitchen adorned with domestic accommodations, such as a bowl of apples, and a chicken. Her skirt is tied back, presumably to keep it clean. Pausing from her activity, and smiling broadly, the doughy-handed woman reaches out to greet a visitor, seemingly the viewer.The title demonstrates <mask>'s standard wit: shaking hands is the last thing someone would want to do while working with dough. It also has a deeper meaning concerning equality. Shaking hands is a symbol of male equality and was "fundamental to males citizens' sense of status." Here a woman is making her claim to equality, though it is a limited equality rooted in a domestic sphere. <mask> does make the women's sphere separate. The dark spaces make the room appear closed off, separating the women's sphere from the more public male sphere. However it is not necessary a negative message, this painting shows a Utopian kitchen.The message is that a woman in her sphere “accommodates the status quo and attempts to invest it with new meaning." Women were not merely frivolous and vain; rather they worked in domestic labor, which was not merely useful but highly enjoyable. The woman here is self-confident, smiles and even appears to flirt with viewer. She directs the kitchen and is in control of her world, however limited it might be. <mask> plays with traditional notions of women's roles in society and domesticity and infuses them with deeper meaning. Selected works
The Little Navigator (1848)
Domestic Happiness

masks: Spencer Spencer Spencer Spencer


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 (1848), Detroit Institute of Arts
The Young Teacher (1848)
Life's Happy Hour (1849)
The Jolly Washerwoman (1851), Hood Museum of Art
Peeling Onions (1852), Memorial Art Gallery, Rochester, NY
Reading the Legend (1852), Smith College Museum of Art
The Young Husband: First Marketing (1854)
Shake Hands? (1854), Ohio Historical Society
Clap Hands (1855)
The Forsaken (1856), The Smithsonian Collection L.M Spencer exhibit (1973), location currently unknown
The Young Wife: First Stew (1856)
Kiss Me and You'll Kiss the 'Lasses (1856), Brooklyn Museum of Art
This Little Pig Went to the Market (1857)
Fi!Fo!Fum!(1858)
Raspberries on a Leaf (1858), Collection:  Widener University Alfred O. Deshong Collection
Grandpa's Prodigies (1860)
War Spirit at Home: Celebrating the Battle at Vicksburg (1866)
Mother and Child by the Hearth (1867)
 We Both Must Fade (Mrs. Fithian) (1869), Smithsonian American Art Museum
Old Man with Two Children (1845), Collection: purchased at auction in 1958 by the Ohio Historical Center, Columbus. Peeling Onions (1848–1852) Collection: Hirschl & Adler Galleries, New York; to Closson Galleries, Cincinnati; to Munson-Williams-Proctor Institute, Utica
Self-Portrait (ca. 1841), Collections: Mrs. Pierre A. G. <mask>; in 1947 to the Ohio Historical Center, Columbus
Shepherdess Mending Stockings (1844–1848), Collections: Mrs. William E. Smith, Oxford, Ohio (1953); given by Mrs. Smith in 1870 to the Ohio Historical Center
Young Women in a Seventeenth-Century Costume (1845), Collection: Mrs. Mary Abrams, Llewellyn Park, New Jersey
Child Playing with Fish Bowl (1856),


texts:
 Collection: Victor Sparks, New York; to Mrs. George L. Cohen, New York; given by Mrs. Cohen in 1966 to the Newark Museum
Choose Between (ca. 1857), Collections: John Mitchell, New York; to Victor Spark (1946); private owner; Victor Spark, New York
Peeling Onions (ca. 1852), Collection: Mr. and Mrs. William Postar, Boston
Reading the Legend (1852), Collections: Visitor Spark, New York (1843); to M. Knoedler &Co.; to Caroline R. and Adeline F. Wing; given by the Misses Wing in 1954 to the Smith College Museum of Art, Northampton, Massachusetts

Exhibitions
 St. Luke's Episcopal Church (Marietta, Ohio), Rectory. 1841
Metropolitan Museum of Art. Life in America: A Special Loan Exhibition of Paintings, April 24-October 29, 1939.Corcoran Gallery of Art (Washington, D.C.) American Processional: The Story of Our Country,  July 8-December 17, 1950
Currier Art Gallery of Art (Manchester, N.H.) 19th Century American Painting from the Collection of Henry Melville Fuller, September 18-October 17, 1971
Walter Art Gallery (Baltimore). Old Mistresses: Women Artists of the Past, April 17- June 18, 1972
Brooklyn Museum (Brooklyn, NY) Kiss Me and You'll Kiss the 'Lasses https://www.brooklynmuseum.org/opencollection/onview/location/2147483587/American_Identities%3A_A_New_Look_American_Art_Galleries_5th_Floor_5th_Floor
National Academy of Design
Women's Pavilion of the Philadelphia Centennial Exhibition in 1876

Notes

References

"Women Artist's Death." The New York Times, 1902-05-23. Retrieved on 2008-01-02. Bolton-Smith, Robin, and Douglas Hyland. “Baby Chicks: The Sentimental Brush of <mask>


texts:
 Martin <mask>.” The Register of the Spencer Museum of Art. Lawrence: University of Kansas (Spring 1983): 80-93.Bolton-Smith, Robin, and William H. Truettner <mask> <mask> 1822-1902 The Joys of Sentiment. Washington, D.C.: Smithsonian Institution Press, 1973. Freivogel, Elsie F. “<mask> <mask>.” Archives of American Art Journal, Vol. 12 No. 4. (1972): 9-14. JSTOR.29 Jan. 2008. Hadry, Henriette A. “Mrs. <mask><mask>.” Sartain’s Union Magazine of Literature and Art, American Periodical Series (1800–1850) 573-574 (August 1851). Johns, Elizabeth. America Genre Painting: The Politics of Everyday Life. London: Yale University Press, 1991.Katz, Wendy Jean. Regionalism and Reform: Art and Class Formation in Antebellum Cincinnati. Columbus: Ohio State University Press, 2002. Lubin, David M. Picturing a Nation: Art and Social Change in Nineteenth-Century America. London: Yale University Press, 1994. Masten, April F. 2004. “Shake Hands?"<mask> <mask> and the Politics of Art”. American Quarterly 56 (2). Johns Hopkins University Press: 348–94. Withers, Josephine. 1976. “Artistic Women and Women Artists”. Art Journal 35 (4).[Taylor & Francis, Ltd., College Art Association]: 330–36. doi:10.2307/776223. Stott, Annette. 1992. “Floral Femininity: A Pictorial Definition”. American Art 6 (2). [University of Chicago Press, Smithsonian American Art Museum]: 61–77.External links
Art and the empire city: New York, 1825-1861, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on <mask> (see index)
National Museum of Women in the Arts
The

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 Ohio History Society
Artcyclopedia
New Jersey Women's History
Smithsonian American Art Museum (PDF)
http://www.britannica.com/biography/<mask>-Spencer. 1822 births
1902 deaths
American genre painters
American still life painters
American women painters
Artists from Cincinnati
People from Exeter
Artists from Newark, New Jersey
19th-century American painters
19th-century American women artists
20th-century American women


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<mask> (; 21 May 192114 December 1989) was a Soviet nuclear physicist, dissident, Nobel laureate, and activist for disarmament, peace and human rights. He became renowned as the designer of the Soviet Union's RDS-37, a codename for Soviet development of thermonuclear weapons. <mask> later became an advocate of civil liberties and civil reforms in the Soviet Union, for which he faced state persecution; these efforts earned him the Nobel Peace Prize in 1975. The Sakharov Prize, which is awarded annually by the European Parliament for people and organizations dedicated to human rights and freedoms, is named in his honor. Biography

Early life
<mask> was born in Moscow on May 21, 1921. His father was <mask>, a physics professor and an amateur pianist. His father taught at the Second Moscow State University.<mask>'s grandfather Ivan had been a prominent lawyer in the Russian Empire who had displayed respect for social awareness and humanitarian principles (including advocating the abolition of capital punishment) that would later influence his grandson. <mask>'s mother was Yekaterina Alekseevna Sofiano, a daughter of the army general Aleksey Semenovich Sofiano. <mask>'s parents and paternal grandmother, Maria Petrovna, largely shaped his personality. His mother and grandmother were churchgoers; his father was a nonbeliever. When <mask> was about thirteen, he realized that he did not believe. However, despite being an atheist, he did believe in a "guiding principle" that transcends the physical laws. Education and career
<mask> entered Physics Department of Moscow State University in 1938.Following evacuation in 1941 during the Great Patriotic War

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Andrei Dmitrievich Sakharov
Sakharov
Sakharov
Dmitri Ivanovich Sakharov
Andrei
Sakharov
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Andrei
Sakharov


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 (World War II), he graduated in Aşgabat, in today's Turkmenistan. He was then assigned to laboratory work in Ulyanovsk. In 1943, he married Klavdia Alekseyevna Vikhireva, with whom he raised two daughters and a son. Klavdia would later die in 1969. He returned to Moscow in 1945 to study at the Theoretical Department of FIAN (the Physical Institute of the Soviet Academy of Sciences). He received his Ph.D. in 1947. Development of thermonuclear devices

After World War II, he researched cosmic rays.In mid-1948 he participated in the Soviet atomic bomb project under Igor Kurchatov and Igor Tamm. <mask>'s study group at FIAN in 1948 came up with a second concept in August–September 1948. Adding a shell of natural, unenriched uranium around the deuterium would increase the deuterium concentration at the uranium-deuterium boundary and the overall yield of the device, because the natural uranium would capture neutrons and itself fission as part of the thermonuclear reaction. This idea of a layered fission-fusion-fission bomb led <mask> to call it the sloika, or layered cake. The first Soviet atomic device was tested on August 29, 1949. After moving to Sarov in 1950, <mask> played a key role in the development of the first megaton-range Soviet hydrogen bomb using a design known as <mask>'s Third Idea in Russia and the Teller–Ulam design in the United States. Before his Third Idea, <mask> tried a "layer cake" of alternating layers of fission and fusion fuel.The results were disappointing, yielding no more than a typical fission bomb. However the design was seen to be worth pursuing because deuterium is abundant and uranium is scarce, and he had no idea

masks: Sakharov Sakharov Sakharov Sakharov Sakharov