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<mask>  (; 2 May 1921 – 23 April 1992) was an Indian filmmaker, screenwriter, documentary filmmaker, author, essayist, lyricist, magazine editor, illustrator, calligrapher, and music composer. <mask> is widely considered one of the greatest filmmakers of all time. He is celebrated for works such as The Apu Trilogy (1955–1959), The Music Room (1958), The Big City (1963) and Charulata (1964). <mask> was born in Calcutta to renowned writer <mask> who was prominent in the field of arts and literature. Starting his career as a commercial artist, he was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film Bicycle Thieves (1948) during a visit to London. <mask> directed 36 films, including feature films, documentaries and shorts and authored several short stories and novels, primarily for young children and teenagers. Feluda, the sleuth, and Professor Shonku, the scientist in his science fiction stories, Tarini Khuro, the storyteller and Lalmohan Ganguly, the novelist are popular fictional characters created by him.In 1978, he was awarded an honorary degree by Oxford University. <mask>'s first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956) and Apur Sansar (The World of Apu) (1959), form The Apu Trilogy. <mask> did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. <mask> received many major awards in his career, including 36 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, many additional awards at international film festivals and ceremonies, and an Academy Honorary Award in 1992. The Government of India honoured him with the Bharat Ratna, its highest civilian award, in 1992. <mask> had received many notable awards during his lifetime.<mask> is also known for his written works such as the Feluda Somogro where he created one of the most famous detective character for children Feluda aka Pradosh Chandra Mitter. Also he is known for his horror stories. Background

Lineage
<mask> <mask>'s ancestry can be traced back for at least ten generations. His family had acquired the name '<mask>' (originally 'Rai') from the Mughals. Although they were Bengali Kayasthas, the <mask>s were 'Vaishnavas' (worshippers of Vishnu) as against majority Bengali Kayasthas who were 'Shaktos' (worshippers of the Shakti or Shiva). According to the history of the <mask> family, one of their ancestors, Shri Ramsunder Deo (Deb), was a native of Chakdah village in Nadia district of present-day West Bengal, India. In search of fortune he migrated to Sherpur in East Bengal.There he met Raja Gunichandra, the zamindar of Jashodal, at the zamindar house of Sherpur. King Gunichandra was immediately impressed by Ramsunder's beautiful appearance and sharp intellect and took Ramsunder with him to his zamindari estate. He made Ramsunder his son-in-law and granted him some property at Jashodal in Kishorganj District  . From then on Ramsunder started living in Jashodal. His descendants migrated from there and settled down in the village of Masua in Katiadi upazila of Kishoreganj district. <mask> <mask>'s grandfather, Upendrakishore <mask>, was a writer, illustrator, philosopher, publisher, amateur astronomer, and a leader of the Brahmo Samaj, a religious and social movement in 19th-century Bengal. He also set up a printing press by the name of U. Ray and Sons, which formed a crucial backdrop to <mask>'s life.Sukumar <mask>, Upendrakishore's son and father of <mask>, was an illustrator, critic, and a pioneering Bengali writer of nonsense rhyme (Abol Tabol) and children's literature. Social worker and children's book author Shukhalata Rao was his aunt. Early life and education

<mask> <mask> was born to Sukumar and Suprabha <mask> in Calcutta (now Kolkata). Sukumar died when <mask> was barely three, and the family survived on Suprabha <mask>'s meager income. <mask> studied at Ballygunge Government High School in Calcutta, and completed his BA in economics at Presidency College, Calcutta (then affiliated with the University of Calcutta), though his interest was always in the fine arts. In 1940, his mother insisted that he study at Visva-Bharati University in Santiniketan, founded by Rabindranath Tagore. <mask> was reluctant to go, due to his fondness for Calcutta and the low regard for the intellectual life at Santiniketan.His mother's persuasiveness and his respect for Tagore finally convinced him to try. In Santiniketan, <mask> came to appreciate Oriental art. He later admitted that he learned much from the famous painters Nandalal Bose and Benode Behari Mukherjee. He later produced a documentary, The Inner Eye, about Mukherjee. His visits to Ajanta, Ellora and Elephanta stimulated his admiration for Indian art. In 1943, <mask> started working at D.J. Keymer, a British advertising agency, as a junior visualiser, earning 80 rupees a month.Although he liked visual design (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm. The British were better paid, and <mask> felt that "the clients were generally stupid." Later, <mask> worked for the Signet Press, a new publisher started by D. K. Gupta. Gupta asked <mask> to create book cover designs for the company and gave him complete artistic freedom. <mask> designed covers for many books, including Jibanananda Das's Banalata Sen, and Rupasi Bangla, Bibhutibhushan Bandyopadhyay's Chander Pahar, Jim Corbett's Maneaters of Kumaon, and Jawaharlal Nehru's Discovery of India. He worked on a children's version of Pather Panchali, a classic Bengali novel by Bibhutibhushan Bandyopadhyay, renamed as Aam Antir Bhepu (The mango-seed whistle). Designing the cover and illustrating the book, <mask> was deeply influenced by the work.He used it as the subject of his first film, and featured his illustrations as shots in his ground-breaking film.Along with Chidananda Dasgupta and others, <mask> founded the Calcutta Film Society in 1947. They screened many foreign films, many of which <mask> watched and seriously studied. He befriended the American soldiers stationed in Calcutta during World War II, who kept him informed about the latest American films showing in the city. He came to know a RAF employee, Norman Clare, who shared <mask>'s passion for films, chess and western classical music. In 1949, <mask> married Bijoya Das, his first cousin and long-time sweetheart. The couple had a son, Sandip <mask>, a film director. In the same year, French director Jean Renoir came to Calcutta to shoot his film The River.<mask> helped him to find locations in the countryside. <mask> told Renoir about his idea of filming Pather Panchali, which had long been on his mind, and Renoir encouraged him in the project. In 1950, D.J. Keymer sent <mask> to London to work at the headquarters. During his six months in London, <mask> watched 99 films. Among these was the neorealist film Ladri di biciclette (Bicycle Thieves) (1948) by Vittorio De Sica, which had a profound impact on him. <mask> later said that he walked out of the theatre determined to become a filmmaker.Career

The Apu years (1950–1959)

After being "deeply moved" by Pather Panchali, the 1928 classic Bildungsroman of Bengali literature, <mask> decided to adapt it for his first film. Pather Panchali is a semi-autobiographical novel describing the maturation of Apu, a small boy in a Bengal village. <mask> gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur actors. After unsuccessful attempts to persuade many producers to finance the project, <mask> started shooting in late 1952 with his personal savings and hoped to raise more money once he had some footage shot, but did not succeed on his terms. As a result, <mask> shot Pather Panchali over two and a half years, an unusually long period, based on when he or his production manager Anil Chowdhury could raise additional funds. He refused funding from sources who wanted to change the script or exercise supervision over production.He also ignored advice from the Indian government to incorporate a happy ending, but he did receive funding that allowed him to complete the film. <mask> showed an early film passage to the American director John Huston, who was in India scouting locations for The Man Who Would Be King. Impressed with what he saw, Huston notified Monroe Wheeler at the New York Museum of Modern Art (MoMA) that a major talent was on the horizon. With a loan from the West Bengal government, <mask> finally completed the film; it was released in 1955 to critical acclaim. It earned numerous awards and had long theatrical runs in India and abroad. The Times of India wrote "It is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema." In the United Kingdom, Lindsay Anderson wrote a positive review of the film.However, the film also gained negative reactions; François Truffaut was reported to have said, "I don't want to see a movie of peasants eating with their hands." Bosley Crowther, then the most influential critic of The New York Times, criticised the film's loose structure and conceded that it "takes patience to be enjoyed". Edward Harrison, an American distributor was worried that Crowther's review would dissuade audiences, but the film enjoyed an eight months theatrical run in the United States. A film still of Apu having his hair brushed by his sister Durga and mother Sarbojaya was featured in The Family of Man, a MoMA exhibition that was seen by 9 million visitors. Of the thirteen exhibition images depicting India, it was the only one taken by an Indian photographer. Curator Edward Steichen credited it to <mask>, but it was likely taken by the film's cinematographer, Subrata Mitra. <mask>'s international career started in earnest after the success of his next film, the second in The Apu Trilogy, Aparajito (1956) (The Unvanquished).This film depicts the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him. Upon release, Aparajito won the Golden Lion at the Venice Film Festival, bringing <mask> considerable acclaim. In a retrospective review, Edward Guthmann of San Francisco Chronicle praised <mask> for his ability to capture emotions, and blend music with storytelling to create a "flawless" picture. Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than <mask>'s first film. <mask> directed and released two other films in 1958: the comic Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence of the Zamindars, considered one of his most important works. Timeout magazine gave Jalsaghar a positive review, describing it as "slow, rapt and hypnotic". While making Aparajito, <mask> had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.He finished the last of the trilogy, Apur Sansar (The World of Apu) in 1959. <mask> introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. It opens with Apu living in a Calcutta house in near-poverty; he becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life." Critics Robin Wood and Aparna Sen thought it was a major achievement to mark the end of the trilogy. After Apur Sansar was harshly criticised by a Bengali critic, <mask> wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite.Critic Roger Ebert summarised the trilogy as "It is about a time, place and culture far removed from our own, and yet it connects directly and deeply with our human feelings. It is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray." Despite <mask>'s success, it had little influence on his personal life in the years to come. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family. From Devi to Charulata (1959–1964)

During this period, <mask> made films about the British Raj period, a documentary on Tagore, a comic film (Mahapurush) and his first film from an original screenplay ('Kanchenjungha'). He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen. <mask> followed Apur Sansar with 1960's Devi (The Goddess), a film in which he examined the superstitions in Hindu society.Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. <mask> was worried that the Central Board of Film Certification might block his film, or at least make him re-cut it, but Devi was spared. Upon international distribution, the critic from Chicago Reader described the film as "full of sensuality and ironic undertones". In 1961, on the insistence of Prime Minister Jawaharlal Nehru, <mask> was commissioned to make Rabindranath Tagore, based on the poet of the same name, on the occasion of his birth centennial, a tribute to the person who likely most influenced <mask>. Due to limited footage of Tagore, <mask> was challenged of making the film mainly with static material. He said that it took as much work as three feature films. In the same year, together with Subhas Mukhopadhyay and others, <mask> was able to revive Sandesh, the children's magazine which his grandfather had founded.<mask> had been saving money for some years to make this possible. A duality in the name (Sandesh means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). <mask> began to make illustrations for it, as well as to write stories and essays for children. Writing eventually became a steady source of income. In 1962, <mask> directed Kanchenjungha, Based on his first original screenplay, it was also his first colour film. It tells the story of an upper-class family spending an afternoon in Darjeeling, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London.<mask> had first conceived shooting the film in a large mansion, but later decided to film it in the famous town. He used many shades of light and mist to reflect the tension in the drama. <mask> noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film crew in Darjeeling failed to shoot a single scene, as

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 they only wanted to do so in sunshine. The New York Times Bosley Crowther gave the film a mixed review; he praised <mask>'s "soft and relaxed" filmmaking but thought the characters were clichés. Also in the 1960s, <mask> visited Japan and took pleasure in meeting filmmaker Akira Kurosawa, whom he highly regarded. In 1964, <mask> directed Charulata (The Lonely Wife); one of <mask>'s favourite films, it was regarded by many critics as his most accomplished. Based on Tagore's short story, Nastanirh (Broken Nest), the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal.In retrospective reviews, The Guardian called it "extraordinarily vivid and fresh", while The Sydney Morning Herald praised Madhabi Mukherjee's casting, the film's visual style and camera movements. <mask> said the film contained the fewest flaws among his work, and it was his only work which, given a chance, he would make exactly the same way. At the 15th Berlin International Film Festival, Charulata earned him a Silver Bear for Best Director. Other films in this period include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) and Mahapurush (Holy Man). For the first one of these, Mahanagar drew praise from British critics; Philip French opined that it was one of <mask>'s best. New directions (1965–1982)
In the post-Charulata period, <mask> took on various projects, from fantasy, science fiction, detective to historical dramas. <mask> also experimented during this period.He explored contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is 1966's Nayak (The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matinée idol. Although the film received a "Critics Prize" at the Berlin International Film Festival, it had a generally muted reception. In 1967, <mask> wrote a script for a film to be called The Alien, based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend"), which he wrote in 1962 for Sandesh magazine. It was planned to be a U.S. and India co-production with Columbia Pictures, with Marlon Brando and Peter Sellers cast in the leading roles. <mask> found that his script had been copyrighted and the fee appropriated by Michael Wilson.Wilson had initially approached <mask> through their mutual friend, Arthur C. Clarke, to represent him in Hollywood. Wilson copyrighted the script credited to Mike Wilson & Satyajit <mask>, although he contributed only one word. <mask> later said that he never received compensation for the script. After Brando dropped out of the project, the project tried to replace him with James Coburn, but <mask> became disillusioned and returned to Calcutta. Columbia attempted to revive the project, without success, in the 1970s and 1980s. In 1969, <mask> directed one of his most commercially successful films; a musical fantasy based on a children's story written by his grandfather, Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha). It is about Goopy the singer, and Bagha the drummer, endowed with three gifts by the King of Ghosts, set out on a journey to stop an impending war between two neighbouring kingdoms.One of his most expensive projects, the film was also difficult to finance. <mask> abandoned his desire to shoot it in colour, as he turned down an offer that would have forced him to cast a certain Hindi film actor as the lead. He also composed the songs and music for the film. Next, <mask> directed the film adaptation of a novel by the poet and writer, Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than Charulata, Aranyer Din Ratri (1970) (Days and Nights in the Forest) follows four urban young men going to the forests for a vacation. They try to leave their daily lives behind, but one of them encounters women, and it becomes a deep study of the Indian middle class. First shown at the New York Film Festival in 1970, critic Pauline Kael wrote "<mask> <mask>’s films can give rise to a more complex feeling of happiness in me than the work of any other director [...] No artist has done more than <mask> to make us reevaluate the commonplace".Writing for the BBC in 2002, Jamie Russell complimented the script, pacing and mixture of emotions. According to one critic, Robin Wood, "a single sequence [of the film] ... would offer material for a short essay". After Aranyer Din Ratri, <mask> addressed contemporary Bengali life. He completed what became known as the Calcutta trilogy: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three films that were conceived separately but had similar themes. The trilogy focuses on repression, with male protagonists encountering the forbidden. Pratidwandi (The Adversary) is about an idealist young graduate; if disillusioned by the end of film, he is still uncorrupted. Seemabaddha (Company Limited) portrayed a successful man giving up his morality for further gains.Jana Aranya (The Middleman) depicted a young man giving in to the culture of corruption to earn a living. In the first film, Pratidwandi, <mask> introduces new narrative techniques, such as scenes in negative, dream sequences, and abrupt flashbacks. Also in the 1970s, <mask> adapted two of his popular stories as detective films. Although mainly aimed at children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favorites. In a 2019 review of Sonar Kella, critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression". <mask> considered making a film on the 1971 Bangladesh Liberation War but later abandoned the idea, saying that, as a filmmaker, he was more interested in the travails of the refugees and not the politics. In 1977, <mask> completed Shatranj Ke Khilari (The Chess Players), a Hindustani film based on a short story by Munshi Premchand.It was set in Lucknow in the state of Oudh, a year before the Indian Rebellion of 1857. A commentary on issues related to the colonisation of India by the British, it was <mask>'s first feature film in a language other than Bengali. It starred a high-profile cast including Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough. Despite the film's limited budget, The Washington Post critic gave it a positive review; "He [<mask>] possesses what many overindulged Hollywood filmmakers often lack: a view of history". In 1980, <mask> made a sequel to Goopy Gyne Bagha Byne, a somewhat political Hirak Rajar Deshe (Kingdom of Diamonds). The kingdom of the evil Diamond King, or Hirok Raj, is an allusion to India during Indira Gandhi's emergency period. Along with his acclaimed short film Pikoo (Pikoo's Diary) and hour-long Hindi film, Sadgati, this was the culmination of his work in this period.When E.T. was released in 1982, Clarke and <mask> saw similarities in the film to his earlier The Alien script; <mask> claimed that E.T. plagiarised his script. <mask> said that Steven Spielberg's film "would not have been possible without my script of The Alien' being available throughout America in mimeographed copies." Spielberg denied any plagiarism by saying, "I was a kid in high school when this script was circulating in Hollywood." (Spielberg actually graduated high school in 1965 and released his first film in 1968). Besides The Alien, two other unrealised projects that <mask> had intended to direct were adaptations of the ancient Indian epic, the Mahābhārata, and E. M. Forster's 1924 novel A Passage to India.Final years (1983–1992)

In 1983, while working on Ghare Baire (Home and the World), <mask> suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life. Ghare Baire, an adaptation of the novel of the same name, was completed in 1984 with the help of <mask>'s son, who served as a camera operator from then-onward. It is about the dangers of fervent nationalism; he wrote the first draft of a script for it in the 1940s. Despite rough patches due to <mask>'s illness, the film did receive some acclaim; critic Vincent Canby gave the film a maximum rating of five stars and praised the performances of the three lead actors. It also featured the first kiss scene portrayed in <mask>'s films. In 1987, <mask> recovered to an extent to direct the 1990 film Shakha Proshakha (Branches of the Tree). It depicts an old man, who has lived a life of honesty, and learns of the corruption of three of his sons.The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill due to a head injury sustained while he was studying in England. <mask>'s last film, Agantuk (The Stranger), is lighter in mood but not in theme; when a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. It provokes far-ranging questions in the film about civilisation. Critic Hal Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in full maturity". A heavy-smoker but non-drinker; <mask> valued work more than anything else. He would work 12 hours a day, and go to bed at two o'clock in the morning. He also enjoyed collecting antiques, manuscripts, rare gramophone records, paintings and rare books.In 1992, <mask>'s health deteriorated due to heart complications. He was admitted to a hospital but never recovered. Twenty-four days before his death, <mask> was presented with an Honorary Academy Award by Audrey Hepburn via video-link; he was in a gravely ill condition, but gave an acceptance speech, calling it the "best achievement of [his] movie-making career." He died on 23 April 1992, 9 days before his 71st birthday. Literary works

<mask> created two popular fictional characters in Bengali children's literature—Feluda, a sleuth, and Professor Shonku, a scientist. The Feluda stories are narrated by Topesh Ranjan Mitra aka Topse, his teenage cousin, something of a Watson to Feluda's Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared.<mask> also wrote a collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali. His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example Aker pitthe dui, or literally "Two on top of one"). <mask>'s interest in puzzles and puns is reflected in his stories. <mask>'s short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study. Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal Eksan.<mask> wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982), translated to English as Childhood Days: A Memoir by his wife Bijoya <mask>. In 1994, <mask> published his memoir, My Years with Apu, about his experiences of making The Apu Trilogy. He also wrote essays on film, published as the collections: Our Films, Their Films (1976), Bishoy Chalachchitra (1976), and Ekei Bole Shooting (1979). During the mid-1990s, <mask>'s film essays and an anthology of short stories were also published in English in the West. Our Films, Their Films is an anthology of film criticism by <mask>. The book contains articles and personal journal excerpts. The book is presented in two sections: <mask> first discusses Indian film, before turning his attention toward Hollywood, specific filmmakers (Charlie Chaplin and Akira Kurosawa), and movements such as Italian neorealism.His book Bishoy Chalachchitra was published in translation in 2006 as Speaking of Films. It contains a compact description of his philosophy of different aspects of the cinemas. Calligraphy and design
<mask> designed four typefaces for roman script named <mask>, <mask>rre, Daphnis, and Holiday script, apart from numerous Bengali ones for the Sandesh magazine. <mask> and <mask> won an international competition in 1971. In certain circles of Calcutta, <mask> continued to be known as an eminent graphic designer, well into his film career. <mask> illustrated all his books and designed covers for them, as well as creating all publicity material for his films, for example, <mask>'s artistic playing with the Bengali graphemes was also revealed in the cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.In his calligraphic technique there are deep impacts of: (a) Artistic pattern of European musical staff notation in the graphemic syntagms; (b) alpana ("ritual painting" mainly practised by Bengali women at the time of religious festival; the term denotes 'to coat with'. Generally categorised as "Folk"-Art cf. in <mask>'s graphemes representations. Thus, so-called division between classical and folk art is blurred in <mask>'s representation of Bengali graphemes. The three-tier X-height of Bengali graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (This might be designated as "Archewriting") as a living object/subject in <mask>'s positive manipulation of Bengali graphemes. As a graphic designer, <mask> designed most of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal to comical; an exhibition for his posters was held at British Film Institute in 2013.He would master every style of visual art, and could mimic any painter, as evidenced in his book and magazine covers, posters, literary illustrations and advertisement campaigns. Filmmaking style and influences

<mask> had been subconsciously paying a tribute to Jean Renoir throughout his career, who influenced him the most. He also acknowledged Vittorio De Sica, whom he thought represented Italian Neorealism best, and taught him the cramming of cinematic details into a single shot, and utilising amateur actors and actresses. <mask> has admitted to have learnt the craft of cinema from Old Hollywood directors such as John Ford, Billy Wilder and Ernst Lubitsch. He had deep respect and admiration for his contemporaries Akira Kurosawa and Ingmar Bergman, whom he considered giants. Among others, he learnt the use of freeze frame shots

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 from François Truffaut, and jump cuts, fades and dissolves from Jean-Luc Godard. Although he admired Godard's "revolutionary" early phase, he thought his later phase was "alien".<mask> adored his peer Michelangelo Antonioni, but hated Blowup, which he considered having "very little inner movement". He was also impressed with Stanley Kubrick's work. Although <mask> stated to have had very little influence from Sergei Eisenstein, films such as Pather Panchali, Aparajito, Charulata and Sadgati contains scenes which show striking uses of montage. He also had sketches of Eisenstein. <mask> considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators adapted it into Hindustani under <mask>'s supervision.<mask>'s eye for detail was matched by that of his art director Bansi Chandragupta. His influence on the early films was so important that <mask> would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. Subrata Mitra's cinematography garnered praise in <mask>'s films, although some critics thought that Mitra's eventual departure from <mask> lowered its quality. Mitra stopped working for him after Nayak. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. <mask>'s regular film editor was Dulal Datta, but the director usually dictated the editing while Datta did the actual work. Due to finances and <mask>'s meticulous planning, his films were mostly cut in-camera (apart from Pather Panchali).At the beginning of his career, <mask> worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan, and Ali Akbar Khan. He found that their first loyalty was to musical traditions, and not to his film. He obtained a greater understanding of Western classical forms, which he wanted to use for his films set in an urban milieu. Starting with Teen Kanya, <mask> began to compose his own scores. Beethoven was <mask>'s favourite composer; <mask> also went on to become a distinguished connoisseur of Western classical music in India. The narrative structure of <mask>'s films are represented by musical forms such as sonata, fugue and rondo. Kanchenjunga, Nayak and Aranyer Din Ratri are examples of this structure.The director cast actors from diverse backgrounds, from well-known stars to people who had never seen a film (as in Aparajito). Robin Wood and others have lauded him as the best director of children, recalling memorable performances in the roles of Apu and Durga (Pather Panchali), Ratan (Postmaster) and Mukul (Sonar Kella). Depending on the actor's skill and experience, <mask> varied the intensity of his direction, from virtually nothing with actors such as Utpal Dutt, to using the actor as a puppet (Subir Banerjee as young Apu or Sharmila Tagore as Aparna). Actors who had worked for <mask> trusted him, but said that he could also treat incompetence with total contempt. With admiration of his cinematic style and craft, director Roger Manvell said, “In the restrained style he has adopted, <mask> has become a master of technique. He takes his timing from the nature of the people and their environment; his camera is the intent, unobtrusive observer of reactions; his editing the discreet, economical transition from one value to the next." <mask> credited life to be the best kind of inspiration for cinema; he said, "For a popular medium, the best kind of inspiration should derive from life and have its roots in it.No amount of technical polish can make up for artificiality of the theme and the dishonesty of treatment." Critical and popular responses
<mask>'s work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity. The Japanese director Akira Kurosawa said, "Not to have seen the cinema of <mask> means existing in the world without seeing the sun or the moon." But his detractors find his films glacially slow, moving like a "majestic snail." Some critics find his work anti-modern; they criticise him for lacking the new modes of expression or experimentation found in works of <mask>'s contemporaries, such as Jean-Luc Godard. As Stanley Kauffmann wrote, some critics believe that <mask> assumes that viewers "can be interested in a film that simply dwells in its characters, rather than one that imposes dramatic patterns on their lives." <mask> said he could do nothing about the slow pace.Kurosawa defended him by saying that <mask>'s films were not slow; "His work can be described as flowing composedly, like a big river". Critics have often compared <mask> to Anton Chekhov, Jean Renoir, Vittorio De Sica, Howard Hawks and Mozart. The writer V. S. Naipaul compared a scene in Shatranj Ki Khiladi (The Chess Players) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen." Even critics who did not like the aesthetics of <mask>'s films generally acknowledged his ability to encompass a whole culture with all its nuances. <mask>'s obituary in The Independent included the question, "Who else can compete?" His work was promoted in France by The Studio des Ursuline cinema.French photographer Henri Cartier-Bresson described <mask> as “undoubtedly a giant in the film world”. With positive admiration for most of <mask>'s films, critic Roger Ebert cited The Apu Trilogy among the greatest films. Praising his contribution to the world of cinema, Martin Scorsese said: "His work is in the company of that of living contemporaries like Ingmar Bergman, Akira Kurosawa and Federico Fellini." Francis Ford Coppola cited <mask> as a major influence; he praised 1960's Devi,  which Coppola considers as his best work and a "cinematic milestone"; Coppola admits to learning Indian cinema through <mask>'s works. On a trip to India, Christopher Nolan expressed his admiration for <mask>'s Pather Panchali. Nolan said, "I have had the pleasure of watching [<mask> <mask>'s] Pather Panchali recently, which I hadn't seen before. I think it is one of the best films ever made.It is an extraordinary piece of work." Politics and ego have also influenced debate regarding <mask>'s work. Certain advocates of socialism claim that <mask> was not "committed" to the cause of the nation's downtrodden classes while some critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his bourgeois background. During the naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip. In early 1980, <mask> was criticised by an Indian M.P., and former actress Nargis Dutt, who accused <mask> of "exporting poverty." She wanted him to make films that represent "Modern India."In a highly public exchange of letters during the 1960s, <mask> harshly criticized the film Akash Kusum by colleague Mrinal Sen. <mask> said that Sen only attacked "easy targets", for example the Bengali middle-classes. That Akash Kusum bore some resemblance to Parash Pathar, a film Sen had admitted to not liking, may have played a role in fracturing their previously cordial relationship. <mask> would continue to make films on this "easy target" demographic, including Pratidwandi and Jana Aranya (set during the naxalite movement in Bengal), and the two filmmakers would continue to trade praise and criticism the rest of their careers. Legacy

<mask> is a cultural icon in India and in Bengali communities worldwide. Following his death, the city of Calcutta came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects. <mask>'s influence has been widespread and deep in Bengali cinema; many Bengali directors, including Aparna Sen, Rituparno Ghosh and Gautam Ghose as well as Vishal Bhardwaj, Dibakar Banerjee, Shyam Benegal and Sujoy Ghosh from Hindi cinema in India, Tareq Masud and Tanvir Mokammel in Bangladesh, and Aneel Ahmad in England, have been influenced by his craft. Across the spectrum, filmmakers such as Budhdhadeb Dasgupta, Mrinal Sen and Adoor Gopalakrishnan have acknowledged his seminal contribution to Indian cinema.Beyond India, filmmakers Martin Scorsese, Francis Ford Coppola, George Lucas, James Ivory, Abbas Kiarostami, Elia Kazan, William Wyler, François Truffaut, John Huston, Carlos Saura, Isao Takahata, Oliver Stone Quentin Tarantino, Wes Anderson, Danny Boyle Christopher Nolan, and many other international filmmakers have been influenced by <mask>'s cinematic style. Gregory Nava's 1995 film My Family had a final scene that was reminiscent of Apur Sansar. Ira Sachs's 2005 work Forty Shades of Blue was a loose remake of Charulata. Other references to <mask>'s films are found, for example, in 2006's Sacred Evil, and the Elements trilogy by Deepa Mehta. According to Michael Sragow of The Atlantic Monthly, the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to The Apu Trilogy". Kanchenjungha introduced a narrative structure that resembles later hyperlink cinema. Pratidwandi helped pioneer photo-negative flashback and X-ray digression techniques.Together with Madhabi Mukherjee, <mask> was the first Indian film figure to be featured on a foreign stamp (Dominica). Iranian filmmaker Majid Majidi has expressed deep admiration for <mask>. While discussing the inspiration for his first feature film on India, Beyond the Clouds (2017), Majidi said, "I have learned a lot about India based on the works of remarkable Indian director <mask> <mask> so it was my dream to make a film in his land. His view point is very valuable to me and I love whatever he has done, so one of the main reasons behind making this film is my admiration for <mask> <mask> and his work". Wes Anderson said that his 2007 film, The Darjeeling Limited, is dedicated to <mask>. Many literary works include references to <mask> or his work, including Saul Bellow's Herzog and J. M. Coetzee's Youth. Salman Rushdie's Haroun and the Sea of Stories contains fish characters named Goopy and Bagha, a tribute to <mask>'s fantasy film.In 1993, University of California, Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two Feluda stories would be made into radio programs. During the London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of <mask>'s vision". A number of Documentary films have been produced about <mask> in India, prominent ones include: Creative Artists of India - Satyajit <mask> (1964) by Bhagwan Das Garga and <mask> <mask> (1982) by Shyam Benegal - both backed by the Government of India's Films Division, The Music of Satyajit Ray (1984) by Utpalendu Chakrabarty with funding from the National Film Development Corporation of India, Ray: Life and Work of Satyajit <mask> (1999) by Goutam Ghose. In 2016, during the shooting of the film Double Feluda, Satyajit's son, Sandip, filmed his father's famous library. On 23 February 2021 on the year of <mask> <mask>'s birth centenary, the Union Information and Broadcasting Minister Prakash Javadekar announced that the central government would institute an award in the name of <mask> <mask>. The award is to be on a par with the Dadasaheb Phalke Award.Preservation
The Academy Film Archive has preserved many of <mask>'s films: Abhijan in 2001, Aparajito in 1996, Apur Sansar in 1996, Charulata in 1996, Devi in 1996, Goopy Gyne Bagha Byne in 2003, Jalsaghar in 1996, Jana Aranya in 1996, Joi Baba Felunath in 2007, Kapurush in 2005, Mahanagar in 1996, Mahapurush in 2005, Nayak in 2004, Parash Pathar in 2007, Pather Panchali in 1996, Seemabaddha in 2001, Shatranj ke Khilari in 2010, Sikkim in 2007, Teen Kanya in 1996, and the short film Two in 2006. The Academy Film Archive additionally holds prints of other <mask> films as part of its Satyajit Ray Collection. International Film Festival of India
Birth centenary celebrations
In 52nd International Film Festival of India, on the occasion of his birth centenary, the Directorate of Film Festivals will pay tribute to him through a 'Special Retrospective'. Award in recognition of legacy
In recognition of the auteur’s legacy, Lifetime Achievement Award was named as ‘<mask> <mask> Lifetime Achievement Award’ from 2021, to be given at the festival. Awards, honours and recognition

<mask> received many awards, including 36 National Film Awards by the Government of India, and awards at international film festivals. At the 11th Moscow International Film Festival in 1979, he was awarded with the Honorable Prize for the contribution to cinema. At the Berlin International Film Festival, he was one of only four filmmakers to win the Silver Bear for Best Director more than once and holds the record for the most Golden Bear nominations, with seven.At the Venice Film Festival, where he had previously won a Golden Lion for Aparajito (1956), he was awarded the Golden Lion Honorary Award in 1982. That same year, he received an honorary "Hommage à Satyajit Ray" award at the 1982 Cannes Film Festival. <mask> is the second film personality after Charlie Chaplin to have been awarded an honorary doctorate by Oxford University. He was awarded the Dadasaheb Phalke Award in 1985, and the Legion of Honor by the President of France in 1987. The Government of India awarded him the Padma Bhushan in 1965 and the highest civilian honour, Bharat Ratna, shortly before his death. The Academy of Motion Picture Arts and Sciences awarded <mask> an Honorary Award in 1992 for Lifetime Achievement. In 1992, he was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on his behalf by actress Sharmila Tagore.Participants in a 2004 BBC poll placed him No. 13 on the "Greatest Bengali of all time". In 1992, the Sight & Sound Critics' Top Ten Poll ranked <mask> at No. 7 in its list of "Top 10 Directors" of all time, making him the highest-ranking Asian filmmaker in the poll. In 2002, the Sight & Sound critics' and directors' poll ranked <mask> at No. 22 in its list of all-time greatest directors, thus making him the fourth highest-ranking Asian filmmaker in the poll. In 1996, Entertainment Weekly ranked <mask> at No.25 in its "50 Greatest Directors" list. In 2007, Total Film magazine included <mask> in its "100 Greatest Film Directors Ever"

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<mask> (January 1, 1873 – March 1, 1952) was a Mexican author and physician, best known for his fictional stories of the Mexican Revolution of 1910. He wrote novels, works for theatre and literary criticism. He is the first of the "novelists of the Revolution," and he influenced other Mexican novelists of social protest. Among <mask>'s first published writing were some short pieces for the magazine Gil Blas Cómico, where he wrote under the pen name of "Beleño", and his writing published under the heading Impresiones de un estudiante (Impressions of a Student) in 1896. His first novel, Maria Luisa, was written in 1907, followed by Los fracasados (The Failures) in 1908, and Mala yerba (Weeds) in 1909. The theme of his beginning novels are about fate. He wrote of the social life of Mexicans during the Díaz dictatorship.After experiencing the Mexican Revolution first-hand, his writing style became sarcastic and disillusioned. His first novel with the Revolution theme is Andrés Pérez, maderista in 1911, followed by Sin Amor (Without Love) in 1912, and his most popular, Los de abajo (The Underdogs) in 1915. He continued to write short works and novels influenced by the Revolution. It includes El camarada Pantoja (Comrade Pantoja) in 1937, Regina Landa in 1939, La nueva burguesía (The New Bourgeoisie) in 1941, and La maldición (The Curse, published posthumously) in 1955. These works mainly depicts the satirical picture of life in post revolutionary Mexico sharply and angrily stigmatizing demagoguery and political intrigue. Early life and career

<mask> was born in Lagos de Moreno, Jalisco to a small, but successful rancher, Evaristo <mask> and Paulina <mask>, on January 1, 1873. He grew up in a small farm owned by his father, which later influences the settings in many of his fictional works.He was first admitted to a Catholic seminary at the age of fourteen, but soon abandoned his religious studies. He studied medicine in Guadalajara, Jalisco. He received his M.D. in 1899, practicing medicine first in his home town of Lagos de Moreno, and later, after the Mexican revolution, practiced in Mexico City. In 1900, he married Carmen Rivera, niece of Agustín Rivera, priest and historian of Lagos de Moreno. He went to have five sons and five daughters. Like most young students, <mask> was opposed to the dictatorship of the Díaz regime.During his days in the Mexican Revolution, <mask> wrote about the war and its impact on Mexico. When Porfirio Díaz was overthrown, <mask> was made Chief of Political Affairs of Lagos de Moreno in 1911 and state Director of Education of Jalisco in 1914 by president Francisco I. Madero. After Madero's assassination, he joined the Constitutionalist cause that sought to restore the rule of law. He traveled with the military forces of Julián Medina, a follower of Pancho Villa, where he served as a field doctor. His participation in the conflict gave him ample material to write Los de abajo (The Underdogs) (1915). He later was forced for a time to emigrate to El Paso, Texas when the counterrevolutionary forces of Victoriano Huerta were temporarily triumphant. It was there that he wrote Los de abajo, which was his first-hand description of combat during the Mexican revolution, based on his experiences in the field.It was first published as a serial in the newspaper "El Paso del Norte" from October 1915 to December 1915. The book did not receive general recognition until 1924, and it was hailed as a novel of the Revolution. Los de abajo (The Underdogs) depicts the futility of the Revolution, the opportunists in power, and the underprivileged majority of his country. He fought for a better Mexico, and he believed the Revolution corrected some injustices, but it has given rise to others equally deplorable. The Mexican Revolution’s Effect on <mask>’s Writing Career
Through studying the encyclopedic entries of Nicolás Kanellos, Brown Foundation Professor of Hispanic Studies teaching at the University of Houston, in The Greenwood Encyclopedia of Latino Literature discussing <mask>'s involvement in The Mexican Revolution, the strong influence and lasting impressions of the revolution on his writing career become evident. In his encyclopedia entry “<mask>, <mask> (1873-1952)”, Nicolás Kanellos underscores <mask>'s physical involvement in the war, and its influence on <mask>'s literary career. Kanellos begins by describing <mask> as, “one of Mexico’s greatest novelists and chroniclers of the Mexican Revolution” (Kanellos, 105).In describing <mask> as a “chronicler”, Kanellos immediately highlights one important feature of <mask> and his work, which is his tendency to record and portray history. In highlighting <mask>'s relationship between history and literature, Kanellos establishes the inseparability of political and global contexts within <mask>'s literary works; for example, <mask>'s novel “The Underdogs” recounts the events of The Mexican Revolution from the perspective of the rebel soldiers. Therefore, Kanellos emphasizes the existing relationship between history and its involvement in <mask>'s work. Kanellos then describes the reason as to why <mask>'s literary works are deeply infused with Mexican politics and history stating, “<mask>’s early career as a writer, in fact, was developed while participating in the Revolution first-hand as a physician in the army of Francisco ‘Pancho’ Villa” (Kanellos, 105). The terms “first-hand” and “participating” underscore <mask>'s physical involvement in the war. Kanellos’ use of the word “developed” then underscores the manner in which <mask>'s physical involvement paved the way for his writing to grow and mature as a result of his experiences participating in the Mexican Revolution. Kanellos stresses in his encyclopedic entry the persisting role of history and its portrayal in <mask>'s work, but he also emphasizes the manner in history, in particular the Mexican Revolution, essentially birthed <mask>'s writing career.In understanding the relationship between <mask>'s involvement in the Mexican Revolution and its effect on his writing career, the undertones of corruption and failed ideals in <mask>'s novels such as “The Underdogs” reveal a more personal perspective that highlights the contrasts between the reality of war and revolution in his novels. Cultural Identity in The Underdogs

In Margy McCrary's article, “The Aztec Connection: Exploring the Construction of <mask>'s Revolutionaries in The Underdogs”, she examines the description of Demetrio as a “full-blooded Aztec”. She argues he gains authority over the land, and constructs a cultural identity where he and Mexican peasants must establish in order to resist the Spanish conquerors. McCrary contends that the purpose of a revolution is to reject the identity of the colonizer, but in order to do this “some sort of unified identity is necessary for a group to revolt successfully” (McCrary 31). The pre-colonial Aztec is embodied by Demetrio Macías because he is connected to both his ancestors and the land. Demetrio is depicted as “riding proudly on his horse” with “pure-blooded Aztec cheeks”, however, Demetrio “seems devoid of any defined identity” because he never acknowledges a greater reasoning to his involvement in the revolution other than either revenge or satisfaction in being the revolutionaries' leader (<mask> 72). This illuminates that <mask> may care about the revolution more than the characters do.McCrary further explains that on page seventy-two of the novel, Macias and his “men threw out their chests as if to breathe the widening horizon” and the “immensity of the sky” illustrating how Demetrio's freedom is connected to the earth itself and that Demetrio is a legitimate inhabitant of the land. Furthermore, the sense of freedom that Demetrio and the Mexican men feel on the land serves to “distance them from their oppressed identities as colonized beings” because they immediately forget their bleak lives as conquered peasants (36). By depicting Demetrio as a pure-blooded Aztec, <mask> reveals that he as an author is “displeased with the current, colonized identity of his people” and wishes to reconstruct a strong Mexican identity before it had “been influenced by the Spanish colonizers” (37). As a result, <mask> emphasizes the consequences of colonization because Demetrio is “so far separated from his own heritage and identity that he does not even recognize it consciously” (39). When Demetrio begins to forget his identity it results in “petty fighting, looting, and anarchy” (34). <mask> emphasizes Demetrio's heritage so that readers understand what is at stake if cultural identity is lost. Later life
In 1917 he moved to Mexico City where, for the rest of his life, he continued his writing, and worked as a doctor among the poor.In 1942 he received the Mexican National Prize for Literature. On April 8, 1943 he became a founding member of Mexico's National College, where he gave lectures on Mexican, French, and Spanish novelists, and on his own literary experiences. In 1949 he received the Mexican National Prize for Arts and Sciences. He died in Mexico City March 1, 1952 and was placed in a sepulchre of the Panteón Civil in the Rotonda de los Hombres Ilustres. 2015 Conference on <mask> and the Novel of the Mexican Revolution
On the anniversary year of his famous novel, The Underdogs, a conference was held in collaboration by the Chicano Studies departments of both California State University, Los Angeles and the National Autonomous University of Mexico (UNAM). It was held on May 15–16 at California State University, Los Angeles and contained speakers who were scholars of either <mask> or the works of the Mexican Revolution. Partial list of works

Novels
María Luisa (1907).La rueda del aire (1908, The Air Wheel). Los fracasados (1908, The Losers). Los triunfadores (1909, The Winners). Mala yerba (1909, Bad Weed). Andrés Pérez, maderista (1911, Andrés Pérez, a Supporter of Madero). Sin Amor (1912, Without Love). Los de abajo (1915, The Underdogs) Partial Critical Edition.Los caciques (1917, The Bosses). Las moscas (1918, The Flies). Las tribulaciones de una familia decente (1918, The Tribulations of a Decent Family). El camarada Pantoja (1937, Comrade Pantoja)
San Gabriel De Valdivias: Comunidad Indegena (1938, San Gabriel de Valdivias: Indigenous Community). Regina Landa (1939). Niño (1939, Child)
Avanzada (1940, Advanced). La nueva burguesía (1941, The New Bourgeoisie).La marchanta (1944, The Merchantwoman). La mujer domada (1946, The Woman Shrew). Sendas perdidas (1949, Lost Roads). La maldición (1955, The Curse [posthumous]). Esa sangre (1956, That Blood [posthumous]). Fictionalized Biographies
Pedro Moreno (1935). Precursores (1935, Precursors).Novelettes
La malhora (1923, Evil Hour). El desquite (1925, The Revenge). La luciérnaga (1932, The Firefly). Essay Collections
Cien años de novela mexicana (1947, One Hundred Years of the Mexican Novel). Letters
Letters to Professor Pedro Manuel Gonzalez. Box 1, Folder 15., Manuel Pedro González Papers (Collection 1271). Department of Special Collections, Charles E. Young Research Library, UCLA.Partial list of works translated into English
The Underdogs (1929). New York: Brentano's. Marcela: A Mexican Love Story (1932). Anita Brenner, Trans. New York: Farrar & Rinehart, Incorporated. (A translation of Mala yerba)
Two Novels of Mexico: The Flies. The Bosses (1956).Lesley Byrd Simpson, Trans. Berkeley: University of California Press. The Underdogs (1963). Enrique Munguía, Trans. New York: New American Library. Two Novels of the Mexican Revolution (1963). Frances Kellam Hendricks and Beatrice Berler, Trans.San Antonio, Texas: Principia Press of Trinity University. (The Trials of a Respectable Family, and The Underdogs.) Three Novels (1979). Frances Kellam Hendricks and Beatrice Berler, Trans. San Antonio, Texas: Trinity University Press. (The Trials of a Respectable Family, The Underdogs, and The Firefly.) See also

Mexican Revolution
Porfirio Diaz
Francisco Madero
Chicana/o Studies
UCLA Chicano Studies Research Center
The Underdogs

References

 This article partially draws on the corresponding article in the Spanish-language Wikipedia, accessed 04:37, Nov 21, 2004 (UTC).That appears to have been drawn largely from his official biography at the Colegio Nacional, México. Re-accessed Sept 9, 2005. External links
 Website for 2015 Azuela Conference at CSULA

1873 births
1952 deaths
Writers from Jalisco
Members of El Colegio Nacional (Mexico)
19th-century Mexican writers
People of the Mexican Revolution
People from Lagos de Moreno, Jalisco
Mexican novelists
Male novelists
20th-century Mexican writers
20th-century Mexican male writers
19th-century male writers

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<mask> (flourished 1142–1161) was an Anglo-Norman magnate during the reign of King Stephen of England (reigned 1135–1154) and King Henry II of England (reigned 1154–1189). Chesney was part of a large family; one of his brothers became Bishop of Lincoln and another Abbot of Evesham Abbey. Stephen may have named him Sheriff of Oxfordshire. Besides his administrative offices, Chesney controlled a number of royal castles, and served Stephen during some of the king's English military campaigns. Chesney's heir was his niece, Matilda, who married Henry fitzGerold. Background

Following King Henry I's death in 1135, the succession was disputed between the Henry's nephews—Stephen and his elder brother, Theobald II, Count of Champagne—and Henry's surviving legitimate child Matilda, usually known as the Empress Matilda because of her first marriage to the Holy Roman Emperor, Henry V. Matilda's brother, and King Henry's only legitimate son, <mask> died in 1120, leaving Matilda as Henry's only legitimate offspring. After Matilda was widowed in 1125, she returned to England, where her father married her to Geoffrey, Count of Anjou.All the magnates of England and Normandy were required to declare fealty to Matilda as Henry's heir, but when Henry I died in 1135, Stephen rushed to England and had himself crowned before either Theobald or Matilda could react. The Norman barons accepted Stephen as Duke of Normandy, and Theobald acquiesced to his brother's usurpation. Matilda, though, was not reconciled to losing the throne, and secured the support of the Scottish king, David, who was her maternal uncle. In 1138 she also secured the support of her half-brother, Robert of Gloucester the Earl of Gloucester, an illegitimate son of Henry I. Most of the reign of King Stephen was dominated by the efforts of Matilda and later her son, Henry of Anjou to oust Stephen from the throne. The height of the civil war was from 1142 to 1148, but it began in 1138 when Robert of Gloucester declared for Matilda, after previously supporting Stephen. Traditionally, historians have referred to the period of civil war as "The Anarchy", but recent scholarship has rejected the extreme view of the time period as lawless; most historians see the reign as disordered but not highly so, and Stephen as weak but not useless.Early life

Chesney was the son of <mask> <mask> and <mask> Langetot. The elder Chesney came from near Quesney-Guesnon in the Calvados region of Normandy, and held lands in England from Robert d'Oilly at the time of the Domesday Survey in 1087. Alice was the daughter of <mask> Langetot, who held lands of Walter Giffard at the time of Domesday. <mask>'s brother <mask> <mask> later became Bishop of Lincoln. His other siblings were Reginald, who later became abbot of Evesham Abbey, Hugh, Ralph, Hawise, Beatrice, Isabel, and Roger. Chesney was the uncle of Gilbert Foliot who became successively abbot of Gloucester Abbey, Bishop of Hereford and Bishop of London. It is likely that it was one of <mask>'s sisters that married Gilbert's father, although there is no sure evidence of this.Chesney also mentioned as relatives the brothers <mask> <mask> and <mask> <mask>, but the exact relationship is unknown. Chesney needs to be distinguished from another <mask> <mask>, who held the office of Sheriff of Norfolk between 1146 and 1153. Career

<mask> and his brother <mask> Chesney were leading supporters of King Stephen in 1141, and were both leaders in Stephen's army that gathered at Winchester. In 1143, <mask> <mask> was given control of the town and royal castle at Oxford. He also held the town and castle of Deddington, which he had acquired at least by 1157, and possibly earlier. Although he did not begin the fortifications at Deddington Castle, it is likely that he began the first stone defences at the site. Deddington was Chesney's most important holding in Oxfordshire, and the basis of his power in the county.Before he controlled Deddington, Chesney temporarily administered the lands of Robert d'Oilly, who had previously held Oxford Castle but had defected to the side of the Empress Matilda in 1141 and died a year later. D'Oilly's heir took refuge with Matilda when Stephen overran his lands two weeks after his father's death, leading to Chesney's control of the d'Oilly lands. Some historians have seen this holding of the lands as Stephen giving Chesney the d'Oilly barony, but the only evidence for this is that Chesney eventually owned a manor previously belonging to d'Oilly which does not necessarily mean that he received the whole barony. It is far more likely that Stephen gave Chesney parts of the lands of <mask> fitzOsbern, which had reverted to the king in 1075. Most of the known lands of fitzOsbern are known to have been owned by Chesney or by tenants who held the lands from him. Historians are divided in their views as to whether Chesney held the office of Sheriff of Oxfordshire. Whatever the exact office that Chesney held in Oxfordshire, the townsmen of Oxford referred to him as their "alderman" before such honorifics were in common use.In 1145, Chesney was forced to ask Stephen for help in fending off the approach of Philip, a younger son of Robert, Earl of Gloucester, who was threatening Chesney's control of Oxford. During the period 1142–1148 Chesney forced Gloucester Abbey, then under the abbacy of his nephew Gilbert Foliot, to pay him sums of money. Foliot, in one of his surviving letters, reprimanded his uncle for his behaviour, asking him "Which of God's poor around you have you not harmed?" In 1147, Chesney granted the island of Medley to Osney Abbey in the name of his father and brother Roger, as well as King Stephen, Queen Matilda and their son Eustace. After 1148, Chesney apparently began to hedge his bets as he appears in the company of Roger of Hereford, the Earl of Hereford, who was a firm supporter of Matilda's and her son Henry's cause. Chesney served again as the leader of Stephen's army at Wallingford Castle in 1153 and in August he was defeated by Henry of Anjou. The subsequent peace settlement, the Treaty of Wallingford, gave Henry the English throne after Stephen's death.A part of the treaty awarded control of Oxford Castle to <mask> Bussy. Although <mask> had lost control of the castle, none of his lands were confiscated. Early in 1154, Chesney was with Henry, as he was a witness on two charters of Henry's. After Henry's ascension to the throne, Chesney came to terms with the new king, and received confirmation of his lands from the king by 1157. He spent time in Normandy with Henry from 1159 through to 1161. He continued to receive favours from the king, such as exemption for payment of danegeld on his manor of Deddington in 1156. Chesney married <mask> Lucy, who was probably a relative of <mask> Lucy, another of Stephen's main supporters.He died sometime between 1172 and 1176. <mask>'s heir was his niece Matilda, whom King Henry II married to Henry fitzGerold, a royal chamberlain. Notes

Citations

References

12th-century English people
High Sheriffs of Oxfordshire
Anglo-Normans

masks:
William de Chesney
William
Roger de
Chesney
Alice de
Ralph de
William
Robert de
Chesney
William
Alexander de
Chesney
Ralph de
Chesney
William de
Chesney
William
Roger de
William de
Chesney
William
Roger de
Chesney
Margaret de
Richard de
Chesney


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<mask>va (; ; ; born 27 June 1983), better known as just Alsou, is an ethnically Tatar Russian singer and actress. She represented Russia in the Eurovision Song Contest 2000 in which she came second with the song Solo right after Denmark, giving her recognition across Europe. Alsou hosted the final of the Eurovision Song Contest 2009 held in Moscow. Biography

Early life
Alsou was born in Bugulma, Tatar ASSR, Russian SFSR, Soviet Union. Her father, Ralif Rafilovich Safin, who is of Bashkir descent, is a former LUKoil executive and a current member of the Federal Council, the upper chamber of the Russian parliament. He is also the owner of the FC Zhemchuzhina-Sochi football team and was named the 100th richest citizen of Russia by Forbes magazine in 2004. Alsou's mother, Raziya Iskhakovna, is an architect of Volga Tatar descent.Alsou is a Muslim. She has an older half-brother called Ruslan (1973), an older brother called Marat (1977, not to be confused with tennis player Marat Safin), and a younger brother called Renard (1996). When Alsou was one-year-old, her family moved from Bugulma to Siberia. At age five, Alsou asked her parents for a piano. She was then allowed to attend a private music school. After living in Moscow due to her father's business, she then moved to New York City and later to the UK where she entered a private architecture college. While living in London, Alsou visited Russia often.In 1998, at the wedding of her brother Marat which was celebrated on the bank of the Moskva River, Alsou sat at the grand piano and sang I Will Always Love You. After this private performance her family began to persuade her to pursue a professional singing career. Later life
On 18 March 2006, Alsou married Yan Abramov, a millionaire, who comes from an ethnic Mountain Jewish family. Abramov allegedly proposed to her with a fireworks display. On 7 September 2006, Alsou gave birth to her first daughter, Safi'na, at the Cedars-Sinai Medical Center in Los Angeles, California. On 29 April 2008, Alsou gave birth to her second daughter, Mikella. On 10 August 2016, Alsou gave birth to her son, Rafael, at the Ihilov hospital in Tel-Aviv.Career

Beginning
At the age of 15 Alsou was introduced to music manager Valeriy Belotserkovskiy. She again performed "I Will Always Love You" and impressed the manager. He began work with Alsou the next day. Her debut Russian album was the self-titled Alsou (Russian: Алсу́) was released 16 September 1999. It was very successful in Russia and spawned 3 singles: "Zimniy Son" ("Winter Dream") "Vesna" ("Spring"), "Inogda" ("Sometimes"). After the huge success of Alsou's debut Russian album she was signed to Universal Music Russia and became its first domestic artist. By 2000 more than 700.000 legal copies of CD Alsou were sold in Russia.In 2000, Alsou recorded her first English language single "Solo" and was entered into the Eurovision Song Contest 2000, written by Andrew Lane and Brandon Barnes eventually finishing second overall. "Solo" went on to sell 100,000 copies and became the biggest selling single of all time in Russia, surpassed only by her next single, a duet with Enrique Iglesias entitled "You're My #1". `I really enjoyed performing with him in Kremlin and I hope our paths will cross again`. After her success in Eurovision 2000, Alsou began a large-scale tour of Russia. She celebrated her 17th birthday by performing in her native town of Bugulma, where 86,000 of the 120,000 population gathered in the main square to see her. Alsou performed "Solo" again at Congratulations, the 50th anniversary Eurovision concert in Copenhagen, Denmark, in October 2005. English career
During 2000–2001, Alsou began working on her debut English album also called Alsou, which was released in Russia on 28 June 2001.It was also released in (Germany), Norway, Poland, the Czech Republic and Malaysia. The lead single "Before You Love Me" was released in the UK on 30 April 2001, soon after charting at No. 1 on MTV Select and several TV appearances by Alsou. However, it only managed to chart at No. 27 in the UK Singles Chart. Later that year it was released in Germany and Australia. A follow-up single, "He Loves Me", was released only in (Germany) on 15 October 2001, with limited success.The album was cancelled in the UK, though released through 2001–2002 in several European countries and Malaysia. Between number albums
Alsou's debut Russian album was re-released twice – in 2001 and 2002, spawning two singles – "Osen" ("Autumn") and "Kogda Lubov Ko Mne Pridiot" ("When Love Comes To Me"). In the summer of 2002, Alsou began a tour of the former Soviet countries. Her new video for an up-and-coming single "Letyashaya Nad Oblakami" ("Flying Over The Clouds") was shown in Russian cinemas before the Russian romantic movie Atlantida. Alsou had recorded two songs for the movie. Trilogy and 19
In August 2002 more studio sessions began for a second Russian longplay. Alsou was also preparing for her concerts in Moscow at the same time.The "Trilogy" project was deemed by the local papers as one of the most "important social and cultural events". The uniqueness of the "Trilogy" idea was that no one singer in the world had ever given three completely different performances during a period of only 10 days. The first show was held in the "Rossiya" concert hall, where Alsou performed her old set entitled "Alsou And Her Authors", which had never been presented in Moscow before. The second show was an exclusive orchestral concert in Tchaikovsky Hall, where there are only 1,500 seats. The third show was a Europop show entitled "Solo". It was held in the Olympic Sport Complex and contained new Russian and English songs, with a fantasy-oriented set. After the third show, Alsou shot a video for the song "Vchera" ("Yesterday").On 23 January 2003, Alsou released her new Russian album entitled 19. The CD was received well by critics, and by April 2003 the sales had reached 500.000 copies. 19 spawned such singles as "Vsyo Ravno" ("Anyway"), "Vchera" ("Yesterday"), "Perviy Raz" ("The First Time"), "Mechty" ("Dreams") feat. Karl Frierson (mixed by Pit Baumgartner from De Phazz), "Letyashchaya Nad Oblakami" ("Flying Over The Clouds") and "Etkey" ("Father", a Tatarstan single). After success of 19, she was nominated for the First National Music Award, "Muz-TV". On 5 June 2003, after arriving in Moscow from working in foreign studios, Alsou unexpectedly found herself the winner of the "Best Female Artist" nomination. The voting was held all over Russia, and Alsou could not stop the tears of joy.To support the sales of album 19, Alsou gave successful performances in Russia, Ukraine, Georgia, Azerbaijan, Latvia, Israel and Kazakhstan. Second English album
For almost four years, Alsou worked on her second English album 'Inspired'. It was recorded in London and Los Angeles. The lead single, "Always on My Mind", was written by Alsou and Morten Schjolin. The video was filmed in May 2004 by well-known director Joseph Kahn. At the beginning of 2005, the single premiered on Capital FM and became the best news single of the week. However, despite the heavy UK promotion, a sexy video, touring as a support act with boyband Westlife, and performing in the London club G-A-Y, the commercial single was cancelled by Alsou's UK label Mercury Records, though physical copies were available for a short time.'Inspired' remains unreleased. <mask> is credited on most of the tracks recorded for Inspired. The album was produced by several of the industry's best producers including Rhett Lawrence and Bass Bros. Inspired features a cover version of Lionel Richie's "Hello". Another well-circulated track is the Nelly-featured "Wish I Didn't Know", though only a rough demo has leaked. The album is more guitar-flavored than Alsou's previous works. Originally it was intended to record the album with mostly ballads, but then the album's direction changed.At a meeting of the official Russian Alsou Fan Club in Moscow on 9 June 2013 the album 'Inspired' was given to the fan club members for free. The CDs were self-made by Alsou. It was the first time that the entire album came into the world. In 2006, Alsou recorded a wedding song, "Miracles", written by Alsou and her then-future husband Yan Abramov. It was released as a limited single for the guests of the wedding. The song is not part of the album 'Inspired'. The Main Thing and Tugan Tel
Alsou's third Russian album Samoe Glavnoe ("The Main Thing"), her first LP in 5 years, was released 31 March 2008 by Universal Music Russia.The singles from this album are "Nebo" ("Sky", released back in 2005), "Samoe Glavnoe" ("The Main Thing", 2006, the video was shot when she was pregnant though it is not visible), "A u moei ljubvi" ("And My Love Has...", 2007, shot in California desert and directed by Alan Calzatti). During 2008 Alsou recorded an album in Tatar language as well. Released in the fall and named Туган тел (Tugan Tel' | Mother's Tongue), the album includes several Tatar peoples' songs, others written specially for Alsou, some Tatar music instruments and a choir. All proceeds were given by Alsou and Universal Music for a sponsorship of talented orphans from Tatarstan. Non-musical work
In June 2004, Alsou performed in the British mystical thriller Spirit Trap with Billie Piper, Luke Mably, Emma Catherwood and Sam Troughton. The film premiered in August 2005. Alsou's self-written ballad "Teardrops" plays over the credits.The film got basically poor reviews and small returns at the box office, and it was soon released on DVD. A release of her second motion picture is awaited in 2008 – earlier in 2006 she starred in Russian historical drama "Vivat, Anna!" from a cycle of films about Russian monarchy. She also recorded a song for the movie, a melody from which serves as 1st track (Intro) of "Samoe Glavnoe". Plans
Alsou is currently selecting a single for her next Russian album of original songs she is working on. Currently she is also recording a double Russian album of lullabies and popular children songs. In the beginning of 2010, she started recording a jazz album with the help of George Benson.She has presented the final of the 2009 Eurovision Song Contest in Moscow. The hosts are normally required to translate monologue in French, to which she demonstrated quite fluently for the event. Six years later, she became one of the five jurors for Russian jury panel in the Eurovision Song Contest 2015. Awards
Before Alsou turned 18, she had already achieved great success and was honored several times. The Honourable and The Peoples' Singer of Tatarstan Republic
 The Honourable citizen of Bugulma
 The Best selling Russian artist ("World Music Awards 2001")
 The Best Russian singer ("MTV Europe Music Awards 2001")
 The Best selling single of 2000 (National Russian "Record" award for "You're My #1")

|-
! colspan="3" style="background: cyan;" | World Music Awards
|-

|-

Discography

Albums
All release dates are Russian unless noted otherwise
 Алсу (1999) – Her debut album in Russian, re-released in 2001 with the same title including two new songs
 Alsou (2001) – First album in English
 Мне приснилась осень (2002) – Second re-release of the debut album including five new songs
 19 (2003) – Second Russian album
 Самое главное (2008) – Third Russian album
 Родная речь. Туган тел (2008) – First album in Tatar
 Фея добрых снов (2011) – First album for children
 Inspired (2013) – Second English album, recorded in 2003–2005, only released during a fan club meeting as a free gift by Alsou
 Ты – это свет (2014) – Fourth Russian Album
 Письма, пришедшие с войны (2015) – Fifth Russian Album

English singles
 "Solo" (2000) – a European single released prior to Eurovision Song Contest
 "You're My #1" (2000, with Enrique Iglesias)
 "Before You Love Me" (2001) – the single peaked at No.27 in the UK Singles Chart and No. How High the Moon (2005, a guest appearance with Sting, Richie Sambora and Joss Stone, released worldwide on Les Paul's album American Made World Played). See also
 List of Eurovision Song Contest presenters

References

External links

 Official website

1983 births
Living people
People from Bugulma
Bashkir people
Volga Tatar people
Musicians from Tatarstan
Eurovision Song Contest entrants of 2000
Eurovision Song Contest entrants for Russia
21st-century Russian singers
Russian pop singers
World Music Awards winners
MTV Europe Music Award winners
Russian Muslims
21st-century Russian women singers
English-language singers from Russia
Winners of the Golden Gramophone Award

masks:
Alsou Ralifona Abramo
Alsou


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<mask> (4 March 1760 – 5 March 1821) was a businessman and ship owner in the city of Stavanger in Norway. In 1790 he took control of the family business Jacob Kielland & Søn and soon became one of the wealthiest and most distinguished figures in the city. Around 1800, he commissioned the building of the large country house Ledaal, which would later become a royal residence in Stavanger. In 1815, he was elected to the Parliament of Norway, though was unable to assume office. His personal success also facilitated the rise to prominence of other members of the <mask> dynasty, who became influential in the commercial, cultural and public life of Stavanger and of Norway for more than a century. Career
<mask> was born in Stavanger as the only son of captain and businessman <mask> (1727–1788) and <mask> (1733–1784). He originally intended to be a teacher, and studied Classics for seven years with private tuition.In practice, due to his father's declining health and his being the only son, he took over his father's business. He acquired burghership in Stavanger in 1783, and after four years in his own trade company, he became a partner in his father's company in 1787. He also conducted several travels to the Nordic countries, the Kingdom of Great Britain and the Dutch Republic, in order to study trade and to build a business network. After the death of his father in 1788, he bought shares from his sisters. In 1790 he merged the trade company and his inherited properties, creating the company Jacob Kielland & Søn. The properties included a brickworks in Sandnes. The building of the country-house, Ledaal, was finished in 1803.As well as being a base for leisure and social gatherings, it also functioned as a small, private museum and library. Ledaal was acquired by Stavanger Museum in 1936, and opened as a royal residence in 1949. Jacob Kielland & Søn was also heavily involved in shipping. In 1801 the company owned one fregate, one barque, six brigs and one galeas. The company had benefitted from the French Revolutionary Wars, both from trade, since Denmark-Norway was neutral, and also because Kielland was engaged in insurance and, in this capacity, often made a good return when identifiable flotsam was auctioned. As the local vice consul for Great Britain from 1787, his intervention was able to secure respect for the neutrality of Denmark-Norway in 1793 and 1796 from British warships. He held several posts among the notable citizens of Stavanger: he became town lieutenant at a young age and, in 1784, was promoted to command the town vigilantes.In 1801, following the Battle of Copenhagen, the United Kingdom and Denmark-Norway became belligerents and it was the vigilantes of Stavanger who set up the city's coastal batteries. In the same year, failed crops led to lack of grain in Stavanger Amt. Jacob Kielland & Søn managed, for a good part, to uphold the grain supply. The same thing happened in 1807, when the Gunboat War broke out, an open war between the United Kingdom and Denmark-Norway. Kielland organized grain storage in an initial phase, although others took over. Kielland also contributed personally to funding the standing defence of Norway. The company experienced hardships during the war as many ships were taken by privateers, and trade became difficult.It survived the Gunboat War partly due to "pliable circumvention of taxes". In 1809, <mask>'s work during this very difficult time received recognition with the award of: Knight of the Danish Order of the Dannebrog. He resumed his role as British vice consul in 1816, but was now also consular agent for Prussia, from 1813, plus, from 1817, vice consul for the city-state of Hamburg. In 1815 he was elected to the Parliament of Norway, but illness prevented him from actually assuming office. When he died in March 1821, in Stavanger, he was one of the wealthiest people in the city. Family
In April 1783 he married Johanna Margaretha Bull (1758–1818), daughter of Jens Bull, himself a former son-in-law of Vincent Stoltenberg (1694–1763), ancestor of the Stoltenberg family. <mask> and <mask> had six children: four sons and two daughters.The eldest son died young, as did the younger daughter, but the three sons who survived - Jens, Jacob and Jonas - all achieved success in their respective fields:
Jens <mask>: military officer
<mask> (1788-1863): successor as chairman of the family business
<mask> <mask> (1791-1852): politician

Following the death of his wife, <mask> also had a son with Inger Larsdatter Lura (1800-1874):
Søren Lura (1819-1866): a master cobbler at the age of 23. Through his second surviving son, <mask> (1788-1863), he became paterfamilias of two distinguished lines of descent. Confusingly, there is a Jacob Kielland in almost every generation of this families and sometimes within different branches of the same generation, so middle names are often used in reference, though even then many of the family names are still not unique. Children of Jens Zetlitz <mask> (1816-1881), grandson of <mask>land:
<mask> (1841-1915): priest and politician
<mask> (1843-1914): painter
<mask> (1849-1906): the famous De Fire Store writer
Tycho <mask> (1854-1904): jurist and journalist

In turn, <mask> (1841-1915) was both father and grandfather of prominent architects:
Jens <mask> (1866-1926): designer of several of the key buildings in Bergen
<mask> (1897-1972): his son, worked in Oslo. The daughters of <mask> (1788-1863) and Jens Zetlitz <mask> (1816-1881), provide the link to further prominent cousins, among whom the families:
Smith-Kielland
Sømme
Skavlan

Children of <mask> (1825-1889), naval officer and politician, grandson of Gabriel Kielland:
Axel Christian Zetlitz Kielland (1853-1924): Foreign Office mandarin
Christian Bendz Kielland (1858-1934): Home Office mandarin
Jonas Schanche Kielland (1863-1925): politician

Other distinguished people are likewise linked by marriage to this branch and members include:
Robert Kloster (1905-1979). References

1760 births
1821 deaths
People from Stavanger
Norwegian company founders
Norwegian businesspeople in shipping
Norwegian businesspeople in insurance
Norwegian people of the Napoleonic Wars
Knights of the Order of the Dannebrog

masks:
Gabriel Schanche Kielland
Kielland
Gabriel Schanche Kielland
Jacob Jansen Kielland
Elisabeth Schanche
Kielland
Gabriel
Johanna Kielland
Bull Kielland
Jacob Kielland
Jonas Schanche
Kielland
Gabriel Kielland
Jacob Kielland
Kielland
Gabriel Kiel
Jacob Kielland
Kitty Kielland
Alexander Kielland
Kielland
Jacob Kielland
Kielland
Jacob Kielland
Jacob Kielland
Kielland
Jacob Kielland


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<mask> (February 20, 1897 – November 18, 1983) was an American painter, sculptor and print-maker most renowned for his self-portraits, character studies, and still lifes. Due to his technique and dark subject matter, he is often categorized among the Magic Realists and is sometimes referred to as the "master of the macabre". From a family of artists and artisans, <mask> emerged on the American art scene in the 1930s and established a reputation as one of the most enigmatic of the American Realists. He shocked, awed and upset the viewing public through his emphasis on the fragility of the body, flesh and the human condition with such works as The Lineman (1928), That Which I Should Have Done I Did Not Do (The Door) (1931), and The Picture of Dorian Gray (1943). His work to highlight the minute detail and texture of every surface often required him to spend years or decades on a single painting. While <mask>'s works can be found in museums throughout the United States, the most important repository of his works is at the Art Institute of Chicago. Life

Before the birth of <mask> and his identical twin brother <mask>, the <mask> family, formerly the "Albrecht" family, was already known for artwork and craftsmanship.<mask>'s paternal great-great grandfather Andreas Albrecht was a master gunsmith in Thuringia, Germany, a family trade passed down to <mask>'s grandfather Zachariah. Likewise, <mask>'s father Adam Emory <mask> was an Impressionist painter and student of Thomas Eakins who built his reputation on landscapes and idealized paintings of children. Youth and education (1897–1925)
<mask> and Malvin were born in 1897 near Chicago in North Harvey, Illinois, to Adam Emory <mask> and Clara Wilson <mask>. Through their youth and until the two were age eleven, their father would use the boys as models in his paintings. Adam likewise began to teach the two to draw at age eight: This included formal Eakins-esque drawing lessons and regular visits to the Art Institute of Chicago. Through their father, the boys were introduced to several prominent American Impressionists and Realists including Childe Hassam, Robert Henri, William Glackens, Maurice Prendergast, Edmund Tarbell and John Twachtman. As Michael Croydon, <mask>'s biographer, describes, these experiences laid the foundation for <mask> and his brother's later careers as painters.<mask>'s formal education and career prospects in his youth and early adulthood were relatively erratic. His family moved frequently due to his father's career and it wasn't until 1910 that they settled in Hubbard Woods where <mask> and Malvin could attend New Trier High School. By 1915 <mask> entered the College of Liberal Arts of Northwestern University, which he failed out of. In 1916 he began to study at the University of Illinois at Urbana, at the time considering careers in architecture or chemical engineering. It was not until 1918, after a family painting trip to Caracas, Venezuela, that <mask> began to take seriously the possibility of becoming an artist. That same year he publicly exhibited his first work – a watercolor study of the trees hear his home in Hubbard Woods entitled The Oaks in Winter – at the Art Institute of Chicago's Annual Watercolor exhibition. The entry of the United States into World War I likewise disrupted his early adult life as both he and his brother were both enlisted in the United States Army as part of the Medical Corps of the American Expeditionary Forces.While stationed in Nantes, France between 1918 and 1919, <mask> produced at least eight sketchbooks of medical drawings illustrating surgeries and wounds in graphite and watercolor. While <mask> was not yet an accomplished draftsman, art historians and critics often cite these illustrations as the catalyst of <mask>'s interest in the fragility of the flesh and humanity for those suffering. After working in architecture and advertising briefly, in 1920 he and his brother both entered the Art Institute of Chicago. While Malvin studied sculpture, <mask> studied painting – each receiving standard, academic training in line with the Institute's traditional philosophy. He stayed there until he graduated in 1923, having exhibited The Philosopher (1922) and receiving Faculty Honorable Mention in both Life and Portrait Painting. Following his time at the Art Institute, he continued his studies at his father's alma mater the Pennsylvania Academy of the Fine Arts with the intention of learning from George Bellows. Bellows was, however, at the time on sabbatical in Europe and so <mask> instead chose to move to the National Academy of Design to study under Charles Webster Hawthorne.Having completed his formal education, in 1925 he and his brother Malvin rented a studio in Philadelphia and his professional career as an artist began. Early and mid-career (1925–1950)
Between 1925 and 1926, <mask>'s mature "baroque" formal style began to emerge, and in many cases the general public was not prepared for his "naked and uncompromising disclosure of the human condition." At the end of 1926, <mask> and his brother spent three months in southern California near San Diego. While there, <mask> produced several works that are representative of the maturity of his style, including I Walk To and Fro Through Civilization and I Talk As I Walk (Follow Me, The Monk) and I Drew a Picture in the Sand and the Water Washed It Away (The Theosophist). By 1927, he and Malvin returned to Illinois where their father Adam had repurposed an old Methodist church for use as the Albright Gallery of Painting and Sculpture. Due to the brothers’ proximity for the next two years, Malvin adopted the pseudonym Zsissly to avoid confusion with <mask>. It was during the years at this studio that <mask>'s style began to cause controversy: In May 1928 his painting The Lineman was used as the cover for the trade magazine Electric Light and Power.The magazine's readership thought the figure of the lineman was inaccurate and depressing; however, the painting was far more successful with art critics. Not long after, <mask> began working on paintings that emphasized the microscopic quality of surface as much as baroque form, beginning with Woman (1928). When Woman was displayed at the Toledo Museum of Art in the 17th Exhibition of Selected Paintings by Contemporary American Artists in 1929, the painting was met with protesters who first had the painting removed, followed by another group protesting the painting's removal. By 1931 and the Great Depression, <mask>'s career was becoming established and in July of that year he exhibited fourteen paintings at the Art Institute of Chicago alongside fellow artists George and Martin Baer. Following the completion of the monumental Into the World There Came a Soul Called Ida (1929–30), he began his decade-long obsession with his magnum-opus That Which I Should Have Done I Did Not Do (The Door) (1931). According to <mask>, the Depression didn't significantly affect his career because people didn't buy his paintings "whether times were good or bad, [so] it didn’t make a bit of difference." Indeed, his father's success in art sales and real estate allowed <mask> to live comfortably through the 1930s.Nonetheless, as did many other artists of the period, <mask> participated in the Public Works of Art Project in Illinois. He was supposed to receive thirty-eight dollars per week in the program as a "class A" artist, but he maintained that he never received payment for his works. While in the project, <mask> completed two paintings: The Farmer's Kitchen (1933–34) and Self-Portrait (1934). The Farmer's Kitchen, now housed at the Smithsonian American Art Museum, in particular suited the PWAP's expectations of images of hard-working Americans and is indeed thematically the closest of <mask>'s paintings to those of the popular Regionalists. The subject nonetheless allowed <mask> to display in the woman weariness and deterioration and thus to critique the positivist outlook of Regionalist artists like Grant Wood and Doris Lee. The 1940s brought a series of changes in <mask>'s life. His mother, Carla Wilson <mask>, died on May 8, 1939, and heartbroken, he, Malvin and Adam spent the next several summers painting in Maine.During this period, in 1941, <mask> completed work on The Door and began work on its de facto companion Poor Room – There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever and Forever and Forever Without End (The Window), which <mask> would continue to work on off-and-on for the next twenty-one years. Work on The Window experienced its first interruption when <mask> and Malvin were asked to paint for the Metro-Goldwyn-Mayer adaptation of The Picture of Dorian Gray, directed by Albert Lewin. For his portrait, <mask> insisted on working under the same harsh lights as on the set, so to compensate he developed a new aggressive sensibility around color that would persist in his work into the 1970s. In 1946, <mask>'s personal life changed even more when on August 27, he married Josephine Medill Patterson Reeve, after which the couple briefly moved to Billings, Montana and then south to Ten Sleep, Wyoming before returning to Chicago. Upon the marriage, <mask> adopted Josephine's children and in 1947, the <mask>s had a son Adam Medill, and two years following in 1949 they had a daughter Blandina Van Etten. Late career (1950–1983)
The final interruption to <mask>'s work on The Window was the commission of the Portrait of Mary Block (1955–57), and indeed portraiture and self-portraiture dominates much of the output from the final part of <mask>'s career. Upon completing The Window in 1962, he immediately began work on a posthumous portrait of his father-in-law Captain Joseph Medill Patterson (1962–64), an officer during WWI and the founder of the New York

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