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<mask> (also known as <mask> born 14 Nov 1968) is a serial entrepreneur best known for introducing the business of medical tourism as the founder of the world's first medical tourism company, PlanetHospital. He is also known for producing Snowboard Academy

Early life
<mask> was born on 14 Nov 1968 in Chiswick, UK. Prior to PlanetHospital, <mask>'s serial entrepreneur skills started at the age of 17 when he sold his first software business to a company that was eventually acquired by Corel Corp. just shortly after graduating high school. After a year at University of Calgary, another year at Simon Fraser and then at the University of Kwaazulu Natal, South Africa, <mask> returned to Canada to pursue his love of film. <mask> spent three years at various film distribution companies before finally starting his own production company, Millennium Multimedia. Millennium was responsible for several video games including PRIMORTALS and Boardlords, the first computer game about snowboarding. In 1996 <mask> produced Snowboard Academy for Colombia Tri-Star Entertainment, as well as She's Too Tall For Me.In 1996, <mask>'s company Millennium Multimedia was mistaken for a company involved in Y2K initiatives and he seized upon the opportunity to create a software that would scan a PC's bios for Y2K compatibility. The company was taken public in 1997 under the name Planet City Software, trading symbol PINC. In 1998, <mask> created an online ecommerce software tool the ecommkit before exiting PINC to join American Apparel as its first CTO. While at American Apparel, <mask> created a call center named ContactStation in Thailand, followed by partnering with Stewart Title, to introduce title insurance to India. Contact Station was sold to Loxley Inc and the title insurance endeavour fizzled out but on a trip back from India, when his wife became sick and was taken to a hospital in Bangkok, <mask> realized that there was potential in sending foreigners to Thailand for medical treatment and the medical tourism company Planethospital was born. Filmography
After spending three years in film distribution, <mask> started his own company called Millennium Multimedia Inc in 1995 to create content for television, internet, cd-rom and motion picture. Shortly thereafter, <mask> managed to get the interest of Columbia TriStar Home Video to co-finance Snowboard Academy which was a modest success on home video and HBO and continues to play on cable.<mask>'s next movie was The Final Goal, for which he took a special thanks to credit, and the She's Too Tall For Me, for MGM Home Entertainment (now a division of Sony). After the failure of trying to make another Snowboarding movie called Boardlords, <mask> returned to the software world but plans to return to motion pictures again. PlanetHospital
PlanetHospital was the world's first medical tourism company which <mask> started organically from his home while he was still CTO of American Apparel. The company grew organically from 2002 to 2005 and gradually accelerated its growth as the company was mentioned in several hundred media stories including Nightline, CNN, and Time Magazine. While PlanetHospital was germinating, <mask> was hired by an Indian video game production company, FxLabs, to lead the charge in animation and video game development. <mask> brokered a deal between FxLabs to create the ARCHIES videogame. In 2006, PlanetHospital became the first company to send a patient from the US to India for surrogacy.In late 2006 PlanetHospital sent the first gay patient to India for surrogacy and within two years surrogacy became a $100 million plus enterprise throughout the globe. In 2009, <mask> attempted to create an insurance product based on Medical Tourism, called DIASPORA, but the concept was deemed illegal by the California Department of Insurance and <mask> was forced to give up more shares to his investors who ultimately decided to take PlanetHospital public through a reverse merger with GlobalHealth Voyager (GLHV)(OTCBB: GLHV). GlobalHealth's board ordered PlanetHospital to focus on surrogacy only and forgo marketing other aspects of medical tourism, as aspect that <mask> was not too happy with, forcing <mask> to fight a long battle to get PlanetHospital back. Surrogacy controversy
<mask> was the first person to send a foreign patient to India for surrogacy. It was a huge risk for all parties but it was successful. In 2007 <mask> sent around 25 couples to India for surrogacy, the first year he offered the service. Based on this success, <mask> introduced the first gay surrogacy in India and soon Commercial surrogacy in India became a billion dollar industry.<mask> eventually introduced surrogacy to Panama, Greece and eventually Mexico. After GLHV acquired PlanetHospital, the board requested that <mask> only focus on surrogacy, a decision he vehemently protested against and ultimately led a fight to get the company back. By January 2013, GLHV officially settled out of court with <mask> to return PlanetHospital, however a month before, India had announced a ban on most surrogacy cases. This situation left PlanetHospital in a precarious position as over 20 of its clients paid for services but PlanetHospital's vendors were unable to perform services and most did not refund the moneys that were paid to them prior to the ban. Undaunted, PlanetHospital started to offer surrogacy in Mexico. After a huge legal expense to get his company back, and the ban on surrogacy in India that impacted close to 20 of his clients, <mask> worked with several vendors in Mexico and then attempted to purchase his own clinic in Cancun. He had hired a husband/wife legal team to assist with the challenges of surrogacy only to learn that they had started a competing company while being compensated by PlanetHospital.The team then went on to orchestrate a forced bankruptcy against PlanetHospital along with a campaign to destroy <mask>'s reputation. In an attempt to clear his name, <mask> met with the FBI on his own accord to discuss the many complaints they had received and pleaded guilty to bribery but then withdrew his plea. While fighting the bankruptcy challenge in court <mask> launched a lawsuit against the legal team with the understanding that any settlement would go to pay the debtors who lost money due to PlanetHospital's surrogacy disaster. Since this situation, <mask> currently develops mobile apps for licensing including most recently. LetsBingo, the world's first livestream bingo game, an online comic book based on Victor Hugo's Les Misérables. References

External links
  Official website

1968 births
Living people
Canadian screenwriters
Canadian film producers
University of Calgary alumni

masks:
Rudy Rupak
Rudy Rupak Acharya
Rudy
Rudy
Rudy
Rudy
Rudy Rupak
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy
Rudy Rupak
Rudy
Rudy
Rudy
Rudy Rupak
Rudy
Rudy
Rudy
Rudy
Rudy Rupak
Rudy
Rudy
Rudy
Rudy
Rudy Rupak


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<mask> (; born 8 November 1958) is an Israeli politician and former commander of the Southern Command in the Israel Defense Forces. In January 2015, he entered politics, joining the new Kulanu party. After being elected to the Knesset, he was appointed Minister of Construction. At the end of 2018, he joined Likud. <mask> also previously held the posts of Minister of Aliyah and Integration and Minister of Education. Biography
<mask> was born in Jaffa to Polish Jewish immigrants. His mother, Fruma, was a Holocaust survivor who had been on the SS Exodus as a child.Along with other Exodus refugees, she was deported by the British to Hamburg, and arrived in Israel in 1948. She was a nurse by profession His father, Michael, fought the Nazis as a partisan in the forests of Ukraine and Belarus, and also immigrated to Israel in 1948. He served in the Givati Brigade in the 1948 Arab–Israeli War, including the Samson's Foxes unit, and was considered one of the finest snipers in the IDF. He participated in Operation Yoav, during which he was the first soldier to break into the fort at Iraq Suwaydan. He named his son for the operation. In Galant's youth, the family moved to Givatayim, where he studied at David Kalai high school. He received a BA in Business and Finance Management from the University of Haifa.Galant lives in Moshav Amikam. He is married to Claudine, a retired IDF lieutenant colonel. They have a son and two daughters. In 2011, Galant was tapped to succeed Gabi Ashkenazi as the Chief of General Staff by Defense Minister Ehud Barak. Although his appointment was approved by the government it was overturned due to allegations of building of an unauthorized access road to his home and planting an olive grove on public land outside the boundaries of his property. Military career
Galant began his military career in 1977 as a naval commando in Shayetet 13. In the 1980s, after six years of active service, he moved to Alaska and worked as a lumberjack.He then returned to the navy and served on a missile boat (including a position as deputy-commander of INS Keshet) and again in Shayetet 13. In 1992, Galant was earmarked by then-navy commander Ami Ayalon for the command of Shayetet 13, a position he was meant to take up in 1994. Galant preferred not to study during the two remaining years, and instead moved into the ground forces and in 1993 took up command of the Menashe (Jenin) Brigade of the West Bank Division. After serving for three years as commander of Shayetet 13, Galant moved up to command the Gaza Division. He also commanded the reserve 340th Armored Division (Idan Formation), and in 2001 became the Chief of Staff of the GOC Army Headquarters. Galant attained the rank of a major general when he became the Military Secretary of the Prime Minister in 2002. In 2005, Galant was appointed as commander of the Southern Command.During his tenure (that lasted until 21 October 2010), the Israel Defense Forces embarked on Operation Cast Lead against Hamas in the Gaza Strip. Galant commanded the operation and his role in the field and in the success of the operation gained praise and helped him in the race to chief of staff. The Israeli NGO, Yesh Gvul, filed suit against <mask>'s appointment as IDF chief of staff, claiming that his command role in Cast Lead confirmed him as a suspect in "grave violations of international law." Haaretz noted that Galant lobbied against an investigation of Col. Ilan Malka, the IDF commander who approved the airstrike that killed 21 members of the al-Samouni clan during Cast Lead. Galant's view was ignored as the military prosecutor general opened an investigation of the incident which was highlighted by the Goldstone Report (since disavowed by its author) as a possible serious breach of international law. Chief of Staff candidacy

On 22 August 2010, Minister of Defense Ehud Barak presented the candidacy of Galant for the post of the IDF's twentieth Chief of Staff to the government. It was expected that he would receive the promotion.<mask>'s appointment followed a controversy, where a forged document was transferred to Israel's Channel 2 which accused Galant of attempting to smear rival candidate Benny Gantz. On 5 September 2010, the government approved the nomination of <mask> <mask> as the next chief of staff, with only Likud minister Michael Eitan objecting. Prime Minister Benjamin Netanyahu said that the incoming IDF chief has "proven his worth during his 33 years of military service at the IDF's frontlines," and that "He's proven himself to be a courageous fighter, an excellent officer, and a responsible and serious battle commander." The PM added that Galant picked up on a legacy of "dedication and excellence" bequeathed by incumbent IDF chief Gabi Ashkenazi. The cabinet also approved Barak's proposal, according to which Galant would serve for three years, giving the defense minister power to grant a fourth. On 1 February 2011, Prime Minister Benjamin Netanyahu and Defense Minister Ehud Barak canceled the appointment of Galant to the post of Israel Defense Forces chief. The announcement came after months of scandal surrounding his appointment due to allegations that he had seized public lands near his home in Moshav Amikam.After conducting an investigation into the allegations, Attorney General Yehuda Weinstein said that his findings "raise significant legal difficulties for the decision to appoint him." Weinstein said that it was up to the prime minister and defense minister to decide whether or not Galant could take up the post as new IDF chief of staff. Earlier in the day, Weinstein notified Prime Minister Benjamin Netanyahu that he could not defend <mask>'s appointment as chief of staff due to legal impediments. On 30 December 2012, the local planning committee administrating land ownership issues and building licenses said that Galant had built his home in the northern community of Amikam on 350m² of property accidentally listed as his, unaware that it was actually public land. The decision didn't address two other issues still being investigated by the state comptroller and attorney general: the building of an unauthorized access road to his house and the planting of an olive grove that spilled over the boundaries of his property. Political career

Kulanu
In January 2015 <mask> joined the new Kulanu party. He was placed second on the party's list for the 2015 elections, and was elected to the Knesset as the party won ten seats.He was later appointed Minister of Construction in the new government. In January 2016, the New York Times published an op-ed by Galant in which he describes how important he believes it is for Jewish and Arab leaders to come together in promoting peace and equality in their shared country. As part of that effort, he and MK Ayman Odeh, leader of the Joint List alliance of Arab parties, together visited several Arab Israeli towns. "Together, we examined firsthand the challenges facing Arab Israeli communities so that we could bring about solutions," he notes. Likud
On 31 December 2018, <mask> quit his post as Housing and Construction Minister to join Likud. A day later he was appointed Minister of Aliyah and Integration. He resigned from the Knesset and was replaced by the next candidate on the Kulanu list, Fentahun Seyoum on 2 January 2019.As a Likud member <mask> was appointed Minister of Aliyah and Integration. After the formation of the Thirty-fifth government of Israel Galant was appointed Minister of Education. On 17 January 2021, reacting to a planned speech by director-general of B'Tselem Hagai El-Ad at the Hebrew Reali School, Galant, serving as the Minister of Education, published a directive to the Education Ministry to forbid all organizations whose causes contradict the Ministry's vision of the country as democratic, Jewish and Zionist, from entering schools. Specifically, Galant wrote, any organization which cites Israel as an "apartheid state", shall be forbidden from entering education centers in Israel. In 2021, as Minister of Education, Galant opposed Weizmann Institute professor Oded Goldreich receiving the Israel Prize in mathematics, due to him co-signing a 2019 letter that called for the German Parliament not to pass legislation defining the Boycott, Divestment and Sanctions (BDS) movement as anti-Semitic. On 8 April 2021 Israel's Supreme Court of Justice ruled in favor of Galant's petition so that Goldreich cannot receive the prize this year and gave Galant a month to further examine the issue. References

External links

1958 births
Living people
20th-century Israeli military personnel
21st-century Israeli military personnel
Israeli generals
Israeli Jews
Israeli people of Polish-Jewish descent
Kulanu politicians
Likud politicians
Members of the 20th Knesset (2015–2019)
Members of the 21st Knesset (2019)
Members of the 22nd Knesset (2019–2020)
Members of the 23rd Knesset (2020–2021)
Members of the 24th Knesset (2021–present)
People from Jaffa
People named in the Panama Papers
University of Haifa alumni

masks:
Yoav Galant
Galant
Yoav Galant
Galant
Galant
Yoav
Galant
Galant
Galant
Galant
Galant


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Athanasios "<mask><mask> (; born 10 November 1968) is a Cypriot entrepreneur and philanthropist, founding Chairman and CEO of the EuroAsia Interconnector electricity cable, Quantum Corporation, Quantum Energy, Quantum Cable and EuroAfrica Interconnector. He is first Cyprus Goodwill Ambassador for UNICEF. Life and work
Athanasios "<mask><mask> was born on 10 November 1968 in Nicosia, Cyprus. He studied at the American College of Greece in Athens and attended the Harvard Executive Leadership Programme in 2007 (now Harvard Professional Development Programme). <mask> is a firm believer in the motto "if you can dream it then you can achieve it". From an early age, he manifested his independence in what is achievable. He attempts to take the roads less traveled, without being confined to tried and tested solutions or secure boundaries.Ktorides's activities extend primarily beyond Cyprus and embrace the sectors of energy and banking. His company Quantum was instrumental in the establishment of the Commercial Bank of Greece in Cyprus, in which it was the second biggest shareholder after the Hellenic Republic. Quantum's Chairman, Mr. Athanasios <mask>, also acted as the bank's Executive Vice Chairman for a period of 7 years. The partnership created excellent results for the bank's development. He is also involved in electricity generation with five power plants of installed capacity 1422 MW connected to the Pan-European electric network. He has been actively working towards the strategic upgrade of Cyprus in the international energy arena, the key projects being the EuroAsia Interconnector and EuroAfrica Interconnector, eastern Mediterranean sub-sea electricity cables. The EuroAsia Interconnector will link Israel with Cypriot and Greek power grids with high-voltage direct current submarine power cable of length around
.It will have a capacity to transmit 2,000 megawatts of electricity in either direction. EuroAfrica Interconnector will link Egypt with Cypriot and Greek power grids through the island of Crete with high-voltage direct current submarine power cable of length around 1707 km. <mask>'s business philosophy derives from the values of honesty, integrity, altruism, a systematic approach to work and above all from highlighting the positive, be this related to his colleagues or projects on which he works. Philanthropy

<mask> <mask> also believes that it is necessary to reciprocate the gift of life with love towards our fellow human beings. For this reason in 2008 he formalized his longstanding altruistic activities with the establishment of a not-for-profit, philanthropic fund, the Athanasios Ktorides Foundation. The Foundation grants 10 full scholarships for studies in leading European and American universities for 2018—2019. A recent significant project is the support of the "Heroes Photovoltaic Park", the largest in Cyprus, with 10 MW of power on the land of the University of Cyprus.The Foundation was also the main organizer of the Quantum Nicosia Marathon in 2010  and has made significant
contribution to the arts, most importantly to secure and repatriate historically important documents and other works. It sponsors charity activities that benefit families, children with special needs,  orphans, children's shelters, and all other activities aimed at the protection and well-being of children. In 2009, his business scope and humanitarian sensibility was recognized by the Commonwealth of Dominica  as the ideal credentials for the post as Honorary Consul of the country in Cyprus. The Prime Minister of Dominica awarded him the "Dominica Medal of Honor", as well as the diplomatic passport of the country. Four international personalities, the President of the Republic of Serbia, the Prime Minister of the Commonwealth of Dominica, the President of the Republic of Cyprus Glafkos Clerides  and the Archbishop of Athens and All Greece Ieronymos II of Athens, called upon UNICEF to use the good offices of <mask> <mask>. On February 8, 2012, UNICEF declared <mask> <mask> as National Goodwill Ambassador who, together with author Antonis Samarakis and principal of the Panthéon-Sorbonne University and rector of the Academy of Paris Eleni Glykatzi-Arveler,  completes the trio of personalities of the wider Hellenic world who have enjoyed such recognition to date. Albert Camus' letter

Marking the 50th anniversary of the execution of Michalis Karaolis on May 10, 1956, a handwritten manuscript by the philhellene Nobel laureate and philosopher, Albert Camus, appealing to Queen Elizabeth II for mercy for the young Greek Cypriot freedom fighter of the 1955-59 EOKA struggle for independence, was  acquired  from auction by <mask> <mask> and donated to the National Struggle Museum in Nicosia.In a letter of appreciation in June 2006, President Tassos Papadopoulos praised the benefactor. Karaolis, just 22 years old at the time, was credited with the execution on August 28, 1955, of a police officer, member of the Special Branch who had infiltrated the EOKA movement. On his way to rejoin the guerrillas headed by Grigoris Afxentiou in the Kyrenia mountains, Karaolis was captured and sentenced to death on October 28. He was hanged at the Central Prisons on May 10, 1956, together with Andreas Dimitriou, the first heroes of the independence struggle. Their bodies are buried at the memorial graveyard within the prisons and visited by thousands each year, during national holidays. Marathon  and sport

An active sportsman who believes that a "a healthy body builds a healthy mind", Nasos has participated in marathon events since 2008, participating among others in the Athens and Boston Marathons,

as well as in the North Pole and Antarctic Ice Marathon, while setting his sights to one day run in the Everest Marathon. North Pole Marathon is recognized as the northernmost marathon on earth and until now only several hundred people participated.<mask> <mask> had honour in 2012. to bring the Marathon Flame for first time to Antarctic Ice Marathon. He is founder of Quantum Nicosia Marathon in 2010. He is also a freefall skydiver and wingsuit pilot  trained in Russia, and a member of both the British Parachute Association and the U.S. Parachute Association. He is an experienced pilot and in his free time enjoys flying with his power paraglider. References

Literature
Honorable speaker at the Graduation Ceremony
Biography from Vice-rector of University of Cyprus
Honorable speaker N. Ktorides
Athanasios Ktorides Foundation. EuroAsia Interconnector

UNICEF Goodwill Ambassadors
Cypriot male marathon runners
Skydivers
1968 births
Greek Cypriot people
People from Nicosia

Living people
Cypriot businesspeople

masks:
Nasos
" Ktorides
Nasos
" Ktorides
Ktorides
Ktorides
Ktorides
Nasos
Ktorides
Nasos
Ktorides
Nasos
Ktorides
Nasos
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Nasos
Ktorides


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<mask>Rudy<mask>, Ph.D., (born May 18, 1932) is an American historian, professor emeritus at California State University, Northridge, and a scholar of Chicano studies. He authored the 1972 book Occupied America: A History of Chicanos, approaching history of the Southwestern United States with a heavy emphasis on Mexican Americans. An eighth edition was published in 2014. <mask> has also written for the Los Angeles Times, The Los Angeles Herald-Express, La Opinión, and numerous other newspapers. His work emphasizes the struggles of Mexican American people. <mask> is an activist and he has supported numerous causes of the Chicano Movement. He currently teaches an on-line history course at California State University, Northridge.Early life
<mask> was born in Los Angeles, California in 1932 to Alicia Elías who was from Sonora, Mexico. His father was from Cocula, Jalisco. <mask> says his academic counselor advised him to teach "Spanish" or "Physical Education" because "Mexicans don't have a history." This infuriated him, an outrage that motivated him to pursue a doctorate in history. His specialty was northern Mexico and the Mexican origin of people in the United States. His study led to his participation in the movement to begin Chicano Studies, giving a voice to Mexican Americans in education and history. An Educator

In 1958 <mask> began teaching at San Fernando Junior High, transferring later to Cleveland High School where he taught social studies until 1965 when he received a tenured position at Los Angeles Pierce College.He also taught adult high school to pay for his doctoral studies at the University of Southern California during which time he was active with the Latin American Civic Association and the Mexican American Political Association. He was the founding chair of the California State University, Northridge's Chicano/a Studies department, and his teachings began there in 1969. The CSUN Chicana/o Studies Department at CSUN presently has 28 tenured professors and offers 166 sections of Chicana/o per semester. In 1989, <mask> was a founding member of the Labor/Community Strategy Center, a civil rights advocacy group. Two years later he traveled to El Salvador as a correspondent for the Texas Observer covering its presidential elections. He has always sought to fulfill his lifelong query as to "how accurate were the interpretations of historians of the past", their reliability and objectivity. His books and lectures analyze and cross examine this query from his study of documents and life experiences.<mask> continues to call himself a Chicano because "Words have meanings, meanings that are supposed to be linked to reality. In creating a historical narrative the meanings should be clear and best describe the reality of the times. Meanings can be obscured for political purposes; we often call this doublespeak; we say one thing and mean another. The Chicana/o Public Scholar argues that the word Chicana/o best describes the area of studies called Chicana/o Studies and expresses the idealism that we as a community should be striving for. Foremost <mask> prefers to be known as a teacher, having taught four to five classes per semester for most of his career. U.S. Latino issues
At a lecture celebrating the release of his book US Latinos: An Inquiry (Greenwood Press, 2003) in 2003, he critically addressed  U.S. Latino Issues and the Latino label or identity. He delves deeply into what exactly defines a nation or culture; their similarities and differences; and what life experiences are necessary to differentiate one ethnocultural group from another.In his book he clearly notes the mistaken trend of describing a large and heterogeneous group like people of Latin American descent in the US under labels like Latino. He acknowledges the fact that many people are actually opposed to the term and that the media has arbitrary and whimsically imposed Hispanic and Latino as absolute and monolithic ethnic groups:

In 2008, <mask> and his wife Guadalupe Compeán edited a three volume anthology titled Voices of the U.S. Latino Experience (Greenwood Press). The work is the basis of his history of Chicana/o Studies at CSUN entitled In the Trenches of Academe where <mask>—based on his study of over 2000 documents on Latinos living in the United States—concludes that as yet there is no Latino History. He loosely builds on the points raised in Marx's National Question. His 2007, Corridors of Migration: Odyssey of Mexican Laborers, 1600-1933(Arizona 2007) breaks new ground in the transborder study of Chicano history, using documents on both sides of the border to document and explore the early urbanization and proletarianization of Mexican workers. "Is Antonio Banderas Latino?" During a lecture titled "Is Antonio Banderas Latino?"at Swarthmore College, his studies of the race, age, history and class of the Chicano identity were compared and contrasted to the definition of the alleged Latino identity of U.S.A.  His question "should a Spaniard get affirmative action for Latinos without the life experience? "—where life experience meant that one needed to suffer discrimination—was answered no. This has been a recurring theme in his work: that civil rights entitlements are not automatic, but reserved for those who have historically experienced racial and class discrimination. No matter what people may think of Banderas as a person, he is European and not part of a class that has historically suffered discrimination. In 2002, <mask> opposed the nomination of Miguel Estrada, a Honduran immigrant whose father owned a plantation in Honduras, to the Washington, D.C., Circuit Court. Discrimination
In 1992 <mask> sued the University of California, Santa Barbara for discrimination; the judge dropped the race discrimination cause of action; the political cause of action had previously been dropped because it missed the statute of limitations filing. A jury found that Acuña had been discriminated on the basis of his age, but Federal Judge Audrey Collins refused to compel the University to hire him, instead awarding him a monetary compensation of $325,000, which <mask> used to establish a foundation that he, his wife and his supporters started to help the victims of employment discrimination in higher education.The For Chicana Chicano Studies Foundation recently launched a web site. Aside from awarding tens of thousands of awards for court costs the foundation gives an average of $7,500 annually in scholarships. Legacy

Acuña's archives are held in the Special Collections and Archives section of the Library at California State University, Northridge. Honors
 Outstanding Academic Title by CHOICE Magazine for Corridors of Migration: The Odyssey of Mexican Laborers, 1600–1933, 2009
 National Hispanic Institute, Lifetime Achievement Award, Austin, Texas, 2008
 Community Coalition South Central Los Angeles, 9th Annual Gala Dinner, Activist-scholar award, 2008
 The Labor/Community Strategy Center Award, May 2007
 Center for the Study of Political Graphics (CSPG), Historian of the Lions Award at 18th Anniversary Dinner in Los Angeles on Saturday, October 13, 2007
 National Hispanic Hero Award, March 11, 2006, Chicago, 24th Annual National Conference. United States Hispanic Leadership Institute,
 LA Weekly LA People 2006, April 21–27, 2006, p. 108, Featured as one of 100 LA shakers and movers
 Symposium on the Works of Rodolfo F. Acuna, California State Northridge, May 2005
 Selected As One of the "100 Most Influential Educators of the 20th Century," Black Issues In Higher Education
 Recipient of the Gustavus Myers Award for an Outstanding Book on Race Relations in North America
 Distinguished Scholar Award, National Association of Chicana and Chicano Studies
 Homenaje University of Guadalajara Feria Internacional del Libro de Guadalupe and the State of Guadalajara Mexico for the Outstanding Scholar of U.S.-Mexico Studies
 Emil Freed Award for Community Service, Southern California Library for Social Studies and Research
 Founder's Award for Community Service, Liberty Hill Foundation
 American Council of Learned Societies Award
 Rockefeller Humanities Fellowship

References

Bibliography
2017   Assault on Mexican American Collective Memory, 2010–2015: Swimming with Sharks. Lexington Books. 2008	Voices of the U.S. Latino Experience [Three Volumes].Greenwood Press. 2007	Corridors of Migration: Odyssey of Mexican Laborers, 1600-1933. University of Arizona Press. 2007	Occupied America: A History of Chicanos. 6th edition. New York: Longman . 2004	US Latinos Issues.Greenwood Press. 2004	Occupied America: A History of Chicanos. 5th edition. New York: Longman. 2000	Occupied America: A History of Chicanos. 4th edition. New York: Addison, Wesley & Longman.1998	Sometimes There is No Other Side: Essays on Truth and Objectivity. Notre Dame: University of Notre Dame Press. 291 pp. Honorable Mention for Gustavus Myers Award for an Outstanding Book on Race Relations in North America. 1997     Truth and Objectivity and Chicano history. East Lansing: Julian Samora Research Institute, Michigan State University. 1996	Anything But Mexican: Chicanos in Contemporary Los Angeles.London: Verso Press, 1996. 320 pp. Recipient of the Gustavus Myers Award for an Outstanding Book on Race Relations in North America. 1988 	Occupied America: A History of Chicano. 3d Edition. New York: Harper and Row. 475 pp.Recipient of the Gustavus Myers Award for an Outstanding Book on Race Relations in North America. 1988	Sound Recording: Occupied America a history of Chicanos. Publication: Salt Lake City, Utah : Utah State Library Division for the Blind and Physically Handicapped. Cassette tape. 1984 	Community Under Siege: A Chronicle of Chicanos East of the Los Angeles River, 1945-1975. UCLA. 560pp.1981	El Caudillo Sonorense: Ignacio Pesqueira y sus tiempos. Mexico D.F. : ERA. 191 pp. 1980 	Occupied America: A History of Chicanos. 2nd Edition. New York: Harper & Row.437 pp. 1976 	America Ocupada. Ediciones ERA. 342 pp. 1974 	Sonoran Strongman: The Times of Ignacio Pesqueira. Tucson: University of Arizona Press. 179 pp.1972 	Occupied America: The Chicano Struggle Toward Liberation. New York: Harper & Ro., 282 pp. 1971     The story of the Mexican Americans; the men and the land. Sacramento: California State Dept. of Education. 1970 	Cultures in Conflict: Case Studies of the Mexican American. Los Angeles: Charter Books.140 pp. 1970 	A Mexican American Chronicle. New York: American Book Co. 210 pp. 1969 	The Story of the Mexican American. New York: American Book Co. 140 pp. External links
<mask> Acuna at CSUN
"Anything but Mexican: Chicanos in Contemporary Los Angeles", biography from Verso books. For Chicana Chicano Studies Foundation, http://forchicanachicanostudies.wikispaces.com/
Corridors of Migration: Odyssey of Mexican Laborers, 1600-1933 (University of Arizona Press Dec 2007) http://www.uapress.arizona.edu/BOOKS/bid1858.htm
Voices of the U.S. Latino Experience Three volumes(Greenwood 2008)http://www.greenwood.com/books/printFlyer.aspx?sku=GR4020
Portrait of <mask> F<mask>, Chicano scholar, California, 1989.Los Angeles Times Photographic Archive (Collection 1429). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles. Chicano
American academics of Mexican descent
American writers of Mexican descent
California State University, Northridge faculty
California State University, Northridge alumni
Activists for Hispanic and Latino American civil rights
Cultural historians
Hispanic and Latino American history
1932 births
Living people
Los Angeles Pierce College people
Activists from Los Angeles
Writers from Los Angeles

masks:
Rodolfo "
" Francisco Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Acuña
Rodolfo
Rodolfo
. Acuña


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<mask> is an Indigenous Australian lawyer of Wuthathi/Meriam heritage. She is considered a leading international authority on Indigenous cultural and intellectual property (ICIP), and is the Solicitor Director of Terri Janke and Company. Early life and education
<mask> was born in Cairns in Queensland, Australia, with Torres Strait Islander (form Mer Island and Aboriginal (Wuthathi) heritage, from Cape York Peninsula in North Queensland. She graduated from the University of New South Wales (BA LLB) in 1995. In 2019, Janke completed a PhD thesis at the Australian National University, entitled True Tracks: Indigenous Culture and Intellectual Property Principles for putting self-determination into Practice. She is also a graduate of the Australian Institute of Company Directors and LEADR Mediators. Career
Janke has worked at the National Indigenous Arts Advocacy Association, where she assisted the legal team in the leading case Milpurrurru v Indofurn.Janke has also completed work as a legal consultant with the World Intellectual Property Organisation (WIPO) on the Pacific Traditional Knowledge Action Plan. Janke is the Solicitor Director of Terri Janke and Company, her wholly Indigenous-owned legal firm founded in 2000. Terri Janke and Company specialises in Indigenous intellectual property, Indigenous cultural and intellectual property and business law, and is the largest and oldest Indigenous law firm in Australia. Janke is respected as one of Australia's leading Indigenous lawyers, and is also considered an expert and international authority on Indigenous cultural and intellectual property (ICIP). She has written the leading protocols ICIP models for various industries including film, arts, museum and archival sectors. Janke has served on the boards of many Indigenous and non-Indigenous organisations and associations, with some of her previous positions including deputy chair of the National Centre of Indigenous Excellence (Deputy Chair), Tourism Australia, National Indigenous Television (Chair) and Ngalaya Indigenous Lawyers Association (Chair), as well as at the State Library of NSW. Recognition
 Highly Commended, Law and Justice Foundation of NSW Award, 2007
Invited by the Prime Minister in April 2008 to be a delegate at the Australia 2020 Summit.NAIDOC Indigenous Person of the Year, 2011
 Australian Attorney-General's Indigenous Legal Professional of the Year, 2012
 Westpac/Australian Financial Review 100 Women of Influence 2013
 Finalist, Telstra NSW Business Women’s Awards, 2015
 Finalist, Indigenous Business, Ethnic Business Awards, 2015
 Finalist, NSW Regional Business Awards, City of Sydney, 2018
 Community Lawyer of the Year, Women Lawyers Association of NSW, 2019
 Indigenous Business Leader of the Year, MyBusiness Awards, 2019
J.G. Crawford Prize at ANU, 2020, for her PhD thesis, True Tracks: Indigenous Culture and Intellectual Property Principles for putting self-determination into Practice. Selected publications
Alongside the leading ICIP protocols and models in various sectors, Janke has many publications on the effect of the law on Indigenous peoples and culture, many of which are commissioned by both government and non-government organisations and institutions. Papers, reports and books

 <mask>, <mask>, True Tracks: Indigenous cultural and intellectual property principles for putting self-determination into practice (Thesis (PhD), 2019)
<mask>, <mask> and Maiko Sentina, ‘Indigenous Knowledge: Issues for protection and management’ (Discussion Paper, IP Australia & Department of Industry, Innovation and Science, 2018). <mask>, <mask> and Sarah Grant, First Peoples: A Roadmap for Enhancing Indigenous Engagement in Museums and Galleries (Australian Museums and Galleries Association, 2018). <mask>, <mask> and Maiko Sentina, Indigenous Joint Ventures Information Guide (Indigenous Business Australia, 6 April 2018). <mask>, <mask> and Lucinda Edwards, Indigenous cultural rights and engagement policy (National Museum of Australia, 2015).Terri Janke and Company, Law Way: Indigenous Business and the Law (2013). <mask>, <mask>, The Mabo Oration 2011: Follow the stars: Indigenous culture, knowledge and intellectual property rights (Anti-Discrimination Commission Queensland, 2011). <mask>, <mask>, Pathways & Protocols: A filmmaker’s guide to working with Indigenous people, culture and concepts (Screen Australia, 2009). <mask>, <mask>, Beyond Guarding Ground: a Vision for a National Indigenous Cultural Authority (Terri Janke and Company, 2009). <mask>, <mask>, Code of Practice for Galleries and Retailers of Indigenous Art (City of Melbourne, 2007). Terri Janke and Company, Protocols for Working with Indigenous Artists (Australia Council for the Arts, 2007). <mask>, <mask>, Minding Culture: Case Studies on Intellectual Property and Traditional Cultural Expressions (World Intellectual Property Organisation, 2003).Mellor, Doreen and <mask> <mask>, Valuing Art, Respecting Culture – Protocols for Working with the Indigenous Visual Arts and Craft Sector (National Association for the Visual Arts, 2001). <mask>, <mask> ‘Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights’ (Report commissioned by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Michael Frankel & Company, 1998). Journal articles and chapters in books

 <mask>, <mask>, 'The Streets of My Youth' (2018), Growing Up Aboriginal In Australia
<mask>, <mask>, ‘Protecting Indigenous Cultural Expressions in Australia and New Zealand: Two Decades After the Mataatua Declaration and Our Culture, Our Future’ (2018) 114 Intellectual Property Forum 21–30. <mask>, <mask>, ‘From smokebush to spinifex: Towards recognition of Indigenous knowledge in the commercialisation of plants’ (2018) 1 International Journal of Rural Law and Policy 1-27. <mask>, <mask>, ‘Ensuring Ethical Collaborations in Indigenous Arts and Records Management’ (2017) 91(5) Australian Law Journal 375-380. <mask>, <mask>, ‘Guarding ground: A vision for a national Indigenous cultural authority’ in Robert Tonkinson (ed), The Wentworth Lectures: Honouring fifty years of Australian Indigenous Studies (Aboriginal Studies Press, 2015) 258–280. <mask>, <mask> and Sarah Holcombe, ‘Patenting the Kakadu Plum and the Marjarla Tree: Biodiscovery, intellectual Property and Indigenous Knowledge’ in Matthew Rimmer and Alison McLennan (eds), Intellectual Property and Emerging Technologies: The New Biology (Edward Elgar, 2012) 293-319.<mask>, <mask>, ‘Copyright, Connections and Culture: Is there a place in the Australian arts industry for a National Indigenous Cultural Authority?’ in Courageous Conversations (Wilin Centre for Indigenous Arts and Cultural Development, 2010) 11-16. <mask>, <mask>, ‘Looking Out for Culture: Indigenous arts and cultural expression and copyright, trademarks and designs’ (2004) 26 Ngoonjook: Journal of Australian Indigenous Issues 73. <mask>, <mask>, ‘Respecting Indigenous Cultural and Intellectual Property Rights’ (1999) 22(2) University of New South Wales Law Journal 631. References

Year of birth missing (living people)
Living people
Torres Strait Islanders
University of New South Wales alumni
Australian National University alumni
21st-century Australian lawyers
Australian women lawyers
People from Cairns
21st-century women lawyers

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Terri Janke
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<mask> (born Hersz Mordche; 22 June 1919 – 3 May 1982) was a Polish social psychologist, best known for his pioneering work on the cognitive aspects of prejudice and social identity theory, as well as being one of the founders of the European Association of Experimental Social Psychology. Biography

Early life in Poland

<mask> grew up in Poland. Because of Polish numerus clausus restrictions on Jews in university education , he left Poland to study chemistry at the Sorbonne in France. At the outbreak of World War II, he volunteered to serve in the French army. A year later, he was taken prisoner-of-war by the Germans. He faced a dilemma: whether or not to admit to the Germans that he was a Polish Jew. He claimed to be a French citizen but did not deny his Jewish identity.He reasoned that if he denied being Jewish and if the Germans found out later that he was Jewish, he would certainly have been killed. In the event, Tajfel survived the war in a series of prisoner-of-war camps. On his return home he discovered that none of his immediate family, and few of his friends, had survived the Nazi Holocaust. He was to write later about the profound effect that this had on him and how it led to his later work on the psychology of prejudice and intergroup relations. After the war Tajfel worked for a series of relief organisations including the Œuvre de secours aux enfants (OSE), a Jewish humanitarian organisation. <mask>'s work with OSE involved resettling Jewish children, many of whom were orphans who had lost all their family. <mask> would often say that his work with OSE was the most important achievement in his life and he kept in touch with many of the children whose lives he helped to rebuild.He also worked for the United Nations International Refugee Organisation. Move to Britain
He was granted French citizenship in 1946. However, he was soon to meet his future wife Anna-Sophie Eber (Ann), who had been born in Germany but had moved to Britain before the Second World War. <mask> and Ann set up home in Britain where their two sons, Michael and Paul, were born. <mask> took on British citizenship (for details, see the biography in the Oxford Dictionary of National Biography). In 1951 <mask> began studying psychology at Birkbeck College, University of London. He won a competitive scholarship for mature students with an essay on the subject of prejudice.In 1954 he graduated and worked as a lecturer, first at the University of Durham and then at Oxford. In 1962 he was made a Founding Fellow of Linacre College, Oxford. In his research work at the University of Oxford, Tajfel examined several different areas of social psychology, including social judgement, nationalism, and, most importantly, the cognitive aspects of prejudice. In 1967 he was made Chair of Social Psychology at the University of Bristol. At Bristol he conducted research into intergroup relations and was active in making Bristol University a European centre for social psychology. He retired from Bristol and moved back to Oxford shortly before his death from cancer in 1982. Work in social psychology

Early research
Tajfel's early research at University of Durham and University of Oxford involved examining the processes of social judgement.He believed that the cognitive processes of categorization contributed strongly to the psychological dimensions of prejudice, which went against the prevailing views of the time. Many psychologists assumed that extreme prejudice was the result of personality factors, such as authoritarianism. According to this perspective, only those with personalities that predisposed them to prejudice were likely to become bigots. <mask> believed this was mistaken. He had seen how large numbers of Germans—not just those with particular personalities—had given their support to Nazism and had held extreme views about Jews. Nazism would not have been successful without the support of "ordinary" Germans. Tajfel sought to discover whether the roots of prejudice might be found in "ordinary" processes of thinking, rather than in "extraordinary" personality types.He conducted a series of experiments, investigating the role of categorization. One of his most notable experiments looked at the way that people judged the length of lines. He found that the imposition of a category directly affected judgements. If the lines, which were presented individually, were shown without any category label, then errors of judgement tended to be random. If the longest lines were each labelled A, and the shortest were labelled B, then the errors followed a pattern. Perceivers would tend to judge the lines of each category (whether A or B) as being more similar to each other than they were; and perceivers would judge the differences between categories as greater than they were (i.e., the differences between the longest B line and the shortest 'A' line). These findings have continued to influence subsequent work on categorization and have been replicated subsequently.<mask> viewed these investigations into social judgement as being directly related to the issue of prejudice. Imposing category distinctions on lines (A and B) was like dividing the social world into different groups of people (e.g., French, Germans, British). The results of his experiments showed how cognitively deep-seated it was for perceivers to assume that all members of a certain nationality-based category (for instance, all the French or all the British) were more similar to each other than they actually were, and to assume that the members of different categories differed more than they did (for instance, to exaggerate the differences between the French and the British). In this respect, the judging of lines was similar to making stereotyped judgements about social groups. Tajfel also argued that if the categories were of value to the perceiver, then these processes of exaggeration were likely to be enhanced. The implications of this position were profound. It meant that some of the basic psychological roots of prejudice lay not in particular personality types, but in general, "ordinary" processes of thinking, especially processes of categorising.<mask> outlined these ideas in his article, "Cognitive Aspects of Prejudice", which was first published in 1969 and has been republished subsequently. For this article, <mask> was awarded the first annual Gordon Allport Intergroup Relations Prize by the Society for the Psychological Study of Social Issues. Intergroup relations
Having moved to Bristol University, <mask> began his work on intergroup relations and conducted the renowned minimal groups experiments. In these studies, test subjects were divided arbitrarily into two groups, based on a trivial and almost completely irrelevant basis. Participants did not know other members of the group, did not even know who they were, and had no reason to expect that they would interact with them in the future. Still, members of both groups allocated resources in such a way that showed favouritism for members of their own group in a way that maximized their own group's outcomes in comparison to the alternate group, even at the expense of maximum gains for their own group. Even "on the basis of a coin toss...simple categorization into groups seems to be sufficient reason for people to dispense valued rewards in ways that favor in-group members over those who are 'different'".Social identity theory
Subsequently, <mask> and his student John Turner developed the theory of social identity. They proposed that people have an inbuilt tendency to categorize themselves into one or more "ingroups", building a part of their identity on the basis of membership of that group and enforcing boundaries with other groups. Social identity theory suggests that people identify with groups in such a way as to maximize positive distinctiveness. Groups offer both identity (they tell us who we are) and self-esteem (they make us feel good about ourselves). The theory of social identity has had a very substantial impact on many areas of social psychology, including group dynamics, intergroup relations, prejudice and stereotyping, and organizational psychology. <mask>'s influence
<mask>'s influence on social psychology, especially in Britain and Europe, continues to be significant. His influence has reached beyond his particular views on social identity and social judgement, as he had a wide vision of creating a social psychology that was genuinely social and was engaged with broader issues.Too much social psychology was, in his view, trivial and based on what he called "experiments in a vacuum". <mask> thought that social psychologists should seek to address serious social problems by examining how psychological dimensions interact with historical, ideological, and cultural factors. The influence of his general vision can be seen in the book Social Groups and Identities. This book was a posthumous tribute to Tajfel, containing chapters written by many of his former students. Some of his students went on to develop his theories of social identity and some continued his early work on social judgement. There were also chapters from former students who developed very different sorts of social psychology. However, both those who continued <mask>'s work directly and those who moved in other directions were united in paying tribute to the force of <mask>'s vision for a broad-based, politically important social psychology.Sexual harassment
In 2019, evidence emerged documenting that Tajfel displayed inappropriate conduct toward female members of his lab. Tajfel regularly directed unwanted sexual attention to female colleagues. In his own research, he was uninterested in applying social identity theory to gender. As a consequence, the prestigious Tajfel Award will be renamed by the European Society for Social Psychology. See also

References

Bibliography
<mask>, H. (1959). Quantitative judgment in social perception. British Journal of Psychology, 50, 16–29.<mask>, H. (1969). Cognitive aspects of prejudice. Journal of Social Issues, 25, 79–97. <mask>, H. (1970). Experiments in intergroup discrimination. Scientific American, 223, 96-102 (abstract). <mask>, H., Billig, M., Bundy, R. P. & Flament, C. (1971).Social categorization and intergroup behaviour. European Journal of Social Psychology, Vol. 1, Issue 2, 149-178 (abstract). <mask>, H. (1972). La catégorisation sociale. In S. Moscovici (Ed. ), Introduction à la psychologie sociale (Vol.1). Paris: Larousse. <mask>, H. (1974). Social identity and intergroup behaviour. Social Science Information, 13, 65–93. <mask>, H. (Ed.).(1978). Differentiation between social groups: Studies in the social psychology of intergroup relations. London: Academic Press. <mask>, H. & Turner, J. C. (1979). An Integrative Theory of Intergroup Conflict. In W. G. Austin & S. Worchel (Eds. ), The Social Psychology of Intergroup Relations.Monterey, CA: Brooks-Cole . <mask>, H. (1981). Human Groups and Social Categories. Cambridge University Press, Cambridge. <mask>, H. (1982). Social psychology of intergroup relations. Annual Review of Psychology, 33, 1-39.Tajfel, H. & Turner, J. C. (1986). The social identity theory of inter-group behavior. In S. Worchel & W. G. Austin (Eds. ), Psychology of Intergroup Relations. Chicago: Nelson-Hall

External links
Biography from the European Association of Social Psychology (EASP)
Commentary from Investigating Psychology, Open University

1919 births
1982 deaths
Social psychologists
British psychologists
Group processes
Polish emigrants to the United Kingdom
Academics of Durham University
Academics of the University of Bristol
British people of Polish-Jewish descent
People from Włocławek
20th-century psychologists

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<mask> (; ; ; 21 May 1471 – 6 April 1528), sometimes spelled in English as Durer (without an umlaut) or Duerer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.

Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are more Gothic than the rest of his work. His well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, while his woodcuts revolutionised the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance.This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions. Biography

Early life (1471–1490)

Dürer was born on 21 May 1471, the third child and second son of <mask> <mask> the Elder and Barbara Holper, who married in 1467 and had eighteen children together. <mask> <mask> the Elder (originally <mask> Ajtósi), was a successful goldsmith who by 1455 had moved to Nuremberg from Ajtós, near Gyula in Hungary. He married Holper, his master's daughter, when he himself qualified as a master. One of <mask>'s brothers, <mask>, was also a painter and trained under him. Another of <mask>'s brothers, Endres <mask>, took over their father's business and was a master goldsmith. The German name "Dürer" is a translation from the Hungarian, "Ajtósi".Initially, it was "Türer", meaning doormaker, which is "ajtós" in Hungarian (from "ajtó", meaning door). A door is featured in the coat-of-arms the family acquired. <mask> <mask> the Younger later changed "Türer", his father's diction of the family's surname, to "Dürer", to adapt to the local Nuremberg dialect. Dürer's godfather Anton Koberger left goldsmithing to become a printer and publisher in the year of Dürer's birth. He became the most successful publisher in Germany, eventually owning twenty-four printing-presses and a number of offices in Germany and abroad. Koberger's most famous publication was the Nuremberg Chronicle, published in 1493 in German and Latin editions. It contained an unprecedented 1,809 woodcut illustrations (albeit with many repeated uses of the same block) by the Wolgemut workshop.Dürer may have worked on some of these, as the work on the project began while he was with Wolgemut. Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources. After a few years of school, Dürer learned the basics of goldsmithing and drawing from his father. Though his father wanted him to continue his training as a goldsmith, he showed such a precocious talent in drawing that he started as an apprentice to Michael Wolgemut at the age of fifteen in 1486. A self-portrait, a drawing in silverpoint, is dated 1484 (Albertina, Vienna) "when I was a child", as his later inscription says. The drawing is one of the earliest surviving children's drawings of any kind, and, as Dürer's Opus One, has helped define his oeuvre as deriving from, and always linked to, himself. Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books.Nuremberg was then an important and prosperous city, a centre for publishing and many luxury trades. It had strong links with Italy, especially Venice, a relatively short distance across the Alps. Wanderjahre and marriage (1490–1494)

After completing his apprenticeship, Dürer followed the common German custom of taking Wanderjahre—in effect gap years—in which the apprentice learned skills from artists in other areas; Dürer was to spend about four years away. He left in 1490, possibly to work under Martin Schongauer, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at Colmar in 1492. It is unclear where Dürer travelled in the intervening period, though it is likely that he went to Frankfurt and the Netherlands. In Colmar, Dürer was welcomed by Schongauer's brothers, the goldsmiths Caspar and Paul and the painter Ludwig. In 1493 Dürer went to Strasbourg, where he would have experienced the sculpture of Nikolaus Gerhaert.<mask>'s first painted self-portrait (now in the Louvre) was painted at this time, probably to be sent back to his fiancée in Nuremberg. In early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg. Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, <mask> was married to Agnes Frey following an arrangement made during his absence. Agnes was the daughter of a prominent brass worker (and amateur harpist) in the city. However, no children resulted from the marriage, and with <mask> the Dürer name died out. The marriage between Agnes and <mask> was not a generally happy one, as indicated by the letters of Dürer in which he quipped to Willibald Pirckheimer in an extremely rough tone about his wife. He called her an "old crow" and made other vulgar remarks.Pirckheimer also made no secret of his antipathy towards Agnes, describing her as a miserly shrew with a bitter tongue, who helped cause Dürer's death at a young age. One author speculates that <mask> was bisexual, if not homosexual, due to several of his works containing themes of homosexual desire, as well as the intimate nature of his correspondence with certain very close male friends. First journey to Italy (1494–1495)

Within three months of his marriage, <mask> left for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving Nemesis. In Italy, he went to Venice to study its more advanced artistic world. Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Schongauer and the Housebook Master.He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that Giovanni Bellini was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably Antonio Pollaiuolo, with his interest in the proportions of the body; Lorenzo di Credi; and Andrea Mantegna, whose work he produced copies of while training. <mask> probably also visited Padua and Mantua on this trip. Return to Nuremberg (1495–1505)

On his return to Nuremberg in 1495, <mask> opened his own workshop (being married was a requirement for this). Over the next five years, his style increasingly integrated Italian influences into underlying Northern forms. Arguably his best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca.1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that <mask> cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block. His series of sixteen designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon.He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Dürer and his assistants c. 1500. In 1502, Dürer's father died. Around 1503–1505 Dürer produced the first 17 of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these nor the Great Passion were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Dürer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith.In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Dürer famous throughout the main artistic centres of Europe within a very few years. The Venetian artist Jacopo de' Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him.De' Barbari was unwilling to explain everything he knew, so <mask> began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name. Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände (Praying Hands) from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and bodycolour (usually combined), including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503). Second journey to Italy (1505–1507)
In Italy, he returned to painting, at first producing a series of works executed in tempera on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi.In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time <mask>'s engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of San Bartolomeo. This was the altar-piece known as the Adoration of the Virgin or the Feast of Rose Garlands. It includes portraits of members of Venice's German community, but shows a strong Italian influence. It was later acquired by the Emperor Rudolf II and taken to Prague. Nuremberg and the masterworks (1507–1520)

Despite the regard in which he was held by the Venetians, <mask> returned to Nuremberg by mid-1507, remaining in Germany until 1520.His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael. Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve (1507), Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris

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 (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. Other works from this period include the thirty-seven Little Passion woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. In 1513 and 1514 Dürer created his three most famous engravings: Knight, Death and the Devil (1513, probably based on Erasmus's Handbook of a Christian Knight), St. Jerome in His Study, and the much-debated Melencolia I (both 1514, the year Dürer's mother died).Further outstanding pen and ink drawings of <mask>'s period of art work of 1513 were drafts for his friend Pirckheimer. These drafts were later used to design Lusterweibchen chandeliers, combining an antler with a wooden sculpture. In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. His only experiments with etching came in this period, producing five between 1515–1516 and a sixth in 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form. Patronage of Maximilian I

From 1512, Maximilian I became <mask>'s major patron.He commissioned The Triumphal Arch, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of Horapollo's Hieroglyphica. The design program and explanations were devised by Johannes Stabius, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by Hieronymous Andreae, with <mask> as designer-in-chief. The Arch was followed by The Triumphal Procession, the program of which was worked out in 1512 by Marx Treitz-Saurwein and includes woodcuts by <mask> Altdorfer and Hans Springinklee, as well as Dürer. Dürer worked with pen on the marginal images for an edition of the Emperor's printed Prayer-Book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in lithography. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including Lucas Cranach the Elder and Hans Baldung. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519. Maximilian was a very cash-strapped prince who sometimes failed to pay, yet turned out to be Dürer's most important patron.In his court, artists and learned men were respected, which was not common at that time (later, Dürer commented that in Germany, as a non-noble, he was treated a parasite). Pirckheimer (who he met in 1495, before entering the service of Maximilian) was also an important personage in the court and great cultural patron, who had a strong influence on Dürer as his tutor in classical knowledge and humanistic critical methodology, as well as collaborator. In Maximilian's court, Dürer also collaborated with a great number of other brilliant artists and scholars of the time who became his friends, like Johannes Stabius, Konrad Peutinger, Conrad Celtes, and Hans Tscherte (an imperial architect). Dürer manifested a strong pride in his ability, as a prince of his profession. One day, the emperor, trying to show Dürer an idea, tried to sketch with the charcoal himself, but always broke it. Dürer took the charcoal from Maximilian's hand, finished the drawing and told him: "This is my scepter." In another occasion, Maximilian noticed that the ladder Dürer used was too short and unstable, thus told a noble to hold it for him.The noble refused, saying that it was beneath him to serve a non-noble. Maximilian then came to hold the ladder himself, and told the noble that he could make a noble out of a peasant any day, but he could not make an artist like Dürer out of a noble. Cartographic and astronomical works

Dürer's exploration of space led to a relationship and cooperation with the court astronomer Johannes Stabius. Stabius also often acted as Dürer's and Maximilian's go-between for their financial problems. In 1515 Dürer and Stabius created the first world map projected on a solid geometric sphere. Also in 1515, Stabius, Dürer and the astronomer Konrad Heinfogel produced the first planispheres of both southern and northerns hemispheres, as well as the first printed celestial maps, which prompted the revival of interest in the field of uranometry throughout Europe. Journey to the Netherlands (1520–1521)
Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of Martin Luther.In July 1520 <mask> made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor, Charles V, who was to be crowned at Aachen. Dürer journeyed with his wife and her maid via the Rhine to Cologne and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal. In addition to attending the coronation, he visited Cologne (where he admired the painting of Stefan Lochner), Nijmegen, 's-Hertogenbosch, Bruges (where he saw Michelangelo's Madonna of Bruges), Ghent (where he admired van Eyck's Ghent altarpiece), and Zeeland. Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented. While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one.For example, <mask> offered his last portrait of Maximilian to his daughter, Margaret of Austria, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met Bernard van Orley, Jan Provoost, Gerard Horenbout, Jean Mone, Joachim Patinir and Tommaso Vincidor, though he did not, it seems, meet Quentin Matsys. Having secured his pension, Dürer returned home in July 1521, having caught an undetermined illness, which afflicted him for the rest of his life, and greatly reduced his rate of work. Final years, Nuremberg (1521–1528)

On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a Sacra conversazione, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification. However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi  (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark in the background.This last great work, the Four Apostles, was given by Dürer to the City of Nuremberg—although he was given 100 guilders in return. As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; the humanist scholar Willibald Pirckheimer; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile. Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and correspondence with Erasmus and other scholars. Dürer succeeded in producing two books during his lifetime."The Four Books on Measurement" were published at Nuremberg in 1525 and was the first book for adults on mathematics in German, as well as being cited later by Galileo and Kepler. The other, a work on city fortifications, was published in 1527. "The Four Books on Human Proportion" were published posthumously, shortly after his death in 1528. <mask> died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery. His large house (purchased in 1509 from the heirs of the astronomer Bernhard Walther), where his workshop was located and where his widow lived until her death in 1539, remains a prominent Nuremberg landmark. <mask> and the Reformation

Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the Catholic Church.Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties." In a letter to Nicholas Kratzer in 1524, Dürer wrote, "because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics". Most tellingly, Pirckheimer wrote in a letter to Johann Tscherte in 1530: "I confess that in the beginning I believed in Luther, like our Albert of blessed memory ... but as anyone can see, the situation has become worse." Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525. Notably, Dürer had contacts with various reformers, such as Zwingli, Andreas Karlstadt, Melanchthon, Erasmus and Cornelius Grapheus from whom Dürer received Luther's Babylonian Captivity in 1520. Yet Erasmus and C. Grapheus are better said to be Catholic change agents. Also, from 1525, "the year that saw the peak and collapse of the Peasants' War, the artist can be seen to distance himself somewhat from the [Lutheran] movement..."

<mask>'s later works have also been claimed to show Protestant sympathies.His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well as the inclusion of the Eucharistic cup, an expression of Protestant utraquism, although this interpretation has been questioned. The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion. Legacy and influence

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers to promote and distribute their work. His engravings seem to have had an intimidating effect upon his German successors; the "Little Masters" who attempted few large engravings but

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 continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola, Giovanni Battista Palumba, Benedetto Montagna and Cristofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano).However, <mask>'s influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to also dominate Northern engraving. In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. <mask> has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German nationalism from 1870 to 1945. The Lutheran Church commemorates <mask> annually on 6 April, along with Michelangelo, Lucas Cranach the Elder and Hans Burgkmair. The liturgical calendar of the Episcopal Church (United States) remembers him, Cranach and Matthias Grünewald on 5 August. Theoretical works
In all his theoretical works, in order to communicate his theories in the German language rather than in Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language.For example, "Schneckenlinie" ("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the Bible. Four Books on Measurement

Dürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler). The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522. The second book moves onto two-dimensional geometry, i.e.the construction of regular polygons. Here <mask> favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography. In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his
construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra.Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Dürer shows the objects as nets. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. He is thought to be the first to describe a visualization technique used in modern computers, ray tracing. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles.In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective. Four Books on Human Proportion

Dürer's work on human proportions is called the Four Books on Human Proportion (Vier Bücher von Menschlicher Proportion) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of "two to three hundred living persons", in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio's 'De harmonica mundi totius' of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naïve approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things.Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year". Book on Fortification
In 1527, Dürer also published Various Lessons on the Fortification of Cities, Castles, and Localities (Etliche Underricht zu Befestigung der Stett, Schloss und Flecken). It was printed in Nuremberg, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in Arnhem. In 1535 it was also translated into Latin as On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War (De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot : praesenti bellorum necessitati accommodatissimae), published by Christian Wechel (Wecheli/Wechelus) in Paris. The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the trace italienne – see Bastion fort), though his designs seem to have had some influence in the eastern German lands and up into the Baltic States. Fencing
Dürer created many sketches and woodcuts of soldiers and knights over the course of his life. His most significant martial works, however, were made in 1512 as part of his efforts to secure the patronage of Maximilian I.Using existing manuscripts from the Nuremberg Group as his reference, his workshop produced the extensive Οπλοδιδασκαλια sive Armorvm Tractandorvm Meditatio Alberti Dvreri ("Weapon Training, or <mask> <mask>'s Meditation on the Handling of Weapons", MS 26-232). Another manuscript based on the Nuremberg texts as well as one of Hans Talhoffer's works, the untitled Berlin Picture Book (Libr.Pict.A.83), is also thought to have originated in his workshop around this time. These sketches and watercolors show the same careful attention to detail and human proportion as <mask>'s other work, and his illustrations of grappling, long sword, dagger, and messer are among the highest-quality in any fencing manual. Gallery

List of works
 List of paintings by <mask> <mask>
 List of engravings by <mask> <mask>
 List of woodcuts by <mask> <mask>

References

Notes

Citations

Sources
Bartrum, Giulia. <mask> <mask> and his Legacy. London: British Museum Press, 2002. Brand Philip, Lotte; Anzelewsky, Fedja."The Portrait Diptych of <mask>'s parents". Simiolus: Netherlands Quarterly for the History of Art, Volume 10, No. 1, 1978–79. 5–18
Brion, Marcel. Dürer. London: Thames and Hudson, 1960
Harbison, Craig. "Dürer and the Reformation: The Problem of the Re-dating of the St. Philip Engraving".The Art Bulletin, Vol. 58, No. 3, 368–373. September 1976
Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. Chicago/London: University of Chicago Press, 1993. Landau David; Parshall, Peter.The Renaissance Print. Yale, 1996. Panofsky, Erwin. The Life and Art of <mask> Dürer. NJ: Princeton, 1945. Price, David Hotchkiss. <mask> <mask>'s Renaissance: Humanism, Reformation and the Art of Faith.Michigan, 2003. .
Strauss, Walter L. (ed.). The Complete Engravings, Etchings and Drypoints of <mask> Durer. Mineola NY: Dover Publications, 1973. Borchert, Till-Holger. Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530. London: Thames & Hudson, 2011.Wolf, Norbert. <mask> <mask>. Taschen, 2010. Hoffmann, Rainer. Im Paradies - Adam und Eva und der Sündenfall - <mask> Dürers Darstellungen, Böhlau-Verlag, 2021, ISBN 9783412523852

Further reading
Campbell Hutchison, Jane. <mask> Dürer: A Biography. Princeton University Press, 1990.Demele, Christine. Dürers Nacktheit – Das Weimarer Selbstbildnis. Rhema Verlag, Münster 2012,
<mask>, <mask> (translated by R.T. Nichol from the Latin text), Of the Just Shaping of Letters, Dover Publications. Hart, Vaughan. 'Navel Gazing. On <mask> <mask>'s Adam and Eve (1504)', The International Journal of Arts Theory and History, 2016, vol.12.1 pp. 1–10  https://doi.org/10.18848/2326-9960/CGP/v12i01/1-10
Korolija Fontana-Giusti, Gordana."The Unconscious and Space: Venice and the work of <mask> <mask>", in Architecture and the Unconscious, eds. J. Hendrix and L.Holm, Farnham Surrey: Ashgate, 2016. pp. 27–44,  . Wilhelm, Kurth (ed.). The Complete Woodcuts of <mask> Durer, Dover Publications, 2000. External links

The Strange World of <mask> <mask>  at the Sterling and Francine Clark Art Institute. 14 November 2010 – 13 March 2011
Dürer Prints Close-up.Made to accompany The Strange World of <mask> <mask> at the Sterling and Francine Clark Art Institute. 14 November 2010 – 13 March 2011
<mask> Dürer: Vier Bücher von menschlicher Proportion (Nuremberg, 1528). Selected pages scanned from the original work. Historical Anatomies on the Web. US National Library of Medicine. "<mask> Dürer (1471–1528)". In Heilbrunn Timeline of Art History.New York: The Metropolitan Museum of Art

 <mask> Durer, Exhibition, Albertina, Vienna. 20 September 2019 – 6 January 2020

1471 births
1528 deaths
15th-century engravers
15th-century German painters
16th-century engravers
16th-century German painters
Animal artists
Artist authors
Artists from Nuremberg
Catholic decorative artists
Catholic draughtsmen
Catholic engravers
Catholic painters
German draughtsmen
German engravers
German Lutherans
German male painters
German people of Hungarian descent
German printmakers
German Renaissance painters
German Roman Catholics
Heraldic artists
Manuscript illuminators
Mathematical artists
People celebrated in the Lutheran liturgical calendar
Renaissance engravers
Woodcut

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<mask> (April 12, 1932 – May 9, 2003) was an American playwright best known for his 1959 drama The Connection, depicting the life of drug-addicted jazz musicians. The first great success of the Living Theatre, the play was translated into five languages and produced in ten nations. Gelber continued to work and write in New York, where he also taught writing, directing and drama as a professor, chiefly at Brooklyn College, City University of New York, where he created the MFA program in playwriting. In 1999 he received the Edward Albee Last Frontier Playwright Award in recognition of his lifetime of achievements in theatre. Early life and education
<mask> was born April 12, 1932 in Chicago, the first of three sons of Molly (Singer) and <mask>, a Jewish American couple of Russian and Romanian descent. Harold was a sheet metal worker, a trade the younger Gelber would briefly adopt to finance his education at the University of Illinois. While at the university, he developed an interest in fiction and began to write short stories.After graduating with a B.S. in Journalism in 1953, <mask> traveled to San Francisco, where he found work as a shipfitter's helper. Career
In New York, <mask> first worked as a mimeograph operator at the United Nations headquarters. He began writing his first play, The Connection, in late 1957. Two years later, he offered the script to Judith Malina and Julian Beck of the Living Theatre. Malina directed the production, Beck designed it, while Gelber was part of casting, directing rehearsals, and selling tickets. Opening in July 1959, the play was then controversial.Several theatre critics, particularly those writing for the daily newspapers, objected to the play's graphic depiction of heroin addiction and its performance style. The play also attracted prominent supporters, such as the drama critics Kenneth Tynan and Henry Hewes, the poet Allen Ginsberg, the writer Norman Mailer, director Harold Clurman, and Jerry Tallmer, who lauded what they perceived as its innovative style, authentic language, and realism. The Connection became the Living Theatre's first great success. It brought publicity to both Gelber and the Living Theatre as significant in American theatre. It won the Obie Awards of the Village Voice for Best New Play, Best Production, and Best Actor (Warren Finnerty in the role of Leach) of the 1959-1960 season. Gelber also received the Vernon Rice Award (now known as the Drama Desk Award). In 1961 the Living Theatre took its production to Europe, where it earned the Grand Prix at the Théâtre des Nations Festival in Paris.Ultimately the Living Theatre performed The Connection a total of 722 times in the first years of the 1960s. The Connection has since been translated into five languages and performed in ten countries, as well as throughout the United States. The film version of the play, produced by Lewis Allen and directed by Shirley Clarke in 1961, was also controversial at the time. <mask> never achieved the same success with his later plays, but he enjoyed a long and active career writing, directing, and teaching drama. His second play, The Apple, opened at the Living Theatre in 1961, but it was the last of <mask>'s works produced by the company. Not long after that production, the company moved overseas. In 1963 the Guggenheim Foundation awarded <mask> a fellowship (which it renewed three years later) to support his writing, and in 1964 he published his novel On Ice.In 1965 he became writer-in-residence at the City College of New York. His third play, Square in the Eye (1965) (also known as Let's Face It) was produced by the Establishment Theatre Company at the Theatre De Lys soon eafter. <mask> earned his first directing credit in the 1966 production of Arnold Wesker's The Kitchen. In 1967 Columbia University appointed <mask> as a part-time adjunct professor of drama. In 1968 he completed the script for, and directed a production of, his fourth play The Cuban Thing. This work drew upon his travels as a journalist in Cuba  during the 1950s, along with more recent visits in 1964 and 1967. He portrayed a middle-class family's experience of the 1959 revolution.Produced at Henry Miller's Theatre, the play was controversial for what some believed was a favorable portrayal of the communist leader Fidel Castro, when the Cold War was going strong. This interpretation sparked large and sometimes violent protests by Cuban exiles and others against the production, and the play ended its run after only one night. He appears as himself in the 1968 Cuban film Memories of Underdevelopment. In 1968, <mask> signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. In 1972 the Rockefeller Foundation awarded <mask> a fellowship for a residency at the American Place Theatre, where his next play, Sleep, was performed. That same year <mask> become a full-time Professor of English at Brooklyn College of the City University of New York. He created the College's MFA program in playwriting, which he would run until his retirement from CUNY in the late 1990s.In the roughly thirty years he spent at Brooklyn College, he balanced his teaching career with directing professional and student productions and teaching theatre workshops. He received the Obie Award for Distinguished Direction in 1973 when he oversaw the American Place Theatre's production of The Kid by Robert Coover. <mask>'s writing was also supported by a grant from the National Endowment for the Arts and a CBS Fellowship from Yale University. In 1973 the New York Shakespeare Festival produced Barbary Shore, <mask>'s adaptation of a 1951 novel written by Norman Mailer. His next production, entitled Farmyard and staged by the Yale Repertory Theatre in 1975, was an adaptation of Franz Xaver Kroetz' 1971 play Stallerhof. <mask> returned to creating original plays, directing a 1976 production of his drama <mask>'s New Play: Rehearsal at the American Place Theatre, and Starters at the Eugene O'Neill Theatre Center in 1980. It was eight years before he had his tenth play, Big Shot, produced at Wildcliff Theatre by the East Coast Arts company.In the 1990s, three more of <mask>'s plays were produced: Magic Valley (1990), and Rio Preserved and Chambers (1998). In the mid-part of the decade, he became an adjunct professor at the Actors Studio Drama School at the New School University, a position he would hold until his death. <mask>'s last play to be produced was Dylan's Line. <mask> completed the script in 2000 and performed a portion of it at the Last Frontier Theatre Conference in Valdez, Alaska that same year. It premiered at the McCarter Theatre in Princeton, New Jersey during 2003. This was not long after <mask> died on May 9, 2003 in New York, due to Waldenström's macroglobulinemia, a cancer of the blood. "I was so affected [as a young man] and energized by The Connection", [the playwright] Edward Albee said after his death."It was exciting, dangerous, instructive and terrifying - all things theater should be." Private life
In San Francisco, <mask> met Carol Westenberg, and they married on December 23, 1957, in New York City. They had two children.

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