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is a pioneer Japanese media artist, known for her experimental video art and film works. Life and family
<mask>su was born in Ōta-ku, Japan and is the daughter of Japanese businessman and art collector <mask>, founder of Idemitsu Kōsan. Idemitsu had strained relationships with both her father and mother, and was disinherited and disowned by her father after she chose to live in California. Idemitsu said that he had a Confucian attitude towards women, and embraced a patriarchal view of the role of men and women that led to the belittling of his wife and daughters. She also said that he acted to deny them their individuality and independence. Idemitsu has two sisters; one of them, Takako was a painter once married to prominent art critic, Yoshiaki Tōno. Idemitsu has two sons from her marriage with Francis, Osamu and Shingo.(Shingo Francis, born 1969, is a painter.) Early life
Idemitsu attended Waseda University in Tokyo from 1958 to 1962, where she studied Japanese history in the Faculty of Letters. Idemitsu found her undergraduate education anything but stimulating, often frustrated with misogynistic comments made by her professors. She participated in many extra-curricular events, such as the University's Contemporary Literature Society, and was highly politically-engaged, joining in student demonstrations against the US-Japan Security Treaty of 1960. New York
Idemitsu attended Columbia University in New York from 1963 to 1964. Idemitsu had hoped to live in New York City, and had to convince her father to support her graduate studies. She enjoyed the multi-cultural environment of New York and the freedom she had, attending different art events by herself, without the legacy and baggage of her family's ties with the Japanese art scene.She did not manage to stay in New York beyond her graduate studies, and left for Europe soon after her student visa expired. California
Idemitsu lived in Santa Monica, Los Angeles from 1965 to 1972. Idemitsu was introduced to Sam Francis, through her father's acquisition of his work, and she married him in 1966. She found that even among the hippies and the liberated counterculture of the 1960s in California, male chauvinism was inescapable, different in nature from that of her homeland, but chauvinism nonetheless. While searching for a role outside that of wife and mother which she had fallen into, she by impulse bought a Super 8 film camera and began her career as a film artist. In 1972 she filmed the Womanhouse started by Judy Chicago and others, in order to create an imagery based on this work. Idemitsu became interested with the Women's Liberation Movement, and understood how film documentation was crucial for the awareness of their activities; her interest in 16mm film cameras ensued.Idemitsu was very aware that her works would not be as legible to English-speaking audiences who did not know Japanese language and culture, even if they showed interest in the work's visual aesthetics. Tokyo
<mask> Idemitsu returned to Japan with Francis and her sons in 1973, originally planning to stay in Japan for a year. In 1974, when Francis returned to the United States, Idemitsu chose to remain in Japan. The couple would later divorce, with Francis marrying for a fifth time in 1985. Although Idemizu increasingly felt repressed in Tokyo, she realized that her video practice allowed her to express a full spectrum of feelings, much more so than she felt was possible in the United States. It was only upon her return to Japan that she could properly produce her At Santa Monica (1973-5) At Any Place (1975-8) series, using and reflecting on the images she shot of the United States. Idemitsu began to establish her practice without the label of being Francis' wife in Tokyo, getting involved with other pioneer video artists such as the members of Video Hiroba.In particular, Idemitsu credits Nobuhiro Kawanaka and Kyōko Michishita for helping her learn the technical process of video equipment. Michael Goldberg, a Canadian who co-organized the Video Communication/Do it Yourself Kit symposium and exhibition, became Idemitsu's consistent collaborator and is credited as a Director of Photography for many of her videos. Idemitsu also worked extensively with Yoshimitsu Takahashi to develop her films. Idemitsu was also immersed in the broader Japanese arts scene, collaborating with Yoneyama Mamako after watching her pantomime Housewife's Tango to produce At Any Place 4 (1978). Idemitsu was also involved with Japanese art historians, in particular Kaori Chino, a feminist art historian who encouraged her to write and publish her autobiography. Practice

Medium
In the early 1970s, <mask> <mask> was one of the pioneers of video art. The technical limitations of the equipment at the time had an influence on the direction of her work.Idemitsu first started to work in the United States initially with 8 mm film and then moving onto 16 mm film. She became interested in capturing the mood, quality and interplay of light and shadow. When she switched to working with video, the inability of the video cameras of the time to capture the quality of light, led to the increasing use of narrative in her work. On her return to Japan the cumbersomeness of the equipment and an inability to easily film outdoors led her to  use indoor simgle-camera setups. Idemitsu also produced a limited number of video installations. Idemtisu's work has often been typified as being inspired by melodramas and diary narration. Critics such as Scott Nygren have attempted to locate Japanese cultural origins within her work, claiming a similarity between her narrative form with Noh theatre.Themes
Recognized for her feminist beliefs, <mask> <mask>'s work is a reflection not just on gender roles, but also on the nature of personal identity and self in society. She also showed how the modern family in Japan was oppressing the identities of Japanese women. Idemitsu has often cited Simone de Beauvoir as one of her major influences, even creating works such as Kae, Act like a Girl (1993) inspired by de Beauvoir's The Second Sex, "People are not born as women. They become women". Idemitsu also does not shy away from depicting the disconcerting realities of Japanese womanhood, including scenes of domestic abuse, harassment and rape. <mask> <mask>'s first films were home movies of her sons and of family life. This domestic setting, with the action revolving around family interactions, remains the main theme of her films.A recurring motif in her works is disembodied forms; the television abstracting torsos, heads or even eyes. These disembodied characters, usually female, may act indifferently to her protagonists or may even actively oppresses them, and can be interpreted both at face value as the mother, daughter, or wife of the protagonist, or as a representation of their inner mind. For example, in Idemitsu's Great Mother trilogy, in as much as they are presented as the protagonist's mothers, these disembodied women also represent the super-ego of the protagonist and are a personification of a lifetime of learned cultural values and societal norms, and are thus an internalized ideal from which the protagonist cannot escape. Notable works

Film and video

What a Woman Made (1973)
In Idemitsu's seminal feminist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, What a Woman Made is a candid critique of the treatment of women in Japanese society. Sam Are You Listening? (1974)
Commissioned by the American Center Japan, this hour-long documentary video is Idemitsu's intimate portrayal of her then husband, Sam Francis.Idemitsu interviewed 5 people about how they viewed Francis; Taeko Tomioka, Toru Takemitsu, Shuzo Takiguchi, Jiro Takamatsu, and Sazo <mask>. Another Day of A Housewife (1977)
This video was conceived out of Idemitsu's own frustrations of being a housewife, particularly the endless repetition of routine house chores. Idemitsu portrays her frustration of alienation and surveillance by intervening each domestic scene with a televisual eye. Shadow Part 1 (1980) & Part 2 (1980), Animus Part 1 (1982) & Part 2 (1982)
In the Shadow and Animus series, Idemitsu explores Jungian psychoanalytical concepts by manifesting the Shadow and Animus as an additional layer and surface in videos of the Japanese domestic setting. They explore the personification of dreams, projections of mental imagery and the difficultly of living under repressive patriarchy. This series builds upon Idemitsu's earlier work, Inner-man (1972), which was shot on film. My America, Your America (1980)
Idemitsu purposes photographs by her collaborator, Akira Kobayashi, to construct an eerie found-image video.Idemitsu balances blatant images of Americana to suggest the journey of a foreigner through these iconic landscapes, continually searching for a place within them to belong. It reflects upon her own diasporic experiences moving from coast to coast. Kiyoko’s Situation (1989)
Kiyoko, the middle-aged housewife has repressed the desire to express her identity so long, and now it is coming out with a vengeance. Idemitsu portrays the struggle for housewives to be filial, care for her family's need and pursue their own creative ambitions. This film received awards from Mention Special du Jury category “EXPERIMENTAL” La mondiale de film et videos, Quebec, Canada in 1991, and Prix Procirep Section Fiction, Festival International de Videos et Films, Centre Audivisuel Simone de Beauvoir, Paris, France in 1992. Installations

Still Life (1993–2000)
Still Life is a two-channel video installation, with moving images projected onto two gigantic calla lilies placed side by side. On one lily, erect like a phallus, symbol of the male sexual organ, hands pull the petals off a red rose.In the second, the pistil, symbolic of the female essence, is missing. We see a woman imprisoned behind an invisible, transparent wall, begging to be released. There is a woman's voice-over endlessly repeating "Have a good day" and "Welcome home", a chorus echoing the supposed monotony of housewife's existence. Real? Motherhood (2000)
Real? Motherhood attacks the myth of maternity. The single-channel installation repurposes Idemitsu's 1960s home movies, projecting images through a glass cradle.The moving images show Idemitsu holding one of her children, a baby suckling, mother and child looking at each other, the baby's innocent smile...... These are interspersed with black-and-white images of the ambiguous expression on the mother's face. Light falling from above onto the glass cradle conveys an impression of sanctity—the cradle is transmuted, for the mother, into an altar. However, Idemitsu insists that this western type of cradle also looks like a coffin, reminding us that "in the midst of life we are in death". Literary work
What a Woman Made: Autobiography of a Filmmaker (ホワット·ア·うーまんめいど : ある映像作家の自伝 / Howatto a ūman meido : Aru eizō sakka no jiden), Iwanami Shoten (岩波書店), 2003. Official autobiography written by Idemitsu herself. White Elephant, Chin Music Press (translation by Juliet Winters Carpenter), 2016.Fiction based on <mask>'s life. Selected exhibitions and screenings

 1974 Nirenoki Gallery, Ginza, Japan. Idemitsu's first solo exhibition. 1974 "New York Tokyo Video Express" (Curated by Shigeko Kubota), Tenjosajiki, Tokyo, Japan. 1978 "International Video Festival", Sogetsu-kaikan, Tokyo, Japan
 1978 "Japan Video Art Festival" (Curated by Jorge Glusberg), Centro de Arte y Comunicación, Buenos Aires, Argentina
 1979 "Video from Tokyo, Fukui and Kyoto" (Curated by Barbara London), The Museum of Modern Art, New York, US
 1979 "Japan Avant Garde Film Exhibition", The Centre Georges Pompidou, Paris, France
 1992  "Centre Audiovisuel Simone de Beauvoir International Festival Video and Films", Paris, France. Idemitsu was heavily influence by
 1993 "Identity and Home" (Curated by Barbara London and Sally Berger), The Museum of Modern Art, New York, US. 1993 "The First Generation, Women and Video,1970–75”, Independent Curators, New York, US.2004 "Borderline Cases – Women On The Borderlines", Gallery A.R.T., Tokyo, Japan. A group exhibition featuring and thematising the negotiation of identities for female Asian diaspora artists; Park Young Sook and Yun Suk Nam (South Korea); and Theresa Hak Kyung Cha (Hong Kong). 2018 "Institute of Asian Performance Art: Tokyo TOKAS Project Vol.1" (Curated by Victor Wang), Tokyo Arts and Space, Tokyo, Japan. A group exhibition with artists who utilised television, Zhang Peili and Park Hyun-ki. Idemitsu's work has also been included in programmes for film festivals such as the Image Forum (1978, 1984, 1990), Oberhausen Short Film Festival (1993), Singapore International Film Festival (1998). Collections

 The Museum of Modern Art, New York, US, started collecting at 1979. Long Beach Museum of Art, Long Beach, US, started collecting at 1980.National Gallery of Canada, Ottawa, Canada
 Centre Georges Pompidou, Paris, France
 ZKM Centre for Art and Media, Karlsruhe, Germany
 University of Genova, Genova, Italy
 Fukuyama Museum of Art, Fukuyama, Japan
 Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
 Kagoshima University, Kagoshima, Japan
 Kobe Design University, Kobe, Japan
 Mori Art Museum, Tokyo, Japan
 Meiji Gakuin University, Tokyo, Japan
 Miyagi Museum of Art, Miyagi, Japan
 Nagoya City Art Museum, Nagoya, Japan
 National Film Archive of Japan
 Museum of Modern Art, Toyama, Japan
 National Museum of Art, Osaka, Japan
 National Museum of Modern Art, Tokyo, Japan
 Tochigi Prefectural Museum of Fine Arts, Japan
 Tokushima 21st Century Cultural Information Center, Tokushima, Japan
 Tokyo Metropolitan Museum of Photography, Japan
 Ewha Womans University Museum, Seoul, Korea

References

External links

<mask> Idemitsu's profile on Collaborative Cataloging Japan, an online database and preservation society for experimental Japanese moving images. 1940 births
Living people
Japanese filmmakers
Feminist filmmakers
Japanese women artists
Japanese artists
20th-century Japanese artists
Japanese contemporary artists

masks:
Mako Idemit
Sazō Idemitsu
Mako
Mako
Idemitsu
Mako
Idemitsu
Mako
Idemitsu
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<mask> (3 December 1882 – 16 April 1966) was one of the pioneers of modern Indian art and a key figure of Contextual Modernism. A pupil of Abanindranath Tagore, <mask> was known for his "Indian style" of painting. He became the principal of Kala Bhavan, Santiniketan in 1922. He was influenced by the Tagore family and the murals of Ajanta; his classic works include paintings of scenes from Indian mythologies, women, and village life. Today, many critics consider his paintings among India's most important modern paintings. In 1976, the Archaeological Survey of India, Department of Culture, Govt. of India declared his works among the "nine artists" whose work, "not being antiquities", were to be henceforth considered "to be art treasures, having regard to their artistic and aesthetic value".He was given the work of illustrating the constitution of India. Early life

<mask> <mask> was born on 3 December 1882 in a middle-class Bengali family at Haveli Kharagpur, in Munger district of Bihar state. The family originally hailed from Jejur, Hooghly District of West Bengal. His father, Purna <mask>, was at that time working in the Darbhanga Estate. His mother Khetramoni Devi was a housewife with a skill in improvising toys and dolls for young Nandalal. From his early days <mask> began taking an interest in modelling images and later, decorating Puja pandals. In 1898, at the age of fifteen, <mask> moved to Calcutta for his high school studies in the Central Collegiate School.After clearing his examinations in 1902, he continued his college studies at the same institution. In June 1903 he married Sudhiradevi, the daughter of a family friend. Nanadalal wanted to study art, but he was not given permission by his family. Unable to qualify for promotion in his classes, <mask> moved to other colleges, joining the Presidency College in 1905 to study commerce. After repeated failures, he persuaded his family to let him study art at Calcutta's School of Art. Career

As a young artist, <mask> <mask> was deeply influenced by the murals of the Ajanta Caves. He had become part of an international circle of artists and writers seeking to revive classical Indian culture; a circle that already included Okakura Kakuzō, William Rothenstein, Yokoyama Taikan, Christiana Herringham, Laurence Binyon, Abanindranath Tagore, and the seminal London Modernist sculptors Eric Gill and Jacob Epstein.To mark the 1930 occasion of Mahatma Gandhi's arrest for protesting the British tax on salt, <mask> created a black on white linocut print of Gandhi walking with a staff. It became the iconic image for the non-violence movement. His genius and original style were recognised by famous artists and art critics like Gaganendranath Tagore, Ananda Coomaraswamy and O. C. Ganguli. These lovers of art felt that objective criticism was necessary for the development of painting and founded the Indian Society of Oriental Art. He became principal of the Kala Bhavana (College of Arts) at Tagore's International University Santiniketan in 1922. He was also famously asked by Jawaharlal Nehru to sketch the emblems for the Government of India's awards, including the Bharat Ratna and the Padma Shri. Along with his disciple Rammanohar, <mask> <mask> took up the historic task of beautifying/decorating the original manuscript of the Constitution of India.He died on 16 April 1966 in Calcutta. Today, the National Gallery of Modern Art in Delhi holds 7000 of his works in its collection, including a 1930 black and white linocut of the Dandi March depicting Mahatma Gandhi, and a set of seven posters he later made at the request of Mahatma Gandhi for the 1938 Haripura Session of the Indian National Congress. His place in Indian Art

In his introduction for the Christie's catalogue, R. Siva Kumar wrote-

Students
Some of his students were Benode Behari Mukherjee, Ramkinkar Baij, Beohar Rammanohar Sinha, K. G. Subramanyan, A. Ramachandran, Henry Dharmasena, L.T.P. Manjusri, Pratima Thakur, Ramananda Bandopadhyay, Sovon Som, Jahar Dasgupta, Sabita Thakur, Malina Domeraloo, Shreya Gang Gang, Menaja Swagnesh, Yash Bombbut, Satyajit Ray, Dinkar Kaushik, Amritlal Vegad, Gauranga Charan and Kondapalli Seshagiri Rao. Also A.D.Jayathilake was one of his student from Ceylon (Sri Lanka) and had the opportunity to study under Dr.<mask> <mask> in the final batch (1948–1952). Dr. <mask> <mask>'s uniquely drawn two paintings; "Arjuna Tree" and "Mango trees" are currently with his Sri Lankan Student (A.D.Jaythilake). Honours and awards

<mask> <mask>, who left a major imprint on Indian art, was the first recipient of a scholarship offered by the Indian Society of Oriental Art, founded in 1907.In 1956, he became the second artist to be elected Fellow of the Lalit Kala Akademi, India's National Academy of Art. In 1954, <mask> <mask> was awarded the Padma Vibhushan. In 1957, the University of Calcutta conferred honorary D.Litt. on him. Vishvabharati University honoured him by conferring on him the title of 'Deshikottama'. The Academy of Fine Arts in Calcutta honoured <mask> with the Silver Jubilee Medal. The Tagore Birth Centenary Medal was awarded to <mask> <mask> in 1965 by the Asiatic Society of Bengal.Acharya <mask>, an Indian documentary film on the artist was made by Harisadhan Dasgupta in 1984. Publications

 Drishti o srishti[Vision and the Creation] By <mask> <mask>, Published by Visva-Bharati Granthana Vibhaga [ Edition Language - Bengali ]
 Shilpa Charcha[ শিল্প চর্চা ] by <mask> <mask>, Published April 1956 by Visva Bharati [ Edition Language - Bengali ]
 Pictures from the life of buddha By <mask> <mask>
 Rupavali by <mask> <mask>

References

Further reading
 <mask> <mask> and Indian painting, by Ramyansu Sekhar Das. Tower Publishers, 1958. <mask> <mask>: a collection of essays : centenary volume. Lalit Kala Akademi, 1983. <mask> <mask>, the doyen of Indian art. (National biography), by Dinkar Kowshik.National Book Trust, India, 1985. Rhythms of India: The Art of <mask> <mask>, exhibition catalogue. Sonya Rhie Quintanilla. San Diego Museum of Art. 2008. External links

 New York Times slideshow

Indian male painters
Fellows of the Lalit Kala Akademi
Recipients of the Padma Vibhushan in arts
People from Howrah district
1883 births
1966 deaths
Government College of Art & Craft alumni
University of Calcutta alumni
Visva-Bharati University faculty
Bengali people
Bengali Hindus
Bengali male artists
Indian art educators
Indian arts administrators
People from Munger district
20th-century Indian painters
20th-century Indian educators
Educators from West Bengal
People from Birbhum district
People from Kolkata

masks:
Nandalal Bose
Bose
Nandalal
Bose
Chandra Bose
Nandalal
Nandalal
Nandalal
Nandalal
Bose
Bose
Nandalal
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Nandalal
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Bose
Nandalal
Bose
Nandalal
Bose
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Bose
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<mask> (October 2, 1920 – January 29, 2016) was an American civil rights attorney and jurist who advocated for the desegregation of public education and public facilities in the Commonwealth of Kentucky. Early life and education
<mask><mask> was born on October 2, 1920, in Bowling Green, Kentucky, and spent most of his life in Louisville, Kentucky. His parents were both educators. His father, Walter L<mask>, was the Dean of Men at Kentucky State College and later principal of a high school for blacks. Anna L<mask>, his mother, was an elementary school teacher who taught <mask> for a time. <mask> had one older brother, Dr. <mask>. <mask><mask> earned a bachelor's degree in 1941 from Kentucky State College (now Kentucky State University), a historically black school in Frankfort.While in college, <mask>, along with his brother Walter, was inducted into the Tau Sigma Honor Society for his academic excellence. <mask> was an active member of the debating team. One of his professors, Dr. Henry E. Cheaney, encouraged him to pursue a career in law. <mask> wanted to pursue a law degree at a school in Kentucky such as the University of Louisville or the University of Kentucky, but state law prohibited African Americans from attending graduate or professional schools in Kentucky. Under the Anderson-Mayer Bill, the Commonwealth of Kentucky was required to pay tuition and fees for African Americans to attend graduate and professional schools at out-of-state institutions. The state paid the tuition and fees for Shobe to attend the University of Michigan Law School (Ann Arbor campus). While in law school, Shobe was selected for mentorship in the Society of Barristers.He graduated from the University of Michigan with his law degree in 1946 and returned to Louisville, Kentucky to practice as a trial attorney. Career
After spending three years as an associate in the law firm of Charles Anderson, Shobe began his own practice. As a civil rights attorney for the NAACP, Shobe worked with Thurgood Marshall (who later became the first black US Supreme Court Justice), James Nabritt, and James A. Crumlin to integrate the University of Kentucky in 1949. These attorneys represented Lyman T. Johnson, a black student who could not attend the university's graduate school because he was black. <mask> and his fellow attorneys won the case, Lyman T. Johnson v. University of Kentucky, paving the way for minorities to attend the university's graduate and professional schools. In 1951, <mask> partnered with attorneys James A. Crumlin and Robert L. Carter to represent plaintiffs in Sweeney v. City of Louisville. <mask> and his team made successful arguments and won the case in the federal courts.As a result of <mask>'s work, public parks in Louisville, Kentucky were desegregated. On January 6, 1953, Judge <mask> appointed <mask> to the Jefferson Circuit Court, making him the first African American to serve as a judge in Kentucky since Reconstruction. Shobe served as a hearing officer for the Workman's Compensation Board, Assistant Commonwealth's Attorney for eight years, and a Trial Commissioner. At the request of the Kentucky Secretary of Justice, Shobe traveled throughout Kentucky training lawyers on the state's criminal code. In 1972, Shobe appointed Olga Peers, who would later become the first female Circuit Court Judge in Kentucky, to the old Louisville Police Court. In November 1976, Governor Julian Carroll appointed <mask> to serve as the Chief Judge of the 15th Division of the Jefferson Circuit Court. <mask> was the first African American to be appointed as a Chief Judge, serving with honor until his retirement in 1992.For several years after his retirement from the bench, <mask> served as an Alternative Dispute Resolution Specialist for Retired Judges and Associates. Civic and religious engagement
<mask> served as President as the Louisville Branch of the National Association for the Advancement of Colored People (NAACP). He was a member of Omega Psi Phi fraternity. A life member of the National Urban League, <mask> also joined Ye Olde Esquires, Inc.

<mask> joined Portland Memorial Baptist Church in 1978 where he served as a Deacon and Sunday School teacher. Awards and honors
In 1992, Shobe was honored by the Louisville Bar Association as Judge of the Year. The Kentucky Commission on Human Rights inducted Shobe into the Gallery of Great Black Kentuckians as its 42nd honoree in 2006. <mask> received the Nathaniel A. Harper Diversity Award from the Kentucky Bar Association in 2012.<mask> died at the age of 95 on January 29, 2016. Funeral services were held at Portland Memorial Baptist Church on February 8, 2016. He is buried in Cave Hill Cemetery in Louisville, Kentucky. Hundreds of people gathered to celebrate <mask>'s life at his funeral. Ministers and community leaders spoke highly of Shobe's love of God and his family as well as his commitment to serving others. Attorneys and judges from across Kentucky paid tribute to Shobe for his kindness, integrity, and brilliance. Chief Justice John D. Minton of the Kentucky Supreme Court lauded Shobe's character and accomplishments.A letter honoring Shobe from US President Barack Obama was read. The American Flag at the US Capitol in Washington, DC, was flown at half-mast in honor of Shobe on the day of his funeral. Legacy
In 2006, the Louisville Bar Association and the Louis D. Brandeis American Inns of Court at Louisville Association developed the Judge Shobe Civility and Professionalism Award to recognize Louisville Bar Association members "whose lives and careers embody professionalism, civility, honesty and courtesy" – all trademarks portrayed by Shobe throughout his career, association officials said. About his life, [<mask>] says, "I was always willing to try, I was never going to back down, I was willing to take the challenge, win, lose, or draw." In 2012, the Louisville Black Lawyers Association and the Kentucky Court of Justice sponsored the dedication of the Circuit Judge <mask> F. Shobe Jury Assembly Room in the Jefferson County Judicial Center. The Kentucky Bar Association will honor Shobe posthumously at its 2016 Annual Convention. Shobe mentored attorneys and judges throughout his life.For years after his retirement, colleagues visited and consulted him for advice and support. In a joint resolution, the Kentucky state legislature honored the memory of the late jurist by designating the I-264 overpass over Northwestern Parkway in Jefferson County as the "<mask> <mask> Memorial Overpass" in 2017. <mask> is survived by his wife of 43 years, Barbara Kirby-<mask>, his ten children, one adopted son, grandchildren, and great-grandchildren. Sources
 A.D. Porter and Sons Obituary for Judge <mask>be
 Kentucky Commission on Human Rights
 Michigan Law Student Profile: <mask><mask>

1920 births
2016 deaths
People from Bowling Green, Kentucky
Lawyers from Louisville, Kentucky
American civil rights lawyers
Kentucky State University alumni
University of Michigan Law School alumni
African-American judges
Circuit court judges in the United States
20th-century American judges
20th-century American lawyers
20th-century African-American people
21st-century African-American people

masks:
Benjamin Franklin Shobe
Benjamin F
. Shobe
. Shobe
. Shobe
Benjamin
Shobe
Walter Shobe
Benjamin F
. Shobe
Shobe
Shobe
Shobe
Shobe
Shobe
Shobe
Shobe
Frank Ropke
Shobe
Shobe
Shobe
Shobe
Shobe
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Death Shobe
Shobe
Shobe
Benjamin
Judge Benjamin
Shobe
Judge Shobe
Shobe
Benjamin Sho
Benjamin F
. Shobe


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<mask> "A. A.<mask> (20 July 1922 – 15 April 2016) was an Indian painter. Educated at the Sir J. J. School of Art in Bombay (1942–46), <mask> started painting professionally in the early 1950s. He won several medals from the Bombay Art Society: Bronze and silver medals, 1947–51; and the gold medal in 1956. His paintings are in collections in the Cairo Museum, Egypt, in the Nagpur Museum and in the National Gallery of Modern Art in Delhi.His work has been shown in over 20 exhibitions. He painted several large murals for clients such as Air India and Ashok Hotel. His work is characterised by bold shapes, strong outlines and simple use of sophisticated color. His landscapes often use a deliberately naive perspective. Early life
Temkar Street, off Kamathipura, in Bombay Central, is a street that is inhabited predominantly by Konkani Muslims, coming from the coastal regions of Maharashtra, who speak a dialect of Marathi. Their family names are similar to those of their Hindu neighbours. <mask> <mask>, was born into one such family on this street in 1922.His father was a tailor and he came from a family of meagre means. Education from an early age for him was dependent on the availability of scholarships. He began his education at a Gujarati medium school, though Marathi was his first language. Later he secured a scholarship to study at the progressive and prestigious Anjuman-I-Islam school. Here he excelled in Urdu, and was asked by his teachers to become a writer. <mask> began writing couplets and soon took to translating the works of <mask> Iqbal to English. He learnt Arabic calligraphy, and a Hindu teacher seeing this ability, realised he could draw well.Asking <mask> what he was doing, <mask> was unable to answer, not knowing what it was called. The teacher told him that he had a talent of great use, and introduced him to the artist Dandavatimath. Dandavatimath, along with artist Rao and Prof Badigar, had established a school called Nutan Kala Mandir, or the Modern Art Temple, at the Blavatsky Lodge of the Theosophical Society at French Bridge, Opera House in Bombay. Schooling
<mask> studied at the school for a foundation course, learning basic techniques essential for admission to the Sir JJ School of Art. The school's location at the Theosophical Society, had an interchange of dialogue between Art and the principles of Theosophy. Theosophy advocates seeking enlightenment through the search of truth, essential and common to all religions to solve unanswered questions of mankind. It requires faith in a common brotherhood and respect for men of all creeds and races.Echoing this, <mask> many years later in his invitation-catalogue for an exhibition of his works in 1984 said, "To comprehend the meaning of Art, I have ceaselessly tried to understand what life is – its circuitous course and ultimate goal. I go through a labyrinth of desire and fear, and I must keep on. The only alternative to ceaseless action is Death, which alone can drop a curtain on the medley of deeds and also what remains undone". <mask> was introduced to Charles Gerard, then dean of Sir JJ School of Art, who urged him to pursue mural painting and work with oils. <mask> greatly admired the works of his professor Jagannath <mask>, who belonged to the revivalist school of Indian miniature painting. <mask>, though, believed that the technique of oil painting presented many
more possibilities than the use of tempera. He however retained certain elements of visual play from his early training in the Indian traditions.Seeking to establish a distinct style, <mask> rejected western norms of landscape painting. In his works the use of light is akin to that of miniature paintings. He blurred out the horizon and instead illuminated intended subjects, giving them a three-dimensional sculpted quality. Therefore, like miniature paintings various perspectives lie in the same plane. In his portraits of village folk, he placed the woman in the same plane as the hamlet which surround her, but rendered in a perspective where she diminshes the other details such as the hamlet. Some of <mask>'s later works illustrated the poems of Mirza Ghalib. Early work

<mask> studied at the Sir JJ School of Art, from 1942 to 1946.After graduating with a diploma, Charles Gerard appointed him as a fellow to assist other students. Though there were protestations to his appointment, as he lacked fluency in spoken English, Gerard asked him to continue. Later that year he was contemplating moving to Paris, like most of his contemporaries. <mask> approached Walter Laghammer, the Austrian art director of the Times of India, for advice. Langhammer knowing his meagre means advised him instead to go live in Kashmir. <mask> took up residence in the Naginbagh area of Srinagar and often travelled to the city's various Mughal gardens such as the Nishatbagh to sketch. He would then travel on foot into the mountains, surviving on milk given to him by the nomadic pastoral tribe – the Gurjars.An earlier unfinished work from Kashmir, that depicts the change in seasons, illustrates time, and probably has its references from the time he spent dwelling with the Gurjars. Apart from landscapes, his works from this period capture the pointed slanting wooden roofs of the Mosques in winter, or portraits of Kashmiri women rendered similarly, white sharp fine and pointed lines. Having lived in Kashmir for a duration of five years, after a romance gone sour, <mask> returned to Bombay. Upon his return, he married his cousin. His father was opposed to the marriage, as he believed his son lacked character by choosing to be an artist. He soon began to search for a job to sustain himself. During this time he chanced upon MF Hussain, who introduced him to the legendary film maker K<mask>, who employed him as an Art Director in his film studio.The glamour and trappings of Cinema did not suit <mask> and he soon quit. Hussain then found him a job at the furniture store Roop Bharati, at Lamignton road run by a Gujarati lady called Sushilaben. Here he
designed furniture along with artists <mask> and Hussain during which the Progressive Artist Group invited him to join their collective, to which he declined as he found the functioning of the group least progressive. He sustained himself on commissions of murals, winning notable projects such as those for Air India and the Ashoka Hotel in New Delhi. <mask> lived in a 100 square feet tenement with his mother, his wife and three children. This space served too as the studio. Canvas in those was not easy to come by and was usually imported.During his time in Kashmir stretched cloth on a board served as his canvas. Jute when stretched tight is extremely taught, but the fibres from the strains of jute often shed. Being from a plant that grows in standing water, with humid conditions, the fibre resists decay by humidity and is apt for tropical temperatures. It is readily available and cheap. Using jute for its availability and cost, <mask> soon devised a method of priming the stretched jute, using techniques learnt during his training to be a muralist at school. He would prepare the surface of his jute canvas by creating a white sticky solution of white clay paste, fevicol (gum adhesive), water and ground bricks. The gum adhesive would act as the binder and bring in the colour.The prepared canvas had a taught smooth surface that was dull white in colour. The process is time-consuming as the jute strings absorb the solution easily but the pores between them take time to fill. It takes 15 layers of application before the stretched jute can be used as a canvas. <mask>, is distinct in his use of jute, he changes the surface of the material to resemble a canvas and does not use it in its natural form. While painting there is a deep absorption of the paint into the surface, leaving a rough texture on the surface, altering the shades of the paint. Even after years of having been painted these canvases do not develop cracks or have any fungal damage in comparison to the common canvas. The placement of subjects within his paintings borrow from the murals, narrating multiple stories, histories through intricate images that often go unnoticed but remain essential.Having a deep interest in Islamic literature and Urdu Poetry, <mask> was a scholar at heart. His works were not merely beautiful landscapes that emerged from live drawings. They were imaginary, based on a studied research of History. Though <mask> often travelled to places he would then treat as subjects for his canvas. Right after Kashmir, <mask> travelled to the temples of South India, disguising himself as a Kashmiri Pandit as entry into temples for Muslims was prohibited. Having never had the means to travel outside India, he constantly travelled the sub-continent in search of a subject with Goa being the most recent. A large oveure of his work is based on recreated scenes of old Bombay and the erstwhile Portuguese colonies that neighboured the city such as Bassein (Vasai).<mask> along with just a few other modernists was a native of Bombay. His family were from the Konkan – coastal Maharashtra, part of which was once ruled by the Portuguese. His community – the Konkani Muslims were ancient seafarers who held a distinct but integrated identity along with the Jews and Christians in a predominantly Hindu Konkan. <mask> always celebrated the fact that his surname had a Hindu origin and his mother was of Hindu lineage. In years before 1980, <mask> began research for the most important exhibition he claims to have executed. At the Petit Library in Bombay, he referenced illustrative manuscripts of the British and the Portuguese from the 18th century that depicted old etchings and maps of Bombay, he searched for details from the Gazette of India, a compilation of minute details by the British of their possessions, and personal travelogues and biographies of those who had passed through the city. This served as an archive of information based on which he recreated an imagined nostalgia of the city from the 18th century for an exhibition of paintings at Jehangir Art Gallery, perhaps as an ode to his origins.Soon after, <mask>'s studio on Temkar street was lost as the building collapsed due to disrepair, and the family had to move to the distant suburbs, ironically in the environs of Vasai (Bassein)

Style
Always using Charcoal to sketch, <mask>'s use of the line was subject specific, changing over the years, dependent on what he chose to study and illustrate. In his earlier works, he depicts Christ, female nudes, and the erotic with sharp linear, angular shapes, falling short of being defined as cubist. In his landscapes and portraits of rural folk, a much later series, <mask>'s lines began to curve vivaciously finding echoes with the styles of the Mexican Muralists. Perhaps his concurrent training at the JJ in techniques of both the Western and the Indian schools of painting at the eve of Indian Independence compounded by a scholarly reclusive nature gave birth to a style and technique that bore few distinguishable similarities with the works of other artists. The invites to his exhibitions were self designed, experimenting often with font, paper textures and improvising the design of the catalogue into shapes that were innovative in their fold. <mask>, had a lifelong experimentation with Calligraphy which he often took to with passion, conjuring bird shapes out of Urdu couplets. His experimentation with
technique and medium was a continuous process.In 1980, <mask>, while visiting the JJ School of Architecture for the admission of his elder son, encountered hobby classes at the school's fine art faculty. He enrolled himself into the printmaking department then headed by YC Shukla and Vasant Parab for evening classes in printmaking. Here he learnt how to prepare the plate, draw onto it and print etchings. After creating a few plates, he was soon bored of the medium and instead began to carve out flat shapes of animals and designs to create three-dimensional works, from the copper plates given to him. His tryst with printmaking ended after he lost interest in the medium and due to the prohibitive cost of plates, which at the time were imported. Having recently concluded his show 'Old Bombay', often visiting coastal Koliwadas (fishing villages) to observe the old Portuguese Forts and embankments, <mask> etched three mullets together playing with the possibilities, to capture the graphic quality of their scales. His recent experimentations though have been with glass, composing a singular image three-dimensionally by placing differently drawn layers of glass together.When AA Raiba was 86, reflecting back on his practice he said, that decades have passed but his work remained unfinished. " Itni Umar gayi, Kam khatam nahi hua"(In Urdu – " So many years have passed, I am old, yet my practice remains unfinished.") – AA Raiba

Awards
1947 Silver Medal, Bombay Art Society, Bombay. 1947 Bronze Medal, Bombay Art Society, Bombay. 1947 Awarded The Late Rao Bahadur S.V. Rajadhyaksha Memorial Prize, Bombay Art Society, Bombay. 1951 Silver Medal, Bombay Art Society, Bombay.1952 Awarded Sheth Vullabhdas Cursondas Nath's Prize, Bombay Art Society, Bombay. 1953 Highly Commended, Annual Exhb., Bombay Art Society, Bombay. 1953 Awarded The Late Shri Kavasji Jalbhoy Stt Memorial, Bombay Art Society, Bombay. 1954 Awarded The Bombay Fine Art Offset and Litho Works Prize, Bombay Art Society, Bombay. 1956 Gold Medal, Bombay Art Society, Bombay. 1962 Awarded as one among the ten best exhibits of the year, Lalit Kala Akademi, New Delhi. Exhibition history

1953 Bombay Artist Creations, Zurich.1954 Biennale of Rome. 1955 Solo exhb., AIFACS, New Delhi. 1956 Solo exhb., Graham Studio, Bombay. 1957 Exhb. of Indian Contemporary paintings, Milan. 1959 Solo exhb., Jehangir Art Gallery, Bombay. 1961 Exhb.at UAE. 1961 Exhb. at USSR, Paris and Rio de Janeiro. 1964 Solo exhb., Taj Art Gallery, Bombay. 1965 Exhb. at South East Africa and Nairobi. 1967 Solo exhb.on Bara-Masa, Shirom Art Gallery, Bombay. 1967 Solo exhb. on catastrophe, Taj Art Gallery, Bombay. 1968 Solo exhb., Attic Art Gallery, Bombay. 1969 Mirza Ghalib Centenary Show, Taj Art Gallery, Bombay. 1969 Solo exhb., Taj Art Gallery, Bombay. 1970 10 Hrs to 20 Hrs, Taj Art Gallery, Bombay.Solo exhb., Gallery Oasis, Bombay. 1972 Solo exhb. on kaleidoscopic paintings, Taj Art Gallery, Bombay. 1973 Solo exhb. of Neo Miniature Paintings, Taj Art Gallery, Bombay. 1975 Bombay of the 18th Century, Taj Art Gallery and Gallery Chemould, Bombay. His paintings are worth upwards of three lakh rupees.A Solo Exhibition of the artist <mask> after twelve years,
curated by the Clark House Initiative for Gallery Art & Soul. <mask> had hung three large unfinished works from his Kashmir Series of the 1950s on the walls of his studio. These unfinished panoramas of Kashmir's wintry landscapes, towns and temples, include a large primed canvas of coarse coatings on jute whose embedded designs and relief, reveal a plethora of stages to fathom from the artist's process and technique. Strong and weathered, the paintings have come out of his studio after sixty years. They will dramatically take up the space of the present exhibition, calling attention to the materials he used: jute or old sarees, treated with invented mixtures, that primed, sized, gave texture, and unfading colour to his paintings. A box of school notebooks form a part his studio. <mask> had pasted into school exercise books hundreds of his drawings, jottings and cuttings, folds of papers which open up to larger grids of space, from which he drew his world of references.He has labelled them according to his obsessions. A slideshow archiving every drawing in these sketchbooks runs on a small screen beside the old books that are too fragile to be handled. Also from his studio, are printmaking copper-plates, which he had once cut up into calligraphic stencils, to make a three-dimensional sculptural work. He made many of his own pigments, a bright lemon-peel yellow from mango leaves fed to cows, as the ancient Indian miniaturists had done for many centuries. These impoverished materials of his art, have valor. His experiments with material may have to do with growing up in his father's small tailor's shop in Temkar Street in Bombay, with small strips of waste cloth lying heaped on the floor of the shop, amidst which he was allowed to play. A polyglot, <mask>, learned Urdu as a child at school, soon composing couplets, and then translating the poetry of <mask> Iqbal into English.He graduated from Sir JJ School of art in 1946, and was active alongside the Progressive Artists Group, especially friendly with Hussain and <mask>, working at jobs they found between them – at the storied furniture shop and cinema studios that are a part of the art history of this period. He left for Kashmir on the suggestion of Walter Langhammer, the Times of India art director, returning to Bombay after five years. Raiba has resisted exhibiting for a long time, uncertain of the presentation of his work. Exhibitions for him developed out of long periods of research – the making of his solo exhibitions was scholarly, writing exquisite, clear and wit-edged prose, to fit within his self-designed catalogues and invitations. With age, he felt he had lost the ability to orchestrate a similar show. Therefore, intrigued by a proposal to recreate his studio, and studio practices, and to have an involved dialogue with the works from the perspective of their making, he agreed to present his work again to an audience. References

 The personal archive of <mask>ba and interviews with the author Sumesh Sharma Clark House Initiative=

External links
Raiba painting on Artnet website
Raiba paintings at Delhi Art Gallery

1922 births
2016 deaths
20th-century Indian painters
Indian male painters
Konkani Muslims
Sir Jamsetjee Jeejebhoy School of Art alumni
Indian portrait painters
Artists from Mumbai
Painters from Maharashtra

masks:
Abdul Aziz
" Raiba
Raiba
Abdul Aziz
Raiba
Raiba
Allama
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Ahivasi
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
. Asif
Raiba
Ara
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
Raiba
AA Raiba
AA Raiba
Raiba
Raiba
Allama
Ara
AA Rai


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<mask> is an Australian actress of film, stage and television. She is also a writer, singer, and stand-up comedienne. She has played a wide array of characters since she was 12 years old and has appeared in many film roles and TV series on Australian screens. Education
Born in Melbourne on 21 February 1958, <mask> trained at a Television and Film Course at Crawford Productions, 1974. She plays Classical Piano at Sixth Grade Level and she has studied ballet at the Gertrud Bodenwieser Dance Centre, Sydney. Deane-Johns has a diploma of classical singing and theory of music from the London College of Music, Ealing, London. She is an Associate of the London College of Music (A.L.C.M) which qualification she obtained in 1975.She was on a twelve-month contract at the Melbourne Theatre Company in 1978. She has studied Tai Chi and had private lessons with the late Tennyson Yui for one year, 1980. Deane-Johns attended Southern Cross University during 2006–2010 and obtained a Bachelor of Arts in writing and communication. Career

Film and television
Deane-Johns was in the Australian TV series Homicide in 1975 and 1976 as Brenda Lukins. She performed in the Crawford Productions TV series Bluey as 'Debbie Morley' in 1976. In 1977, she was in Cop Shop a long running Crawford Productions police drama series. She had a small role in the 1978 Australian TV movie Demolition which starred John Waters and veteran Oz actor Vincent Ball.Other 1970's roles included guest starring in an episode of Skyways with Tony Bonner in 1979. In 1981, she appeared in Heatwave and Winter of Our Dreams. Heatwave, directed by Phillip Noyce was based on the Juanita Nielsen disappearance case of the 1970s. Winter of Our Dreams was an award-winning drama written and directed by John Duigan. In 1982, she was in Winner Take All – Downside Risk. This was an ABC (Australian Broadcasting Corporation) TV series about the fast-paced world of big business and co-starred Peter Curtin, Tina Bursill, Briony Behets and Diana McLean. In 1985, she was in Winners – the other facts of life with Dennis Miller, Anne Grigg, Sheila Florence and Candy Raymond.In 1991 Deane-Johns appeared in What's Cooking? an Australian cooking television series which ran from 1991 – 1999 on the Nine Network. In 1991 Channel 9 introduced a new series called Chances, based around a family who won AUD$3 million in a lottery and the effect it had on their lives. Deane-Johns played the part of Sharon Taylor, a blonde good time girl who made a living as a hairdresser. Chances was discontinued in 1992 after a run of 127-hour-long episodes. Deane-Johns was in the television film McLeod's Daughters in 1996 with Jack Thompson, Tammy MacIntosh and Kris McQuade. She was in the long-running Home and Away from 1997 – 2001, playing Melanie Rainbow.In 2002, she was in the Canadian-Australian Co-production of Guinevere Jones, a teenage fantasy series where she played the part of evil witch Morgana Le Fay. In 2007, she played the part of Barbara in Unfinished Sky a story about an Outback farmer who takes in an Afghani woman who has fled from a brothel. In 2014 she had a supporting role as Fay the barmaid in the 2015 released film Last Cab to Darwin. In 2017 she played the part of Bulldozer in Throbbin' 84 which is a crime comedy set in 1984 also starring Alan King and Roslyn Gentle. The film takes its name from the 1984 Australian compilation music album Throbbin' '84. She appeared in an episode of the Australian medical drama Harrow which was broadcast in March 2018. Deane-Johns appeared in two series of The Other Guy.in 2018 and 2019. She performed in series two of the comedy drama series ``Mr Inbetween``. in 2019. She was in the documentary series Location Scout which was about the making of the Australian comedy film ``Top End Wedding`` which was filmed around Darwin in 2018. 'She has worked with some of Australia's best-known actors. The late John Hargreaves, Judy Davis in John Duigan's Winter of Our Dreams, Nicole Kidman in the popular Kennedy Miller series Vietnam (miniseries) and the late Charles Bud Tingwell who was a regular of Australian films. She has appeared with John Meillon who is remembered from the Crocodile Dundee films as well as Heatwave.She has also worked with John Ewart who is known for Sunday Too Far Away and Alwyn Kurts who famously portrayed the gruff Inspector Colin Fox in the TV series Homicide. Much of her work like Homicide, Cop Shop, Matlock Police, Division 4, and Bluey was done at Crawford Productions. Voiceovers
As well as acting, Deane-Johns has done voiceovers including four episodes of Persons of Interest in 2014. Theatre appearances

Deane-Johns has made many stage appearances, including:
 Meanwhile Back on Planet Earth  A musical about Liza Minnelli at the Bondi Pavilion, Sydney in 1995.Bloody Poetry. Precious Theatre Company. The Stables. Mary Shelley.1986.The Blind Giant is Dancing  ACT Theatre Company in 1984.George and Mildred  Australian Tour with the Elizabethan Theatre Company in 1980.The Playboy of the Western World  at the Melbourne Theatre Company (MTC) in 1978.Electra (Play by Sophocles) at the Melbourne Theatre Company (MTC) in 1978.Once a Catholic  The Actors' Company Theatre, Ultimo, NSW. 1978.The Happy Apples  The Actors' Company Theatre, Ultimo, NSW. 1978Spats – Back in Business The Speakeasy, Kensington, NSW. 1976Two and Two Make Sex  with Patrick Cargill on an Australian Tour in 1975. Writing
Deane-Johns is also a writer and has kept an anecdotal record of her thespian experiences in a series of articles called Mercia's Missives. She describes the difficulties in working with misogynistic directors, unsympathetic make-up artists, bitchy co-stars and young actors who think they are God's gift to women. Deane-Johns wrote for the (now defunct) Australian Playboy magazine for four years in the 1980s not long before a trek across India.As she relates in her cogitations 'Mercia's Missives' "I spent a lot of time in my room, writing a column for Playboy magazine, simply entitled Women. Peter Olszewski, also known as JJ Mc Roach, the founder of the Marijuana Party was the editor at the time. He had given me the opportunity before I travelled to India. I enjoyed writing for Playboy. I had a lot of material around me at the time for inspiration. Things were fine". Comedy
As well as singing and acting Deane-Johns has done stand-up comedy and has ambitions to appear at the Edinburgh Festival Fringe one day.She appeared with co-star and fellow Australian singer and actress Anne-Maree McDonald in Caliente in 2011. This was a one-hour stand-up comedy routine which they performed at The El Rocco Room, in Sydney's Kings Cross, New South Wales. Posing for Australian Playboy
 When pregnant with her daughter Natasha, <mask> was the first pregnant woman in the world to be photographed for Playboy. Music
Having a diploma in music Deane-Johns has worked extensively with the recently deceased Damien Lovelock. She toured with the Celibate Rifles in 1990 on their world tour and sang in Damien's band Wigworld singing Patti Smith songs amongst others. In 1990 she performed in Damien Lovelock's promo-video for the single 'Disco Inferno' (April, 1990), taken from the 1988 album 'It's A Wig Wig World'. She has sung in many jazz trios and duos and also cover bands for Woodstock and Led Zeppelin, Joni Mitchell and Fleetwood Mac.New Wave

The administrations of Australian Prime Ministers John Gorton (1968–1971) and Gough Whitlam (1972–1975) put considerable extra funding in to the Australian film industry which led to the "New Wave" of the late 1970s and early 1980s. There were many productions like Picnic at Hanging Rock with Helen Morse and Anne-Louise Lambert, My Brilliant Career with Judy Davis, Wendy Hughes and Sam Neill released in August 1979, Summerfield with Nick Tate, John Waters and Elizabeth Alexander made in 1977 and The Plumber with Judy Morris and Ivor Kants directed by Peter Weir in 1979. Other famous films of that time include Gallipoli (1981) and Crocodile Dundee (1986). <mask> Deane-Johns featured in three films of the Australian New Wave Heatwave (1981) Winter of Our Dreams (1981) and Going Down (1983). Filmography

Award
She won an award at the 18th Melbourne Underground Film Festival in 2017 for Throbbin' 84''. References

Australian film actresses
Australian television actresses
Living people
Year of birth missing (living people)

masks:
Mercia Deane Johns
Mercia Deane Johns
Mercia
Mercia


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<mask> is a lawyer, academic, writer, public speaker and human rights activist. He served as an adjunct professor at Osgoode Hall Law School and is an Associate Professor of Law Emeritus at Valparaiso University. He has previously taught at Dwayne O. Andreas School of Law of Barry University and guest lectured at dozens of universities around North America. His columns regularly appear in The Toronto Star, Middle East Eye, Al Jazeera English, and the National Observer (Canada). His columns previously appeared in Madhyamam Daily, The Express Tribune, Washington Report on Middle East Affairs and the National Post. He blogged at the Huffington Post. His articles have appeared in other publications around the world, including The Globe and Mail, Toronto Star, Arab News, Counterpunch, The Indian Express, The Jakarta Post, Al-Ahram Weekly and Al Jazeera.Early life

<mask> <mask> immigrated to Canada in the mid-1970s with his parents, Shaikh <mask> and mother Zuhra <mask>, a homemaker from India. According to his website www.TheMuslimLawyer.com He grew up in Kerala, Montreal and Toronto. He also spent some time in Ottawa. Career

<mask> first practiced law with a major downtown Toronto law firm, and on his own before co-founding a law firm with Khalid Baksh. They appear to have parted ways and <mask> was joined by Naseer (Irfan) Syed and Akbar Mohamed. <mask> Arar fiasco, the no-fly list (Passenger Protect), the religious law arbitration controversy, the 2006 Ontario terrorism plot, and the Niqab controversy, among others. His strong positions on controversial topics has attracted both admirers and critics.<mask> served as the first Islamic culture and practice content consultant for Little Mosque on the Prairie, a Canadian sitcom that aired on the Canadian Broadcasting Corporation. <mask> was responsible to provide advice and feedback on accuracy in terms of the portrayal of Islamic normative practices and Muslim culture. Meeting with House Homeland Security Subcommittee on Intelligence

On July 17, 2006, <mask> was invited by the Consulate General of the United States in Toronto to meet with four members of House Homeland Security Subcommittee on Intelligence, Republicans Rob Simmons of Connecticut and Jim Gibbons of Nevada, along with Democrats Zoe Lofgren of California and Donna Christensen of the U.S. Virgin Islands. The group on a "fact-finding" mission met with senior officials of the Canadian Security Intelligence Service, the Royal Canadian Mounted Police and the Ontario Provincial Police for technical briefings on the operation that led to the 2006 Ontario terrorism plot arrest of 18 suspects in an alleged "homegrown" terrorist cell. According to a Toronto Star report the politicians also spent time with several members of Toronto's Muslim community, including <mask> <mask>, who was vice-chair of the Canadian Council on American Islamic Relations and general counsel for the Canadian Muslim Civil Liberties Association. At the one-hour meeting at the Royal York Hotel, they were told that "Canada is neither a breeding ground nor a safe haven for terrorists." <mask> told Robert Benzie of the Toronto Star that "we basically said you have to look at the root causes of these things."He added that you can have security concerns, "but if you don't (act) within the confines of the rule of law and due process and within a democratic model, you're going to breed more terrorists and not less," said <mask>. Toronto Terror 18 case

<mask> was active in the 2006 Ontario terrorism plot case. Initially he represented an individual who negotiated with the RCMP and CSIS to serve as a witness for the state against one particular accused. He was later retained by various family members and community organizations to assist with the Canadian Coalition for Peace and Justice (CCPJ). The CCPJ filed submission on behalf of some of the arrested with the United Nations Human Rights Council, Fourth Universal Periodic Review Canada (2008). <mask>, alleged on behalf of the CCPJ that Canada was in breach of its international commitments pursuant to various provisions of the Universal Declaration of Human Rights; the International Covenant on Civil and Political Rights; the International Covenant on Economic, Social and Cultural Rights; the Standard Minimum Rules for Treatment of Prisoners adopted by the First United Nations Congress in 1955; and the Basic Principles for the Treatment of Prisoners adopted by the United Nations General Assembly in 1990. He called on the Human Rights Council to investigate these allegations.<mask> told The New York Times that whatever the outcome of the current trial, police and national security agencies have lost the trust of many Muslims in Toronto. "They've gone from one plus one equals two to one plus one equals five," said <mask>, "We're not questioning their right to try these individuals, if there's evidence. But there is an ethical issue here about taking troubled young teens who had certain beliefs and thoughts and then sending in someone who is young and charismatic to egg them on." Canadian Security Intelligence Service and terrorism

<mask> has been a spokesperson and advocate against the excesses of anti-terror legislation and policies. He co-founded the Canadian Muslim Civil Liberties Association in 1994 while still a law student. He helped co-found and served as legal counsel and vice chair of the National Council of Canadian Muslims (NCCM), a Muslim civil liberties & advocacy organization in Canada. The NCCM was previously known as the CAIR-CAN, the Canadian Council on American Islamic Relations.He has been critical of the Canadian Security Intelligence Service and the Royal Canadian Mounted Police. He attacks CSIS practices targeted at the Muslim and Arab communities, and includes police, the government and the media:

<mask> along with his partner Akbar Sayed Mohamed acted for the CMCLA and CAIR-CAN in their intervention in the Commission of Inquiry into the investigation of the bombing of Air India Flight 182. <mask> was also involved with the case of Maher Arar, a Canadian accused of terrorism by the United States and held without charges in both the United States and Syria. A Canadian commission later cleared Arar of any links to terrorism, and the government of Canada later settled out of court with Arar. He received C$10.5 million and Prime Minister Stephen Harper formally apologized to Arar for Canada's role in his "terrible ordeal". At the time <mask> argued that:
Arar settlement in Canada does not close the book. It only opens a new chapter of a book that is about more than Maher Arar — it is about the erosion of civil and human rights in Canada as a result of the "War on Terror."The Arar saga brought into focus the unintended victims of draconian laws and policies hastily enacted post 9/11 in Canada and south of the border. It also shed light on the potential of religious and racial profiling inherent in such laws and practices. We can only hope that Arar's second wish which was to "make sure this does not happen to any other Canadian citizens in the future," will also come true. For this to happen, however, more people must realize that due process and fundamental rights must be respected at all times and more so during times of real or perceived crisis when society has a tendency to overreact. Passenger Protect

He is an opponent of Canada's no-fly list, known as Passenger Protect. At the time of its enactment, he filed submissions against the initiative on behalf of more than two dozen groups titled "Too Guilty to Fly, Too Innocent to Charge?" He also wrote an 'op-ed' about the ineffectiveness of the no-fly list."Islamic law" in North America

In 2003 a group of Muslims in Ontario attempted to set up a tribunal to help Muslims resolves disputes using Islamic principles under the Arbitration Act. A huge outcry resulted and the Ontario government appointed former Attorney General Marion Boyd to look into the matter. In December 2004, Marion Boyd released a study that recommended that the Ontario government permit the adoption of sharia tribunals for Muslims who wished to have family arbitration disputes settled in that manner. <mask> commented on this report on behalf of various Muslim groups. He wrote that the purported banning of faith-based arbitration was a delayed opportunity for the indigenization of Islamic law in the North American context. Link to Islamists

Some critics claim that he is an Islamist supporter and terrorist sympathizer. He has acted for or represented many individuals and groups accused of terror connections.IRFAN-Canada, an organization that had its charitable status revoked was represented by another lawyer associated with <mask> <mask> and KSM Law, Naseer (Irfan) Syed. The group is appealing the decision and the designation. Some point to his invitation in 2007 to serve as international trial observer at military trials of political dissidents who were allegedly members of the then banned but tolerated Muslim Brotherhood. He was reportedly invited by the opposition members of the Egyptian Parliament, International Human Rights Groups and the Egyptian Lawyers Syndicate. Initially 226 were going to face these military trials but the number was reduced to 40. On April 15, 2008 a military tribunal at the Haikstip military base on the outskirts of Cairo sentenced Muslim Brotherhood Deputy Supreme Guide Khairat el-Shater and 24 other civilians, seven of them in absentia, to prison terms of up to 10 years. The tribunal acquitted 15 others.The court also ordered the seizure of millions of dollars in assets belonging to the convicted men and their businesses. When <mask> was in Egypt he told a press conference:

"I came here as an independent Human Rights monitor, an independent Human Rights lawyer from Canada to provide my support to make sure that this will come to an end. We want Egypt to have more respect to the International community, and much more respect to Human Rights. And my support here is not to any political party or political movement at all, it’s rather for human rights, the universal principles of Human Rights which Egypt, in my opinion, transgressed in 1982, and is doing that again now for political aims." During the visit he reportedly met with Mohamed Morsi who went on to become the fifth president of Egypt and was subsequently deposed by the military. His Facebook also shows that he met with Mohamed Beltagy a member of parliament from 2005 to 2010, and current the general secretary of the Freedom and Justice Party which is linked to the Muslim Brotherhood. The Facebook photos also reveal that he met with Dr.  Dr. Ahmed Abu Baraka the Freedom and Justice Party's former legal adviser and a senior party leader at the time; Prof. Islam Lofty a former MB youth leader who has since been excommunicated; and other leaders of the movement.Even prior to this visit he had written about the MB. In a piece titled "No Democracy Without Risks" he wrote that to prevent radicalization of the Muslim world, including Egypt, it is imperative that the secular world, as well as Muslim world leadership, begin by accepting the global reality, whether they like it or not, that Islamists will be long-term players in the future of many Muslim nations. He argued that consistent with this reality, the secular world must rethink its attitude toward moderate groups such as the Brotherhood. He called for true democratic inclusion, a call for Egyptian government accountability for its poor human right record and a drive towards productive dialogue between the government and opposition groups. Unless these steps are taken, the distrust between the Islamists and the secular world will only lead to international instability, he argued. Radicals who call for confrontation will replace movements such as the Brotherhood, which has striven for peaceful change for more than 65 years. Though it is clear from his writings that he supports Islamic reform and democratization in the Islamic world.This is evident from his reformist writings in various areas and a book review he published in The Globe and Mail. Despite the cloud of suspicion raised by critics, in 2013, <mask>'s law office was instrumental in facilitating the tip off from a Toronto Imam which led to the arrests of two suspects in an alleged terror plot. He wrote in the Toronto Star that a tipoff from a prominent Imam facilitated through his office played a role in the arrests:

"...the government must understand that the majority of Muslims, who are neither secular nor ultra-orthodox, hold the key to any serious and productive bridge-building. If government agencies believe they can win the "war on terror" by undermining front-line soldiers, they had better think again." Positions

Drone attacks

<mask> argues that the use of drones creates "blowback" and undermines core principles of American identity. He cites statistics from the Bureau of Investigative Journalism, Amnesty International, Human Rights Watch and the conclusions of reports issued by Henry L. Stimson Center and a joint report issued by Stanford Law School/New York University School of Law to make his case. Islamic law and adoptions

He has called for reforms in the area of Islam and adoptions citing how contemporary practice clashes with the spirit behind the Quran's calls to take care of orphans.<mask> argues that the belief that closed adoption, as practiced in the West, is the only acceptable form of permanent childcare is a significant obstacle to its acceptance among many Muslims. <mask> believes that there is sufficient basis in Islamic jurisprudence to argue for qualified support of adoptions and even international adoptions. He writes that it is undeniable that taking care of orphans and foundlings is a religious obligation and that the best interest of children has been a recurrent theme among the various juristic schools. Arguably one of the best ways to take care of these children is to place them in loving homes, provided that a child's lineage is not intentionally negated or concealed. He argues that a reformed model of Islamic adoptions will enable Muslims to fulfill this religious obligation while ensuring that the most vulnerable do not fall through technical cracks and will not be negatively impacted by formal rules that no longer serve their intended purposes. Niqab or face veils

He does not believe that face veils are mandatory according to the most authentic interpretations of Islamic law but he defends the rights of women to choose to wear them in a liberal democratic society. He further argues that scholars are unanimous in holding that the face must be uncovered during circumambulation of the Kaaba in Mecca, during what is arguably considered a peak moment of Islamic spirituality.Islam and same-sex marriage

He also entered the same-sex marriage debate fray in an article titled "Muslims and Same Sex Marriage: Why the Banning of Gay Marriage May Not Be Required by Islamic Legal Norms" published by the Huffington Post on March 27, 2014. The piece argues that there is sufficient basis within Islamic jurisprudence to not oppose same-sex marriages in a liberal democratic context. The article notes that the current debate is not about changing Islamic marriage (nikah), but about making "sure that all citizens have access to the same kinds of public benefits." The piece argues that while same-sex marriage advocates can demand their full constitutional entitlements, they should not interfere in the religious dogma of others by forcing them to approve of what they sincerely believe is wrong. Blasphemy and free speech

<mask> has argued that existing blasphemy laws in Muslim nations are anti-Islamic and must be reformed. In a 2014 Huffington Post article he wrote:

Prior to that, in a 2012 article titled "Free Expression and An Elusive Middle Ground: Part One" published by the JURIST, he expressed a view that it is not only Muslims who wish to restrict free speech, referencing a number of laws throughout Europe that restrict free speech. Personal

<mask> married Sana Mirza, who hails from Pakistan, in a private ceremony in 2011.He has three children. He has two sisters and one brother. He is the son of Canadian Islamic scholar <mask> and brother of Canadian author S.K. Ali. Awards and recognition

<mask> was included in The 500 Most Influential Muslims in the World in 2010, 2011, 2012, 2013, 2014, 2015 and 2016. The List is compiled by The Royal Islamic Strategic Studies Institute and is affiliated with the Royal Aal al-Bayt Institute for Islamic Thought. <mask> has received many awards during his career, including:

 2012: iCair Civil Rights Award from the Cleveland chapter of the Council on American Islamic Relations (CAIR)
 2007: Maher Arar and Monia Award in Civil and Human Rights from Maher Arar/Monia Mazigh and the Canadian Muslim Network for his work in advancing civil and human rights in Canada
 2004 he was awarded the Professional Excellence Award by the American Federation of Muslims from India.2003: Community Service Award from the Toronto Community Resources Consultants for his work in advancing human rights in Toronto

Works

He is a regular contributor to The Toronto Star, The Express Tribune and the Middle East Eye. His writings have also appeared in many newspapers and magazines, including the Toronto Star, The Globe and Mail, Arab News, Alahram Weekly, Northwest Indiana Post-Tribune, Counterpunch, and Lawyers Weekly, National Post among dozens of others. His work appears regularly in JURIST. Book Review, The Globe and Mail, Jul 9, 2009, (Nader Hashemi, Islam, Secularism and Liberal Democracy: Toward a New Democratic Theory for the Muslim Socieites (Oxford University Press, Oxford, 2009)). Non-Western Societies Have Influenced Human Rights in Opposing Viewpoints: Human Rights 41 (Jacqueline Langwith ed., 2007). The Shari'a Factor in International Commercial Arbitration,  28 Loy. L.A. Int'l & Comp.L. Rev. 565 (2006). Book Review, Am. J. Islamic Soc. Sci., Volume 19, Number 2 (2001) (David Hoile, Farce Majeure: The Clinton Administration's Sudan Policy 1993–2000
 Islamic Law and Adoptions,
 The "Kutty" Islamic Law Flowchart
 The Myth and Reality of 'Shari'a' Courts in Canada: A Delayed Opportunity for the Indigenization of Islamic Legal Rulings. University of St. Thomas Law Journal, Vol. 7.'Islamic Law' in U.S. Courts: Judicial Jihad or Constitutional Imperative? Pepperdine Law Review, Forthcoming; Valparaiso University Legal Studies Research Paper No. 14-8

References

Lawyers in Ontario
Canadian lawyers
Canadian Muslims
Muslim activists
1968 births
Living people
Malayali people
University of Ottawa alumni
Indian emigrants to Canada
21st-century Muslim scholars of Islam
Osgoode Hall Law School alumni
American Muslims
Indian Muslims
Canadian columnists
American columnists
Indian columnists
University of Ottawa Faculty of Law alumni
Canadian Muslim activists

masks:
Faisal Kutty
Faisal
Kutty
Ahmad Kutty
Kutty
Kutty
Kutty
Kuttyher
Kutty
Kutty
Kutty
Faisal
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Faisal
Kutty
Faisal
Kutty
Kutty
Kutty
Kutty
Kutty
Kutty
Ahmad Kutty
Kutty
Kutty


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<mask> (, ; 26 December 1876 – 28 February 1943), known also by the pen name Em Kol Chai (), was a Russian Jewish writer, critic, and journalist. A pioneer of Hebrew women's literature and feminist literary criticism, <mask> was among the most prolific of the diasporic women writers of Hebrew in the early twentieth century. Early life

<mask> was born on 26 December 1876 in the shtetl of Slavuta in the Pale of Settlement. Her mother, Menuchah (), came from a well-educated maskilic family in Kishniev and was proficient in Hebrew. <mask>'s father, <mask>, belonged to the prosperous <mask> printing family descended from Hasidic leader Rabbi <mask> of Koretz, a disciple of the Baal Shem Tov. The family established in 1791 the first Jewish printing press in the Russian Empire, the , and owned numerous paper mills, flour mills, and other industrial plants. <mask> had two daughters from a previous marriage, and Chava had three brothers and a younger sister from his marriage to Menuchah.(Her sister died from scarlet fever in 1893 at the age of 11.) Although she grew up in a traditional Orthodox household, Chava received a rich education in both Jewish and secular subjects, and enjoyed her family's support for her literary aspirations. She was considered an illui from a young age and, unusual for a girl at the time, received lessons in Talmud along with her brothers from the local melamed, who acknowledged her coming of age as a bat mitzvah. Members of <mask>'s family corresponded only in Hebrew, and her mother hired private tutors to provide her with instruction in Hebrew, along with Yiddish, Latin, Czech, French, German, Polish, and Russian. <mask> participated in a local group of Agudat ḥovevei sefat ever ('Society of Lovers of the Hebrew Language'), which met weekly to read and discuss Hebrew literature. Family and education
In 1895, <mask> entered into an ill-fated marriage with Limel Rosenbaum, the son of an affluent Warsaw banker, and their son Pinchas was born two years later. They lived in Slavuta with <mask>'s parents until 1900, when they settled in Warsaw.As her marriage deteriorated, <mask> found refuge at the home of I. L. Peretz, who mentored her in writing. She participated in Peretz's Hebrew literary salon, where she met writers Mendele Mocher Sforim, Sholem Aleichem, , Hersh Dovid Nomberg, and Sholem Asch. Her first published work, a short story entitled "Ha-Shoshanah" ('The Rose'), appeared in David Frischmann's literary weekly Ha-Dor in December 1901 under the pen name Em Kol Chai ('Mother of All Living'). <mask> became a regular contributor of fiction and cultural criticism to the major Hebrew periodicals, among the only women to appear in their pages. <mask> soon began an affair with Hebrew and Yiddish author Reuben Brainin, a married friend of her parents nearly twice her age, whom she met in May 1899 while vacationing with her mother and son at a spa in Franzensbad. <mask> separated from her husband in 1903 against the protests of Brainin, who chose not to take a similar step (and would move to Canada with his family in November 1910). She moved to Vienna to prepare for university entrance examinations while her son remained with his father, and was granted a divorce in 1907.She was admitted to the Department of Philosophy at the University of Bern in Switzerland, where she lived with her brother. Her thesis, written under the supervision of , examined the philosophy of Georg Christoph Lichtenberg. In 1909 <mask> traveled to Göttingen to meet Edmund Husserl, who helped her obtain manuscripts of Lichtenberg's writings. She graduated with a doctorate in 1910 at the age of thirty-four, and returned to Slavuta. Career

Early career
<mask> continued to write short stories, fifteen of which were collected in Kovetz Tziurim (1909) Its publication became an important literary event because there were so few Jewish women writers at the time. The work is prefaced with the first feminist manifesto in Hebrew, lamenting the absence of women's voices in Hebrew literature. A lifelong Zionist, <mask> visited Palestine in 1911 with David Frischmann and her parents as part of a delegation from the Warsaw Yiddish daily Haynt, subsequently publishing in Ha-Zman a three-part travelogue providing an account of the journey.In it she describes the developing Jewish community and its adoption of modern Hebrew. When she moved to Berlin in 1912, she established connections with leaders of the Zionist movement. <mask> began an illustrious career in journalism and literary criticism, writing articles in Ha-Shiloaḥ, , , , , Die Welt, and . Writing almost exclusively in Hebrew, she penned articles about her own family history and reviewed books, plays, and contemporary European writers. Her first published essay—a review of a novel by Gerhart Hauptmann—appeared in Ha-Shiloaḥ in 1913. She traveled extensively throughout Europe, leading a "sophisticated, cosmopolitan life." Life in Czechoslovakia

<mask> fled to her hometown at the start of World War I in 1914 to avoid internment as an enemy alien, spending the next five years between Slavuta and Kiev.With the intensification of pogroms following the War, Hayim Nahman Bialik invited her to settle in Odessa and join his literary circle, a plan interrupted by the outbreak of the Russian Civil War. When the Red Army temporarily retreated from Slavuta in August 1919, <mask> and her son escaped to Czechoslovakia with the help of her father's former associate, a wealthy Christian forester. She lived at his home in Munkacs before ultimately settling in Prague. With the Soviet authorities' confiscation of her family's fortune, and her son enrolled in an engineering program at a polytechnical institute in Prague, <mask> was forced for the first time to work to support herself and her son. She became a Czechoslovak citizen on 28 February 1929 and in 1930 wed Josef Winternitz, a Jewish community leader of Prague. The marriage was an unhappy one, largely on account of her husband's mental illness. In 1937 <mask> succeeded in sending her son to the United States, where he lived in St. Louis, Missouri until his untimely death in 1953.Later work
Before departing for Czechoslovakia, <mask> published "Female Types in Mendele's Stories", an essay on the representation of women in the work of Mendele Mocher Sforim. She later expanded the article into "The Figure of the Woman in Our Literature" (1930) and "The Woman Reader: Where is She?" (1931), surveys of female characters in contemporary Hebrew literature. As Czechoslovak correspondent for Ha-Olam, <mask> was granted an interview with President Tomáš Masaryk on his 75th birthday (about whom she would publish a monograph in 1935), and regularly reported on the activities of Zionist organizations and the condition of Jewish life in Central and Eastern Europe. At the same time, she began gathering material for an autobiography she hoped to publish in Palestine, where she yearned to spend her final years. She also corresponded with editor  about the idea of publishing all her articles in a single volume. As the situation for Jews in Europe deteriorated, however, neither project came to fruition.Death and legacy
In September 1942, <mask> was committed to a psychiatric hospital by the Nazi authorities, and released on 19 January 1943 to prepare for deportation to the Theresienstadt Ghetto. She died on 28 February 1943, six days before the deportation of her husband to the Ghetto, where he was murdered on 18 March 1944. <mask> left behind a handwritten personal diary documenting her life from 1900 to 1941, when she relinquished it to a stranger for safekeeping, which is housed in the Gnazim Archive in Tel Aviv. Letters and postcards from her 29-year-long correspondence in Hebrew with Reuben Brainin are held at the Jewish Public Library in Montreal. Selected bibliography

 Em Kol Chai (May–June 1911). "Notes from My Journey to Eretz Yisrael". Hed ha-Zman (in Hebrew).107 (1), 108 (1), 117 (1). Notes

References

External links

 Works of <mask> <mask> at the Online Books Page

1876 births
1943 deaths
20th-century essayists
20th-century journalists
20th-century short story writers
Expatriates of the Russian Empire in Switzerland
Czechoslovak Jews who died in the Holocaust
Hebraists
Hebrew-language writers
Soviet emigrants to Czechoslovakia
Refugees in Ukraine
Refugees in Russia
Jews of the Russian Empire
Jewish feminists
Jewish novelists
Jewish writers of the Russian Empire
Jewish women writers
People from Slavuta
Essayists of the Russian Empire
Feminists of the Russian Empire
Literary critics of the Russian Empire
Short story writers of the Russian Empire
Zionists of the Russian Empire
University of Bern alumni
Volhynian Jews
Women diarists
Women essayists
Women letter writers
Women literary critics
Women travel writers

masks:
Chava Shapiro
Shapiro
Chava Shapiro
Chava
Yaakov Shammai Shapiro
Shapiro
Pinchas Shapiro
Yaakov Shapiro
Chava
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Chava
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Shapiro
Chava
Shapiro


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<mask>, 1st <mask> of Thirlestane (1537 – 3 October 1595), of Lethington, Knight (1581), was Lord Chancellor of Scotland. Life
He was the second son of Sir <mask> of Thirlestane, Berwickshire, and Lethington, Haddingtonshire, who settled the lands of Thirlestane upon him, and he was sent abroad for his education. Upon <mask>'s return, through the influence of his brother, <mask>, he received the offer of the position of Commendator of Kelso Abbey, which he shortly afterwards exchanged with Francis Stewart, later Earl of Bothwell, for the Priory of Coldingham. This transaction was ratified by Mary, Queen of Scots on 20 April 1567. Upon the death of his father, he was appointed Keeper of the Privy Seal of Scotland, on 20 April 1567. He also supported Regent Moray and sat in his parliaments in December 1567 and August 1568. On 2 June 1568, he was created a Senator of the College of Justice as an Ordinary Lord on the spiritual side.He retained the rich endowment of Coldingham until 1570. Following the Regent Moray's assassination, Maitland joined the Lords who met on the Queen's behalf at Linlithgow and shared in the dangers of the civil war which ensued. At the end of 1570, he was denounced a rebel by the King's party, with his brothers William and Thomas, and they were all forfeited in the parliament which met in the Canongate, the so-called 'cropped parliament'. <mask> was deprived of all his offices and benefices and took refuge in Edinburgh Castle. Upon its surrender on 29 May 1573 he was sent as a prisoner to Tantallon Castle in Haddingtonshire. After nine months' confinement there he was removed to Hugh, Lord Somerville's house of Cowthallie, under house arrest with bail at £10,000 Scots. In 1574/5 a Letter of Rehabilitation in his favour, as "Commendator of Coldingham", passed the Great Seal.On 26 April 1581 he was reappointed Keeper of the Privy Seal of Scotland and returned to the Bench. He was shortly afterwards made a Privy Counsellor, and upon the dismissal of Robert Pitcairn, Abbot of Dunfermline, appointed Secretary of Scotland on 18 May 1584. In the parliament which met on the 22nd of that month his doom of forfeiture was reduced, and he was restored to all the honours, heritages, and offices he had formerly possessed. On 1 May 1585 plague came to Edinburgh, and the king and councillors including Maitland went to Dirleton Castle where their host James Stewart, Earl of Arran entertained them with a sumptuous banquet and a Robin Hood play. Maitland was appointed Vice-Chancellor on 31 May 1586 and was also appointed Lord Chancellor of Scotland that year, following Earl of Arran's disgrace. The following year, 1587, saw him granted the barony of Stobo. In 1589, a powerful combination, headed by the Earls of Huntly, Errol, and Bothwell, &c., was formed against Maitland.It was intended to meet at Quarryholes, between Leith and Edinburgh, to march in a body to Holyroodhouse, make themselves master of the King's person, and put the Chancellor to death. The King and Maitland were not, however, at Holyroodhouse and the plot failed. Several other plots were formed against him shortly afterwards, but they were all defeated. Maitland and Anne of Denmark
He was one of those who accompanied James VI on his matrimonial voyage to Norway and Denmark. Maitland was involved in financing and accounting for this journey. According to an English observer, Thomas Fowler, he paid for fitting out of one ship of 126 tons and half the cost of another. Lavish provisions and banqueting stuff betrayed the king's secret intention to sail to meet Anne of Denmark.Accounts of Maitland's expenses include the preparation of a ship, the James Royall of Ayr, hired from Robert Jameson, which was equipped with cannon by <mask>, painted, and supplied with new banners and red taffeta was stitched on the sails. Carpenters made new storage spaces for the food mentioned by Fowler. There were barrels of English beer and wine from the cellars at Holyrood Palace. A boatman James Lun spent eight days loading the ship and then put the king and his company aboard. In Oslo, on 27 November, some of the ladies in waiting to Anne of Denmark asked him to join with Jens Nilssøn, Bishop of Oslo to intercede with James VI for the pardon of David Cunningham of Robertland. He had been welcomed at the Danish court after fleeing Scotland in the aftermath of the murder of the Earl of Eglinton in 1586. Maitland and the Danish ladies in waiting had an audience with the king in the Old Bishop's Palace and the laird of Robertland was pardoned.On 15 December, James VI asked him to give the Danish counsellor Steno Brahe, brother of the astronomer Tycho Brahe, and the young king's lieutenant "Apill Gudlingstarre" or Axel Gyldenstierne gifts of silver plate from his cupboard, and Maitland was to keep the rest. The silver had been a gift to James VI from Queen Elizabeth, supplied by the London goldsmith Richard Martin. James VI ordered Maitland to give jewels to Christian IV and his mother Sophie of Mecklenburg and other royals. These gifts included four great table diamonds and two great rubies set in gold rings which the master of the royal wardrobe William Keith of Delny had brought to Denmark. Shortly after his return to Scotland, on 18 May 1590, Maitland was made a Lord of Parliament with the title <mask> of Thirlestane. Anne of Denmark's mother Sophie of Mecklenburg-Güstrow had asked him to set up her daughter's household in Scotland and advise on matters of "honour and benefit." He consulted with Anne at Dunfermline Palace in July 1590 to ask her to appoint a household of ladies and gentlewomen to be about her.James VI came to Thirlestane Castle on 15 February 1591 to celebrate the marriage of his niece to the laird of Lugton. Sir Robert Ker of Cessford had married his niece <mask>, and he was able to help Maitland into the favour of Anne of Denmark. Sophie of Mecklenberg sent Maitland a letter of thanks in June 1591, after hearing good reports from Wilhelm von der Wense. James had asked him to resolve issues over pay in the royal households in April 1591 after kitchen staff deserted their posts, and discussed the subject of paying two departing members of the queen's household with either money or livery clothes, and he reminded Maitland of promises he had made to Sophie, writing "Suppose we be not wealthy, let us be proud poor bodies". A cousin of James VI, Francis Stewart, 5th Earl of Bothwell, was implicated in the North Berwick Witch Trials on 15 April 1591 by the confession of Richie Graham. Anne of Denmark disapproved of the pursuit of the rebel Earl, and blamed Maitland for seeking the "wrack of the king's blood". Another quarrel grew over her dowry lands.Anne of Denmark believed she was the rightful owner of Musselburgh and Inveresk, lands belonging to Maitland, which were properties of Abbey of Dunfermline south of the River Forth. These lands were transferred to her after a Danish ambassador Dr Paulus Knibbius made representations to Maitland in 1592. She came to resent Maitland's powers and in January 1593 appealed for help against him and his wife, Jean Fleming, who she believed had slandered her and accused her of being complicit with the Earl of Bothwell. In 1594 James VI appealed to her brother Christian IV of Denmark to ask her to take Maitland into her favour again. In February 1595 his relationship with the queen seems to have improved, and the courtier Roger Aston reported that he had made friends with the queen's council of advisors, men who had previously been his "unfriends". The queen's council included Alexander Seton, Walter Stewart of Blantyre, James Elphinstone and Thomas Hamilton. In July 1595 Maitland wrote to the Earl of Essex, about their future "diligent intercourse of intelligence" involving the Scottish diplomat Richard Cockburn of Clerkington and Essex's secretary Anthony Bacon.Essex replied that he wrote only with the queen's knowledge, and they would be happy to receive letters from Maitland or Cockburn. Death and legacy
<mask> died on 3 October 1595 at Thirlestane Castle, after a month's illness attended by the physician Dr Martin Schöner and the minister Robert Bruce. He was buried in a side chapel on the north side of St. Mary's, Haddington, where a splendid monument, with an epitaph, composed by King James VI, was erected to his memory. Sir <mask> of Scotstarvet, writing in the seventeenth century, had this to say of the 1st Lord Maitland:
"Mr <mask>, second brother to Secretary Maitland, after he had studied the laws in France, was preferred to be a Lord of Session by the said Earl of Arran's means, and thereafter became Chancellor. He was one of the Octavians [a name given to eight persons who managed affairs under king James VI], and was created Lord Thirlestane, and was an excellent Latin poet, as his verses inserted in Deliciae poetarum scotorum testify; and King James had such a respect to him, that he made the epitaph engraven on his tomb. Yet the conquest he made of the barony of Liddington [Lethington] from his brother's son, <mask>, was not thought lawful nor conscientious." A portrait of <mask> by Adrian Vanson at Ham House was valued at £2 in 1683.Examination by Caroline Rae in 2016 showed that it was painted over an image of Mary, Queen of Scots. Family
<mask> married Jean Fleming, daughter of James, 4th Lord Fleming and Barbara Hamilton in January 1583. Their children included:

Anne (1589–1609) who married Robert Seton, 2nd Earl of Winton (but had no issue)
<mask>, 1st Earl of Lauderdale

Brother of <mask> of Lethington, Scottish Secretary of State, and <mask>, considered a scribe of the Maitland Folio and Quarto. References

An Historical Account of the Senators of the College of Justice of Scotland, by Sir David Dalrymple of Hailes, Bt., re-edited at Edinburgh in 1849, pps: 140–146 (who says he was "probably born in 1545"). The Royal Families of England, Scotland, and Wales, with their Descendants, etc., by Messrs, <mask> and <mask> Burke, London, volume 1 (1848) pedigree XV, and volume 2 (1851), pedigree LXXXIV. History of the Priory of Coldingham, by William King Hunter of Stoneshiel, Edinburgh & London, 1858, pps: 72–3. Miscellanea Genealogica et Heraldica, edited by Joseph Jackson Howard, LL.D.,F.S.A., volume 2, London, 1876, p. 206.External links
 A satirical poem on the marriage of <mask> and Jean Fleming by Hercules Rollock, Bridging the Continental Divide, University of Glasgow
 Miniature portrait of <mask> of Thirlestane, National Portrait Gallery, London
 A portrait of <mask>, painted over Mary Queen of Scots, Ham House, National Trust
 Portrait of <mask>, <mask>gal, Thirlestane Castle

1537 births
1595 deaths
Court of Mary, Queen of Scots
Lords of Parliament (pre-1707)
Lord Chancellors of Scotland
Senators of the College of Justice
Chancellors of the University of St Andrews
Members of the Privy Council of Scotland
16th-century Scottish peers
16th-century Scottish politicians
Scottish knights
1595 in Scotland
Peers of Scotland created by James VI

masks:
John Maitland
Lord Maitland
Richard Maitland
John Maitland
William Maitland
John Maitland
John Chisholm
Lord Maitland
Margaret Maitland
John Maitland
John Scot
John Maitland
James Maitland
John Maitland
John Maitland
John Maitland
William Maitland
Mary Maitland
John
John Bernard
John Maitland
John Maitland
John Maitland
John Maitland
John Scou